Christopher Sainton-Clark has scored another triumph with his new monodrama, The Night That Ali Died, which makes its debut at Prague Fringe.
Gripping drama that also has plenty of humour
After his performance, I spoke to two young people from Melbourne in the delightful courtyard of the Museum of Alchemists and Magicians of Old Prague. They said the play was like reading a crime fiction novel or watching a TV crime series condensed into one hour. And they were absolutely right. Their words capture the intensity of the action and the depth of story packed into this gripping drama, which offers plenty of humour without ever losing its focus as a detective tale centred on the tragedy of a young man out of his depth.
The protagonist’s Arabic-sounding name might initially suggest a plot involving a terrorist organisation or persecuted freedom fighters, but we’re told from the outset that Ali is short for Alistair – and he is entirely English. This is, in fact, a story of criminal gangs, drugs and murder, set not in a gritty inner-city borough but in sleepy Norwich. And if Inspector Morse can find plenty to investigate in Oxford – and Midsomer Murders in the countryside – why not Norwich? It also provides one of the funniest lines in the play.
Ali works in a chemical laboratory with Tony, whom he discovers is abusing his access to drugs. Foolishly, though with good intentions, Ali begins to investigate. He soon witnesses a gruesome murder and becomes a key witness in the police investigation. Although placed under police protection for his and his family’s safety, he abandons his failing marriage, bids farewell to his baby, and escapes surveillance. But he knows too much – and it’s not just the police who are looking for him. The plot thickens, with twists at every turn.
Four distinct characters are vividly portrayed through shifts in voice, physicality and costume, with each offering their own perspective on events. It’s a clever device that allows insight into each character’s mind. A simple chair and briefcase are used effectively, supported by a soundscape that conjures atmosphere and setting to enhance the storytelling.
Sainton-Clark’s company, Raising Cain Productions, is committed to creating “bold and cinematic theatre that provokes thought and entertains in equal measure”, and this production certainly delivers. He has again collaborated with accomplished director and dramaturg Rosanna Mallinson, whose minimal, physical approach – shaped by her training at L'École Internationale de Théâtre Jacques Lecoq – also contributed to the success of his award-winning A Year and a Day. Here, it elevates the intensity of the storytelling.
There’s only one way to find out what happened on the night that Ali died – and it’s a must-see. But if you want to experience a different side to Sainton-Clark’s range, he’s also performing Tales from a Country Pub at the Prague Fringe, telling stories through his own songs – and playing guitar.
