When actor Alephonsian Awer Deng steps to the edge of the stage and describes the death of his father in war-torn Sudan in the play "Since Africa," tears fill his far-off eyes and his body shakes ever so slightly with restrained grief.

It's a powerful moment made even more poignant with the knowledge that Deng has lived the life of the character he plays in Mia McCullough's drama, now in its West Coast premiere with Mo'olelo Performing Arts Company at Diversionary Theatre in San Diego.

"Since Africa" is the story of a refugee named Ater, one of the so-called "Lost Boys of Sudan," who is struggling to assimilate into the culture of his adopted homeland, the United States. In the late 1980s, attacks by Muslim raiders led tens of thousands of Sudanese (many of them young boys) to flee their villages and walk hundreds of miles -- with no adult supervision, food, water or protection from wild animals or bandits -- to refugee camps in neighboring countries. Many died but those who survived, like Deng himself (who walked alone across the Sudan at the age of 7) and the fictional Ater in "Since Africa," had harrowing stories to tell.

Deng's journey, along with that of his brother and cousin, is recounted in the autobiographical book "They Poured Fire on Us From the Sky: The True Story of Three Lost Boys of Sudan." McCullough's 2003 play predates the book (which was co-authored by San Diego writer Judy A. Bernstein), but other stories about the "Lost Boys" led McCullough to write "Since Africa," and in the San Diego production that opened last weekend, Deng makes his stage debut in the role of Ater.

As an actor, Deng has a graceful dignity, gentleness and noble sadness -- born from his own suffering as a child -- inform the play in a way no other actor could.

Directed by Seema Sueko, artistic director of 3-year-old Mo'olelo, "Since Africa" is a rich, multilayered treasure-box of a play. Through its four characters -- Ater and the three well-meaning but equally lost Chicagoans who try to ease his transition to the States -- "Since Africa" covers a wealth of issues, including the search for belonging; the value of traditions and ritual; and the meaning of home and family. And it does it with humor and heart.

"Since Africa" is set in present-day Chicago, where the 21-year-old Ater has just arrived from Africa. Diane, an uptight and sheltered CEO's wife, newly widowed by her husband's sudden heart attack death while they were on a safari in Africa, has volunteered to mentor Ater, though she's nearly as helpless as he is. Fascinated by African culture and in dire need of purpose, Diane makes Ater her project, teaching him how to cook food that won't upset his stomach, marching him through art museums, buying him clothes and teaching him to drive (something she herself avoids).

Looking on with annoyed bemusement is Diane's acid-tongued daughter, Eve, and Reggie, a black minister who bristles at Diane's casual prejudice and her disdain for Christianity and the missionary movement in Africa.

Each character in "Since Africa" is searching for identity. Ater flounders in the gang- and crime-ridden city, feels no kinship with the African-Americans he meets in the U.S., and longs for the simple, honest life back home. Diane is emotionally adrift in her grief and looking for a new direction and career. Eve is breaking free of her comfortable childhood to forge a new life for herself. And Reggie is wrestling with questions about his own African heritage and his place in black America.

What makes the play interesting is how these characters' quests frequently connect in clashes of misunderstanding, ignorance and prejudice. "Since Africa" feels long, at two hours, 45 minutes, and a late scene where Diane and Reggie find a surprising bond stretches credibility, but the play is a well-written and often funny examination of weighty issues.

Deng's presence brings an unprecedented authenticity to the role of Ater. His own childhood experience, as recounted in "They Poured Fire on Us From the Sky," was even more horrific than that of the character he plays, so the pain, tears and longing he expresses in the play feel real. Rosina Reynolds plays Diane with an aloof tension. Wealthy and judgmental, but lonely and cold-natured, she's desperate to "feel the edges" in her life and make a human connection.

Mark Christopher Lawrence is charismatic and natural in the role of Reggie, and as Eve, Erika Beth Phillips walks the thin line between bitter resentment toward her mother and warm, sisterly compassion for Ater.

"Since Africa" is about the fragile bridge between African and American cultures, so Nyeda Lane, as the Statue, serves as a spiritual connection between both worlds. She opens the play with vivid African dancing choreographed by Suzanne Forbes Vierling and then haunts each scene as a silent observer, facilitator and a keeper of memories.

The set, a mix of African and American locales, was designed by Nick Fouch. Jeannie Galioto designed the costumes, Kim Palma created the lighting and Paul Peterson designed the sign.

Deng's book is available for sale in the Diversionary lobby during intermission and post-show discussions with the actors and creative time will be presented Friday, Saturday and Wednesday. If you're like me, you'll be fascinated by the story of the "Lost Boys of Sudan," and you'll devour Deng's book. Proceeds from book sales will be split between Deng and Mo'olelo.

Because all performances sold out before "Since Africa" even opened, Mo'olelo has added an extra performance on Oct. 26. Walk-ups are welcome to fill no-show seats at sold-out shows.