Review by Giada
In northern Uganda, somewhere between the grains of yellow soil and the spirits that inhabit the sky, a tragedy unfolds. Okumu, the youngest of two brothers, spends his days doing what he loves most: reading books, playing dulu, and following his older brother everywhere.
When his village is attacked by the LRA (Lord’s Resistance Army), Okumu is forced into an impossible choice: his own survival, or death for both himself and his brother. From that moment, devastating consequences propel him into a brutal journey of physical and emotional indoctrination. The systematic unmaking of a child into a soldier carries him far away from his home, his family, and ultimately, from himself.
Written and performed by John Rwothomack, Far Gone brings to life the stories of many who, unlike him, were not able to escape the atrocities of war. Shape-shifting between four characters (Okumu, his brother, the General, and the soldier Spankler), Rwothomack’s ability to create distinct individuals through physical and psychological differentiation is remarkable. Amid minimal staging, he establishes a framework that that we, as an audience, are invited to complete with our imagination.
As we follow Okumu’s journey, we are immersed in a charged terrain of both external and internal landscapes. Rwothomack’s performance is passionate, intense, and extraordinarily generous. Emotion is deeply embedded in physicality, and it is precisely there that I felt it most. As Okumu was dragging his body across the desert, I felt my stomach clench.
Audience involvement is central and carefully considered. We are asked to repeat the General’s chants, temporarily becoming part of his army - a chilling reminder of how we are, in various ways, implicated in and benefiting from wars happening across the world. During the post-show check-in, Rwothomack extends this sense of shared responsibility into open dialogue. From the moment of entry, where we play and learn about each other, the piece’s intentions are clear. Not to hide behind theatrical convention, but embrace theatre as a communal and collective act, echoing traditions of African oral and choral storytelling.
This sense of cohesion is reflected in the production as a whole. It is a testament to what can be achieved when a creative team shares a clear and unified vision. A special mention must go to Kevin Jenkins’ design of Jack Poole’s set, which felt like a living artwork in itself, and to Will Monks’ lighting design, which shaped atmosphere and transitions with sensitivity. As we travel across years and spaces, Mojisola Kareem’s careful direction orchestrates moments of opening and closure, giving rhythmic structure to a narrative that navigates through multiple layers of reality.
Far Gone may be devastating and uncomfortable to sit through, given the raw emotion and brutality of the story it tells. But it is a necessary watch.
⭐⭐⭐⭐
Far Gone runs at Brixton House until Saturday 21st February 2026. Tickets are available from https://brixtonhouse.co.uk/shows/far-gone/
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