Crucible Theatre, Sheffield – until Saturday 8 February 2025
Reviewed by Carol Crann
4****
I was not really sure what to expect from this play – written by Wole Soyinka – as it is not one I am at all familiar with. On doing some research I discovered that its origins are based on true events in Nigeria, and that it is set during World War II. It is based on a Yoruba tradition that, on the death of the King, his horseman should commit ritual suicide so that they’re able to lead the King and his horse and dog into the afterlife. It was believed that if this didn’t happen, not only would the king be left wandering the earth, but that the community would be thrown into the abyss.
It opens with a vibrant market scene where we are introduced to Elesin Oja, played passionately and with real depth of character, by Wale Ojo, as well as the market ladies who clearly have some say in how the ritual will play out. This part of the performance shows a real mix of humour and tragedy as we see Elesin in pursuit of a younger wife, despite the fact that he’s already married, and that the young lady he has chosen has already been betrothed to the son of Iyaloja (Kehinde Bankole) – The “Mother of the Market”.
The atmosphere of the setting is captured powerfully, not only through speech but also by using poetry, music and dance as well as many traditional proverbs. You could appreciate the drama of the situation, and how the tale develops in the first act, even without in-depth context of the situation and traditions, and it was interesting to note the lack of understanding between the white colonials and the Yoruba people.
The situation escalates as the local British colonial Officer in charge, played by David Partridge, and his wife Jane Pilkings (Laura Pyper) decide to put a stop to this ‘barbaric’ ritual and lock up Elesin in order to prevent it. Most of the second act takes place on colonial premises, and as such feels much less genuine than the previous scenes. It felt very shallow and void of real emotion and passion, despite the protagonists shouting at each other across the stage. An extra element is added with the return of Elesin’s son, Olunde (Michael Ahomka-Lindsay), who had gone to England to study to become a doctor and only returned as he expected to have to perform the final rights on his father.
One of the standout performances, for me, was that of the Praise Singer – played by Theo Ogundipe – who managed to accurately portray someone in a trance-like state using song and outstanding choreography.
The show was received well by the audience, with many rising at the end for a standing ovation, and though I did enjoy the performance, it’s probably worth noting that some of the important nuances in the tale can be lost if your ear isn’t used to some of the accents – and that for me, was a real shame as I believe it detracted from the overall experience.