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.
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.
Dakar 2000’s plot, however, is gripping enough to make up for any shortcomings in character development. The script’s revelations trickle down in spurts before converging in an all-out flood of manipulation. 'You can’t like someone AND manipulate them!' Boubs screeches at one point, heartbroken to think he was just a pawn in Dina’s game. 'Yes, you can,' Dina insists. Joseph’s exploration of the cost of trying to be a good person reminds us no character is simply a hero or a villain.
| 2025 | Off-Broadway |
MTC Off-Broadway Premiere Off-Broadway |
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