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With her new play Ruined, which opened last night at Manhattan Theatre Club's City Center Stage I space in a co-production Chicago's Goodman Theatre, playwright Lynn Nottage takes theatergoers on a compelling, often emotionally devastating, and sometimes genuinely surprising trip to a small mining town in the Democratic Republic of Congo.

This production, staged with economy and grace by Kate Whoriskey, originated in Chicago, and received both critical and popular acclaim, as New York theatergoers will understand almost as soon as Mama Nadi (Saidah Arrika Ekulona), who runs a small bar in a mining village, haggles with Christian (Russell Gebert Jones) over the various black market goods – like cigarettes and condoms – that he's been able to secure for her establishment. When the talk turns to some items off-stage, nothing much seems to have changed until Nottage reveals what they are. It's the first blow to the gut in this play that will continue to surprise and move.

In addition to supplying soldiers from either side of the civil war-torn country with liquor and entertainment, Mama's establishment (rendered with effective economy by scenic designer Derek McLane) serves as a brothel and in Ruined, Nottage introduces three of the young women in her employ (and strangely under her protection in a country where they might be otherwise ravaged). Josephine (a surprisingly and satisfyingly sassy Cherise Boothe) has been there the longest, and has something of a beau in Mr. Harari (played with likable oiliness by Tom Mardirosian), who is forever promising to take her to the city, even though he's married. Sophie (imbued with fiery dignity by Condola Rashad) and Salima (a heartbreaking Quincy Tyler Bernstine) are newcomers to Mama. Sophie, because of injuries inflicted by soldiers who raped her, is considered "ruined," but her beauty and brains serve Mama's purposes no end. She sings (Dominic Kanza provides original songs that are simultaneously tuneful and cutting) and teases the clientele, until they leave for bedrooms with Josephine or Salima, who, after being repeatedly raped by soldiers, was rejected by her husband and ousted from her village.

Despite this treatment, Salima still longs for her home and her kin, and how they will come crushing into Mama's is another surprise held in Nottage's play, which, on man levels, is a riff on Bertolt Brecht's Mother Courage and Her Children. Like this woman who made her living off of the misery and need caused by the Thirty Years War, Mama has no qualms with selling her wares or her employees to whomever crosses the threshold of her establishment. Mama has a few rules for her place: there's no fighting and all ammunition needs to be checked at the door. Like Brecht's heroine, Mama, too, has a soft side and though she professes to being completely focused on the bottom line, she makes concessions throughout the play, often on Sophie's behalf.

There area host of other parallels that theatergoers will see between the two plays, as certain characters in Nottage's bring to mind its German forebear. There are also structural similarities. The songs comment on the action rather than furthering it, and like Brecht's play, Ruined can tend to meander as power bases shift in the world just outside Mama's establishment. Christian, who intimates he is a recovering alcoholic each time he asks for an icy orange Fanta, finds himself once again battling the bottle (a struggle marvelously delivered by Jones). The women all find themselves let down by their faith in Harari.

Ultimately, director Whoriskey ensures that the production retains a captivating tautness. Even details that might confuse audience members are delivered with well-considered clarity. For instance, costume designer Paul Tazewell indicates the different allegiances of the soldiers who come into Mama's establishment with a consistent color-scheme. All of the men wear fatigues of one sort or another, but when the drab greens are accented with orange caps or scarves, theatergoers know the rebels fighting against the government have taken to the stage.

Ekulona, who's rapidly distinguishing herself in a wide variety of roles at theaters around the city, makes for a commanding and fascinatingly mercurial Mama. When Ekulona smiles, it does indeed seem to light up the stage, and those around Mama know all is well. However, when Mama's crossed or feels her back against the wall, Ekulona's performance takes on a powerful fierceness. It's small wonder that rebel leader Jerome Kisembe (Chris Chalk) and government-appointed Commander Osembenga (a riveting turn from Kevin Mambo) back down when confronted by this woman.

In between these two extremes, or more accurately at the root of them, is the simultaneously fearful and compassionate woman who finds herself cobbling together a living in a world that would seem to be repeatedly torn to bits by forces well outside her control. Ekulona's ability to convey this fragility, often in tandem with other traits, makes the performance one that's not only consistently moving, but also a somewhat mesmerizing force of nature.

It's a galvanizing performance at the center of a compelling drama that haunts well after its final climactic, and yes, surprising moments.

---- Andy Propst

Ruinedplays at New York City Center – Stage 1 (131 West 55th Street). Performance schedule varies. Tickets are $75.00 and for ticketing and complete schedule information visit www.nycitycneter.org or call 212-581-1212. Further information is also available online at www.ManhattanTheatreClub.com