Writer: Wole Soyinka
Director: Mojisola Kareem
Death and the King’s Horseman is based on true events that happened in Nigeria in 1946. According to the Yoruba traditions and rituals, when a king dies, thirty days later his horseman must take his own life and lead the king into the after-life.
Wole Soyinka wrote the play in the early seventies. He has gone on to be awarded the 1986 Nobel Prize for Literature. He has set the play in the early forties during the time of the Second World War and colonial rule. He explores the themes of duty and responsibility. He juxtaposes the cultural attitudes of Elesin Oba, the King’s Horseman, with Simon Pilkings, the British colonial officer. Elesin is adhering to his duty and destiny to follow his king in death. Elesin finds his duty difficult as he is beguiled by earthly pleasure. Opposed to this, Pilkings, who has a complete disregard for Yoruba culture, intervenes to prevent Elesin from taking his own life.
The two-act play opens in a market place in Oyo. It is presided over by Iyaloja (Kehinde Bankole) the Mother of the Market. It is the day that Elesin (Wale Ojo) must do his duty and the Praise Singer (Theo Ogundipe) implores Elesin not to forget his responsibilities. Among the singing and dancing at the market, Elesin spies a young girl that he wishes to marry before his departure from the world. The marriage takes place and after his earthly pleasures, Elesin is set to die. Wale Ojo’s performance is outstanding, as you witness his mental torment and the spirits taking over his body.
In stark contrast, we see Simon Pilkings and his wife Jane, at a polite fancy dress reception for a visiting British prince. Pilkings is irritated to be interrupted to comply with his duty to keep peace in the region and sends his police force to arrest Elesin. This action enrages the women of the market place. This creates a delightful comedic interlude.
When Elesin’s eldest son Olunde (Michael Ahomka-Lindsay) hears of the King’s death he immediately returns from his studies in England to assist his father. Olunde is outraged when he learns that his father is to be prevented from performing his honourable duties as the Kings Horseman. While In prison Elesin is harangued by Iyaloja because he delayed giving his life in favour of enjoying his new bride.
In co-production with Sheffield Theatres, the director, Mojisola Kareem of Utopia Theatre has created powerful, traditional African theatre, rich in Yoruba traditions and spiritualty. The play highlights music, dance, song and drama. The script is colourful with abundant Yoruba proverbs and maxims.
It can be a little difficult at times to follow the story line but this does not distract from the power of the play and the rich spectacle. There are numerous terms in the play that will not be familiar to an audience not immersed in Yoruba culture. The colourful costumes sourced directly from Yoruba artistry adds to a truly enthralling experience.
The two drummers and calabash player accompany the action, along with passionate, harmonious and evocative singing. It transports you to that time in Oyo, Nigeria.
Utopia Theatre, is an Arts Council England, National Portfolio Organisation. Its focuses on sharing compelling stories of the African diaspora and has for this production provided casting opportunities for ten non-professional cast members from South Yorkshire.
There are compelling performances throughout with special mention for Kehinde Bankole her demeanour on stage and haranguing of Elesin were mesmerising. Theo Ogundipe‘s performance as the Praise Singer was both riveting and explosive as he arrives on stage from the back of the theatre. The set and lighting all help in creating the atmosphere.
The audience was captivated and the play received a justly awarded standing ovation. It is a play with a refreshing difference and a strong message of a shameful act of colonialism.
Runs until 8 February 2025
The Reviews Hub Score
Captivating
