Before his 60th birthday, Femi Elufowoju Jr sets out to visit every country in Africa, a total of 54 at the time. Turning that journey into a two-hour play may sound ambitious, perhaps even slightly delusional, but it mostly works, despite some pitfalls and flashes of overt African propaganda.
Elufowoju, who is both the writer and director of 54.60 Africa, shapes his journey into a show about eleven adventurous friends who are tasked by their ancestral ‘mother’ to prove, within seven days, that their vibrant continent deserves celebration, not dismissal.
The play opens with a lengthy monologue from Mother Africa (Suzette Llewellyn), who immediately launches us into the narrative by giving her ‘children’ their mission: to uncover and share the true story of Africa. Llewellyn is convincing in the role, commanding the space with presence and strength. From the outset, key themes – such as colonialism and identity – are clearly established.
As the journey begins, the production finds its footing unevenly, especially with Elufowoju stepping in at the last minute, script in hand, to replace Africa 2 (Patrice Naiambana). Although this is initially distracting, Elufowoju adapts well, blending the book into his performance, and his connection with the rest of the cast is evident.
As the stories unfold, the music and singing shine as the play’s greatest strengths. The Ganda Boys (who also portray Africa 10 and 11) bring dynamic energy and rich musicality, using traditional African instruments and physical performance to push the narrative forward.
While, the musical interludes are powerful and well-composed, the performances are mixed. Some scene performances feel rushed and lack depth, but others stand out and convey the story’s message effectively. Africa 3 (Munashe Chirisa) brings humour and strong physical acting. Africa 7 (Adil Hassan) delivers a particularly moving moment in Nairobi, offering a glimpse of the emotional core Elufowoju strives for. Africa 9 (Liana Cottrill) adds vibrant energy through dance and movement. Yet, even with these strong moments, the show often shifts too quickly, never settling on one emotional or narrative thread for long.
As the play progresses, we travel through different countries, cultures, and political realities. Some scenes are humorous, others moving. However, the transitions, from comedy to trauma to political critique, often happen too abruptly. Fleeting moments of poignancy appear, but they don’t linger long enough to leave a lasting impression. Llewellyn delivers the final monologue with passion, but the segment ultimately feels rushed, missing the emotional weight it aims for.
The set is minimal, with a multi-level stage surrounded by audience seating, accented by African flags and regional signs. While the stripped-down design keeps focus on the actors, dance, and music, a more ambitious set and lighting design could better support the scale of the story being told.
54.60 Africa is clearly a passion project, grounded in Femi Elufowoju Jr’s own journey across the continent. The production pulses with vibrant energy, its music, dance, and physical storytelling make a bold impression, and individual performances often cut through the chaos with real clarity. While the show sometimes buckles under the weight of its ambition, rushing through complex themes and sacrificing emotional depth, it never loses sight of its core goal: to make Africa seen. Not solely through the lens of pain, but through its beauty, creativity, strength, and resilience. With sharper focus and refinement, this has the potential to grow into something truly unforgettable, a show that fully honours the vastness of the continent it celebrates.
Drama
By Femi Elufowoju jr
Music By Emmanuel Edwards
Director: Femi Elufowoju jr
Photo Credit: Arcola Theatre
Cast includes: Suzette Llewellyn ; Munashe Chirisa; Liana Cottrill; Adil Hassan; Funlola Olufunwa and Femi Elufowoju jr
Until: 12th July 2025
Running Time: Two hours (including one interval)
Photo credit: Alexander Brennan