Mandela Mathia has a story that few can even begin to fathom. From losing his birth parents so early in his life to having to flee South Sudan where he grew up and adapt to a new family and new country, his struggles were beyond significant. 

His play, “Lose to Win” is largely autobiographical in its exploration of his story. It begins with percussionist Yacou Mbaye, who commences the play with a vigorous call and response with the audience. This is done in a way that feels like genuine engagement rather than being contrived and is a really strong way to set the scene of the performance and to generate some early audience engagement. 

Mathia is a superb storyteller from the moment he walks on the stage. As he tells the story, the audience immediately connects with him, feeling every moment as he narrates the tragedies that he has witnessed. His delivery is not always perfect, with some stumbles over lines and there are some tonal inconsistencies in the writing of the script on occasion, but in many ways, the imperfection adds to the charm of the production, as it centres the focus wholly on the emotions of Mathia’s story.

The audience feels Mathia’s pain at various moments of his life. Finding out about the death of his father and his recollections about missing all the childhood milestones he would have had with his father is painful as is the loss of his mother and the closure he was denied by never finding her body. 

The play has the ability to pull the audience back in even when it seems like that Mathia is out of the woods. Right towards the end, as Mathia recounts the end of the rehearsal period for his first play, his adoptive mother dies before she can see the play. It is a brutal moment, and one that engenders reflection on the continued struggles that Mathia has had to face. 

Mathia is also unafraid to address some of the topical issues in Australian society that falls within the ambit of the play. Most notably, the dog-whistling around Sudanese gangs was strongly condemned by Mathia, which caused some visible discomfort in some members of the audience. It is rare for a play on an Australian stage to genuinely and meaningfully confront issues of racism, so it was welcomed that this play did so and was unashamed in doing so. Commendation must also go to the Director Jessica Arthur for being unafraid to address these issues. 

This is a story that needs to be told on the Australian stage and it is a credit to all involved that it has made it to production. Given underrepresentation of minority voices in Australian theatre, a play which challenges the status quo and tells a story which provides a counterpoint to that traditionally told in Australian media is vital to maintaining societal open discourse, Mathia’s play may not be perfectly crafted in every sense but it doesn’t have to be. It is a well-paced, emotional watch which keeps the audience engaged throughout. It is by no means an easy watch and requires that the viewer be engaged and willing to deal with confronting themes but Mathia’s acting is incredible and powerful from the moment he enters the stage. This is poignant and emotive storytelling at its finest and I would hope, is only the beginning for a talented actor and playwright. 

Rating: ★★★★1/2

Lose to Win plays at the Belvoir St Theatre until 19^th May 2024. For more information, click here.

All photo credits: Brett Boardman