Writer and performer Quaz Degraft swapped a career in finance for life on stage, a decision that indirectly inspires In The Black, now playing at Underbelly Bristo Square. His protagonist, Kofi, is also a financial high flyer, although when we meet him he is wearing an orange prison jumpsuit rather than a sharp Wall Street suit.
“Bet you thought I was in for murder,” Kofi jokes to an audience member early on. It is a line that immediately establishes the show’s confident blend of stand up and storytelling. From there, Degraft unspools Kofi’s journey, beginning with a thrill seeking teenager whose taste for risk becomes a defining feature of his adult life.
Raised by a strict father who believes in stability, hard work and the value of a secure career, Kofi does everything expected of him. He excels academically, plays by the rules and secures a coveted role at a prestigious Wall Street investment firm. Yet success comes at a price. In a world driven by power, status and eye watering bonuses, Kofi repeatedly finds himself navigating situations that sit uncomfortably with his conscience.
The show’s central moral dilemma arrives when Kofi witnesses a workplace sexual assault and is forced to choose between protecting his future and doing what he knows is right. It is a compelling dramatic twist because Kofi occupies neither side of the crime itself. Instead, he is caught in the murky space between complicity and accountability, making his predicament all the more thought provoking.
What makes In The Black so effective is the way Degraft invites the audience into those difficult decisions. The writing is sharp, funny and emotionally intelligent, never sacrificing entertainment in favour of its message. At the same time, Degraft proves himself a magnetic performer, effortlessly drawing the audience into Kofi’s world and encouraging us to interrogate our own moral boundaries.
The solo format demands a lot from its performer, but Degraft rises to the challenge with assurance. Switching seamlessly between colleagues, friends and family members, he creates a vivid cast of characters while maintaining a clear emotional throughline. It is an accomplished and engaging performance that keeps the audience invested throughout.
Edinburgh audiences should be grateful that Degraft left finance behind. The industry may have lost an accountant, but theatre has gained a gifted storyteller.
Listings and ticket information can be found here
