54.60 Africa at Arcola Theatre – review

It aimed for a cultural odyssey, but landed somewhere between a school assembly and a gap year slideshow. 54.60 Africa takes on a bold challenge: to journey through all 54 African nations in just seven days. With a running time of two hours, the production sets out with energy and ambition, but ultimately falls short of capturing the beauty, complexity, and emotional depth of its subject matter.

Written and directed by Femi Elufowoju Jr, the play follows a group of friends embarking on a continent-wide adventure. It’s a concept brimming with potential, but the execution struggles to keep pace. Character relationships are thinly drawn, making it difficult to connect with their motivations or understand the stakes of their journey. With a small cast covering multiple roles, clearer distinctions in voice, characterisation, and staging would have helped audiences stay grounded in the shifting narrative.

Rather than embracing Africa’s rich cultural and historical diversity, the play leans too often on familiar tropes (conflict zones, warlords, and safari backdrops), leaving little room for the neglected nuance, innovation and joy that pulse through Africa. The tone occasionally slips into caricature, and while the intent seems celebratory, the overall portrayal risks feeling filtered through a Western gaze rather than rooted in authentic lived experience.

There are moments of light and promise, particularly in the musical performances. The Ganda Boys, comprised of Denis Mugagga and Daniel Sewagudde, deliver stirring live vocals that offer welcome emotional texture and connection. However, the placement of songs often feels abrupt, and at times, repetitive. The inclusion of Toto’s “Africa“, a song often criticised for its exoticised view of the continent, feels like a missed opportunity to showcase the continent’s own musical icons.

Designed by Ultz, the production remains minimal. Their set offers a blank canvas that allows the actors space to move, but it rarely evokes a clear sense of location or atmosphere. For a story rooted in travel and transformation, the visual language could have offered more support in bringing the journey to life.

That said, the ensemble’s resilience must be acknowledged, particularly on press night, when Elufowoju Jr stepped into a lead role due to illness in the cast. Their commitment to keeping the show running under pressure was evident and commendable.

There is a genuine appetite for more African stories on UK stages, and 54.60 Africa is clearly driven by passion and purpose. With more time for development and a tighter focus on story and character, this piece could evolve into something truly powerful. As it stands, it’s an earnest effort that gestures at greatness, but doesn’t quite arrive. Instead, it feels less like a journey through the motherland and more like a detour through the colonial gift shop.