THE existential whirlwind that comes from deciding to believe in a higher being or having the prospect of “eternally being ablaze” is a subject not easy to swallow.
Bret Kamwi in his play “Three Sisters”, however, delivered a tongue-in-cheek rendition of how religion changes the fabric of lives and society.
The play, which premiered on 5 February, follows the life of a reporter, Chaze, as she pursues an undercover investigation in the house of a fanatic prophet.
She tries to uncover his secrets and expose his lies to the people, only to find that the prophet might have deeper and darker secrets than she expected.
With a fully packed audience, the theatre’s ambience turns into a swirling darkness as the lights go off.
In the opening scene, the audience is introduced to prophet Jedidiah, a charismatic man with a bounce in his step and is always clad in the finest suits.
Behind him, the “Three Sisters” – all married to prophet Jedidiah – sit on the front line of the church, fanning themselves as they hang onto the prophet’s words of praise.
The prophet in his boisterous confident voice calls out members from the church and reveals to them intimate details of their lives and goes on to perform miracles such as making the blind see again.
What made the play endearing is the polished acting skills of the cast, with Prophet Jedidiah played by Melgisedek Nehemia portraying a man who exudes a sense of exultancy in his voice and sweat dripping down his face while lost in the realms of the holy spirit.
Diana Master, who played the first wife of Jedidiah, had the audience in stitches with her feminine woes and unimpressed facial expressions.
Xavierie Mbangtang played the role of the very curious, tactful and rebellious Chaze.
Similarly, no stranger to the theatre stage and making a return since 2018, is Kaarina Nambinga, who played Mary 3.
Newcomers, Penny Heel, Taylo Mannetti and Vaja Tjipueja took on the roles of a devoted, obedient and loyal woman, Mary 2, the quiet and soft-spoken Suzan and the sweet, innocent and naïve woman Mona, respectively.
The play intersected on different themes and introspected on the rise of so-called Independent Churches which have reinterpreted disease and rites of cure along Christian lines.