What would you do to get what you want? Who are you willing to use or betray? Your lover? Your family? What will you let stand in your way? Eden has been waiting for her moment for too long, and she’s not going to waste a single opportunity. Natasha Mumba’s gripping drama Copperbelt is into the Soulpepper phase of its rolling world premiere. With expert direction by Nina Lee Aquino, and starring Mumba as Eden, Copperbelt has more twists and turns than the mines it speaks of.

Eden and Peter are partners in more than just their romantic life, they work together at the same firm which deals in minerals and their acquisition. Copperbelt opens on them coming home from what was supposed to be an important dinner meeting for Eden to pitch to their boss, but she’s quickly railroaded by Peter and his own celebrations and ideas for the company. But Eden is very sure about a mine in Zambia which is run by a company called Rising Sun. When Eden’s father suffers a heart attack, she rushes home to Zambia, returning after several years away from her family. When Eden’s whole family is together again, secrets are revealed, plans uncovered, and no one walks away with clean hands.

Mumba’s expertly crafted script provides just the right amount of dramatic irony for us to feel like we know what’s going on, while also surprising us with plot twists which made me gasp out loud several times. Yet Copperbelt is much more than its shock factor, it’s also a passionate story about legacy, homecoming, and what it means to go after what you want. Eden’s family both ties her to her homeland while also making her feel stifled, particularly as a teen. We witness that same emotional turmoil bubble up again upon her return home, however the ending suggests that Eden has changed significantly in ways her family would not have expected.

Rachel Forbes’ set and costume design easily take the audience on the journey from Canada to Zambia along with the characters. From the massive copper wall which signifies Peter and Eden’s home, to the multi-faceted and elegant home of Eden’s parents, this ever-changing set was an adventure all its own. Michelle Ramsay’s lighting design also plays a key role in our understanding of the time jumps, but also gives an etherial quality to Tawiah Ben M’Carthy’s beautiful and stirring movement pieces at key points within the story.

Natasha Mumba gives a stunning performance as Eden. I love getting to see a playwright perform their own work, especially with a cast like this; there’s a level of familiarity and vulnerability with the character which is undeniable. Rick Roberts deserved every gasp his character Peter received from the audience, in the best way possible. Roberts has this way of charming us so fully at the beginning of the play, that when Peter’s motives become more clear, we feel betrayed as well. Warona Setshwaelo’s Harriet is the ferocious matriarch of the family, and she brought that ferocity into every moment of her performance. Kapembwa Wanjelani is fearsome as Chimfwembe, Eden’s father. His stage presence and booming voice make him impossible to take your eyes off of. Kindwani Elliott Zulu’s Dalitso begins the play as the over-eager in-law always willing to please the patriarch, but Zulu gives him both a thoughtful but also intense undertones which make him a fascinating character. Eric Miracle’s Musolo is so beautifully the middle child, and Musolo plays into this free-wheeling character with panache and verve. Makambe K. Simamba’s Lombe is likewise clearly the youngest sibling, and I love her changing dynamic with her siblings. She brings a vivacity and brightness to the cast which I really enjoyed.

Copperbelt has certainly left me thinking about the tenacity it takes to make it in today’s society; do you go after what you want with gusto, or do you just ‘wait for things to happen’ like what Peter suggests to Eden. Eden’s determination, both in her work and private lives, is inspiring and that’s why we can’t help but cheer as she goes back to Zambia, but fully on her own terms. That final image of her walking through the giant copper doors, giving a quick glance back before heading into the unknown of her future, is a powerful one which will stick with me for a long time.

Copperbelt is playing in the Baillie Theatre at the Young Centre for the performing arts until March 1. For more information and ticket, visit: https://www.soulpepper.ca/performances/copperbelt

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Cover Photo: Rick Roberts, Natasha Mumba © Dahlia Katz, Set & Costume Design by Rachel Forbes, Lighting Design by Michelle Ramsay.

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