In Senegal on the eve of Y2K, an idealistic Peace Corps volunteer survives a mysterious car accident. An imposing State Department operative arrives at his hospital where she immediately takes command of the situation and his safety. Though they couldn’t be more different, they form an unlikely relationship. But when it becomes clear that they both have secrets, the volunteer is roped into a darker side of public service–one he can’t come back from. Unpredictable at every turn, this world-premiere thriller was commissioned by Manhattan Theatre Club.
Instead of capitalizing on that loaded context, though, the play gradually deflates, unable to maximize its own premise and hampered by possibly self-serving moves — a raised eyebrow is the only possible reaction to the improbable notion that Boubs could manipulate the worldlier, more experienced Dina into getting what he needs.
Yet Dakar 2000 doesn’t accelerate from there. Joseph works additively, tacking on new ideas about Dina and Boubs’s dynamic, then explores them incompletely. Dina’s backstory, for instance, involves the bombing of the U.S. embassy in Tanzania in 1998. She’s become obsessed with the threat of Islamic terror and her own quest for revenge. But because Joseph has placed his drama at such a specific historical spot — a year before 9/11 — it’s as if it’s hermetically sealed. He can only hint at how Dina’s perspective would soon become the standard posture of American diplomacy.
2025 | Off-Broadway |
MTC Off-Broadway Premiere Off-Broadway |
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