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.
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.
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.
2025 | Off-Broadway |
MTC Off-Broadway Premiere Off-Broadway |
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