“...some more TLC on the creative front might be needed in order for the piece to turn into the hard-hitting comedy it could potentially be. Fewer flourishes in the language and a more decisive last quarter will do the trick, preventing it from being as all over the place as it is at this stage.”
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“Absolute credit to Hagan for trying something different, not just repeating what worked before, and huge points for an outrageously soapy twist that had the press night audience gasping...Anyone expecting this to be anything to do with the Tupac song, well it isn’t. Instead it’s broad and silly and a bit all over the place, and amid all the chaos strangely endearing too.”
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“The characters are thinly drawn and need fuller backstories. Directed by Anastasia Osei-Kuffour, each scene seems strangely detached from the one that has come previously...Hagan is a skilled playwright...But this one is suffering from an identity crisis, uncomfortably sandwiched somewhere between serious drama and trying to make us laugh. Perhaps it just needs more time in the oven.”
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"Anastasia Osei-Kuffour’s production plays things hard for laughs, and lines are delivered with knowing. "
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“It’s a thin story. Scenes dawdle in Osei-Kuffour’s production, and several instances when time hops forward are under-directed. What’s compelling, though, as well as the mic-drop surprises, is the fact that Ama is irredeemably flawed.”
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"Hagan’s text has strong dialogue but stumbles in its portrayal of action. The play finds redemption in the re-emergence of Michelle Asante’s mother figure, offering heartfelt advice in the denouement."
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