A Fine Idea tackles the myth of international aid in a critique of the white saviour mentality. Main character, Jo (Ella Bryant) is introduced to the audience as the daughter of senior developmental aid officers. Jo’s dream is to carry on her parents’ legacy in supporting ‘Third World’ nations in their economic growth. Upon arrival in Kenya in 2024, she later realises the neocolonial nature of Western development frameworks  and the ongoing cycle of economic dependency that often follows. 

The relationship between African nations and international aid is akin to a long and heavy battle. In Kenya particularly, coloniality has infested the concept of developmental assistance to the point where more harm than good is done. Attempting to showcase the encroachment of Western countries on the self-determination of African nations, the production takes a statistics-first approach to covering the impact of the 2024 Finance Bill on Kenyan citizens. The proposals included in the bill would cause many citizens to fall into poverty due to extreme tax measures on essential commodities including bread, cooking oil, and sanitary pads.

Grace Saif gives a convincingly passionate performance as Kala, the representative for the #OccupyParliament protesters who strongly opposed the controversial bill and its effect on the younger generations of Kenya. Kala’s perspective is a significant layer within the play, which can hopefully be explored further by writer Christine Bacon in the future.

Still, by not concentrating on the lived-experience dimension of the production, Bacon’s A Fine Idea falls short in offering a more meaningful commentary on the currently flawed international development model. This results in a sense of unfulfilled justice for Kala’s fight for freedom, and the abrupt tragedy that closes her story. Far too often, the pain and suffering of Black communities are portrayed without the politically rich context required to centre our narratives. This issue is not absent from the play either, as it tends to lend itself to privileging the experiences of its white characters over those most affected by the fundamental issue at hand.

While the brutality of international aid is creatively explored through a mix of comedy and political drama, as well as an impactful recognition of the harms of armchair activism in mainstream political spheres, the treatment of the overarching corruptive nature of institutions such as the International Monetary Fund and the United Nations is ultimately lacklustre.

Creative Team

Director: Charlotte Westenra

Writer: Christine Bacon

Set Designer: Georgia Wilmot

Costume Designer: Emma Williams

Lighting Designer: Hartley Kemp
Sound Designer: Tom Smith

Composer: Jonny Berliner

Magic Consultant: John Bulleid

Voice and Accent Coach: Gurkiran Kaur

Assistant Director: Muniira Ali

Casting Director: Nadine Rennie

Cast

Jo: Ella Bryant

Laura/Christine: Georgina Rich

Kala: Grace Saif

Elio: Kevin Trainor