Brothels have become neutral ground in the present day Congo during the country’s brutal civil wars. These conflicts have been ongoing since 1996 and have involved eight other countries, costing 5.4 million lives.

Lynn Nottage’s new play “Ruined” focuses on a few of these victims of what she has described as a war against women. “Ruined” has already won numerous honors, including last year’s Pulitzer Prize, by exploring the problems and possible solutions to this ongoing crisis.

The stage opens with Mama Nadi, played by Tonye Tampano who also played Heylia James in the Shotime hit series ‘Weeds.’ She discusses her business’s new shipment with a traveling merchant named Christian, played by Oberon K.A. Adjepong.

Mama Nadi proceeds to inspect her new purchases – two slave girls, both dirty and frightened, clasping each other hand in hand. The audience now becomes more aware of the setting’s true nature.

Trees loom over the cozy environment just like how the conflict outside surrounds the small refuge. “Mama” is very pragmatic and willing to give up anything for a price. She has created a “no fighting, no politics, and no bullets” area around a waterhole for anyone willing to pay, including government officers and rebel soldiers.

The two girls are named Salima, played by Pascale Armand, and Sophie, played by Carla Duren. Each has their tragic story to tell. Salima has been shunned by her own family and escaped from her village after being attacked. Sophie has been “ruined” (sexually assaulted beyond use), yet Mama Nadi begrudgingly takes her in knowing life there would be better for her than where she came from.

Sofie becomes a server and more importantly a singer – a highly interesting element of this play. Her song and dance numbers fit the setting as a live stage band plays music at the dive bar whorehouse. The original songs are a great blend of funk-jazz-African rhythm, in that order.

‘Ruined’ has a good array characters, and the dramatic scenes effectively inform the audience about the brutal conflict in the heart of Africa. Long, vividly descriptive monologues stimulate the audience’s imagination, mirroring Nottage’s experience as she listened to accounts from actual victims.

The descriptions of violence are not visual – this intelligent period piece is an example of how good theater can entertain by telling instead of strictly showing.