The Borderline

Damyna the Musical, Icon

The Borderline



Lusaka, 2019


What does it profit a man if he gains the world but loses his mind?

In a desperate bid to make a success of his life and become rich in the future, Faustino, a poacher and failed gemstone dealer, sells his soul to the devil.

Paranoia, despair and nihilism shimmer in the unsettled corners of his vanished convictions, mislaid in the shadows of the deep rivers, dusty plains and homeless cities of his mind.

Faustino is introverted but becomes aggressive and aggravated if he is confronted; he is jealous of his wife’s imaginary infidelity, which conceals his increasing insanity.

Enya is wilful and manipulative, between a treacherous femme fatale and her loyal antithesis, and denies Faustino’s continuous and violent abuse in her home.

Hama is unhappily irascible, trying to explain to himself his persistent and dangerous liaisons that transcend the murky underworld, corrupt police and hedonistic military.

Wakuda is inherently evil; he enjoys luring his uneducated and naïve clients to their fates with his psychotic notions and their delusional beliefs of easy money.

Faustino negotiates with Wakuda to be rich by abusing his mother and is expelled by the headman, later murdered. Suspicion falls on Faustino after he disappears into the bush.

Enya calls private investigator Hama to find Faustino before the police kill him, only to find he is her enigmatic but spooky former lover.

Faustino is blamed for a series of murders in his absence.

Can Enya and Hama find the real murderer and beat the police and army to him on the remote Lunsemfwa River?

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The Borderline poster ></p>



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Langmead & Baker Ltd
Peter Langmead