Writer: Samuel Yakura
Director: Katie O’Halloran
It’s always nice to experience a space in the round, and the Cube in Project Arts takes that form for Samuel Yakura’s sophomore Dublin Fringe production; SOAK: The Perfect Man. The atmosphere is already waiting for you, with Osazee Aiguokhian and Michael Atunwa quietly playing away in the centre of the room, the soft drums and keyboards filling the dark and smoky space, the shiny floor reflecting the lights overhead, and those already seated letting their heads bop and sway to the beat. Chisom Princess George is also already in attendance before the show starts, waiting patiently in a chair by the stage, primed to start speaking and singing when Yakura himself enters the room, in traditional Nigerian garments, stately and holding a staff.
This feeling of ceremony and almost grandeur provides such a strong start for the production and is almost immediately offset with a comedic tumble to reality. With the ringing of a mobile phone, Yakura dashes to shake off this costume to display a different one, a western formal outfit. He fumbles to get the tie around his neck before he answers the call, expecting his father on the other end of the line. What follows is 75 minutes of posturing, questioning, grieving, and growing; a journey for Yakura as he comes to terms with his own experience of being a man, of being a first-born son, of being his father’s son, of being himself. George plays a number of roles throughout the performance: Yakura’s sister, his mother, his first crush, his therapist. There is a natural rhythm between them; they feel close and comfortable in their familial bonds but take on a believable combative rapport when the roles become patient and doctor – it’s a good pairing. Aiguokhian and Atunwa provide excellent accompaniment for all musical numbers.
And there are several songs throughout: if Yakura’s first Fringe show was a poetry play, then this strays fully into the realm of a musical, with themes introduced in Yakura’s monologues, or the conversations between himself and George, being further explored in the songs that follow them. Unfortunately, there are some issues with sound in this production, and since the accompaniment often seems to come through louder than the lyrics, it can be hard to fully understand what’s being beautifully sung by Yakura and George, with some meaning being lost as a result. Similarly, though the staging in the round works very well with Lila Coleman’s stage management and Pai Rathaya’s set, the lighting can be a bit blinding from some seats in the audience, which also detracts from the overall experience.
Yakura is exploring deeply interesting topics in this piece and does so with a light touch and a defined sense of humour. His examination of his own concepts and beliefs regarding masculinity and what it means to be a man are fresh and accessible and very worthy of the stage time that he’s giving them. It’s unfortunate that some of the words are lost in the delivery, but audiences can certainly expect an energetic and interactive performance, full of pathos, playfulness, and panache.
Runs Until Sept 12th 2026.
