Lead Photo: Wale Ojo and members of the company of Death and the King’s Horseman. Photo by Anthony Robling.
The technical aspects added so much, and the acting was so powerful and well done. It was a really splendid production that brought to life so many interesting questions and ideas about this emotional and highly charged topic with astounding grace and tenderness
“…a powerful production…”
By Ronke Lawal
SET in Colonial Nigeria in the late 1940’s and based on the true story of Elesin Oba, the King’s horseman, is tasked with carrying out a sacred ritual upon the death of The Alaafin of Oyo, The King, however Elesin Oba is overtaken by the allure of earthly desires and temptation which distract him from his purpose and the mission bestowed him. By falling into clutches of those desires he unleashes a chain of events which will forever tarnish his legacy and disrupts the path made clear by his duty.
Wole Soyinka’s Death and The King’s Horseman is part of global theatre history and so for Utopia Theatre and Sheffield Theatres to bring it to life at The Crucible is momentous. Its impact on the world stage as an example of African theatrical arts is not only significant but also compelling.
For it brings forth the beauty of traditional Yoruba performance and spirituality in the midst of the ugliness of colonialism and its need to erase, silence and undermine; something that many children of the former colonised communities still experience today in the land of the former coloniser. We are presented with the truth of what was and given space to imagine the possibilities of what could be and that in and of itself is a fundamental part of storytelling through theatre, something that this does so well.
The performances of the leads were undeniably impressive; Kehinde Bankole (Iyaloja) and Wale Ojo (Elesin Oba) were as to be expected – exceptional. Their very presence on the stage was captivating and all consuming. The entire cast was a joy to behold, if I could list everyone’s names here I would particularly the ensemble whose singing was spectacular. To hear songs in Yoruba performed with such vigour and passion was moving and spiritually nourishing.
David Partridge and Laura Pypers as the quintessentially English Pilkings brought the essence of that colonial time to life so well. There was a standout star who caught me by surprise, Michael Ahomka-Lindsay (Olunde) whose performance commanded one’s attention in a way that cannot be overstated – a star with a bright future.
Through Mojisola Kareem‘s direction and vision this production of Death and The King’s Horseman is a deeply moving one tackling themes of death, heritage, legacy and tradition. It is so important that stories like this continue to be revisited and reimagined not only for wider audiences but for myself (and I am sure others like me) born on the land of those who once colonised my people, split between the complexities of identity, duty and belonging.
Perhaps Olunde serves as a symbol of those like me, thriving in this land and yet never truly belonging and always holding onto the understanding that despite it all we are the keepers of our foremothers and forefathers’ legacies.
A truly important and powerful production.
- https://www.afridiziak.com/reviews/death-and-the-kings-horseman-by-wole-soyinka-review/
******
…A long play that doesn’t feel it…
Though dealing with death, and its meaning, there are moments of humour. When a crowd of women deal with the local police there are many laughs. Some are at the expense of European culture, and some at the local police themselves. Humour is scattered throughout the scenes
By Phil Scown
THEplay is set in the Oyo state of Nigeria, at some point in World War II. The whole country is part of the British Empire at that point. It is a colony, and both colonised and colonisers feature in the play. Culture is at the heart of the play and here I feel I must state that my cultural heritage is white British. The story depicts real events, though these have been slightly time-shifted by the author to help the storytelling.
At the death of the Aruba King, the Alaafin of Oyo, there are certain rituals that must be observed if the state is to thrive. The King’s hound and his horse must follow him to the other side, as must the King’s Horseman. The Horseman is expected to die, by his own will, a month after the King’s death. This ritual is the context for the story, though it is not what the play is about.
Act one sets up the ritual death. It allows us to see the bigger cultural picture, of which the death of the Horseman is an important detail, but not the whole. Act two exposes the reality of colonial control. The English, Europeans, control life at all levels, yet have no understanding of any of the Yoruba culture, values, and rituals that underpin this. This European ignorance results in a number of mistakes and cultural clashes, and forms one of the key threads of the play. Differing attitudes to death and its meaning are explored. The European claims to venerate life are exposed as hypocrisy by the actions of sending young men off to die in their thousands in the war.
The societal roles of women are also examined. There are elements of misogyny in both Yoruba and European culture, where women can be treated as chattels. However, another role is also examined, where women have collective and individual soft power, power to sway decisions. Women have their powers and their obligations, like The King’s Horseman, and Simon Pilkings, the Colonial Administrator.
The white colonialists are largely represented by the Pilkings: Simon, the senior officer in charge, and his wife Jane. They are exemplars of cultural insensitivity. This is not because they are bad people – they are capable of significant acts of philanthropy – however, they have no understanding of local culture, believing it to be inherently inferior to that of the Europeans. The war is used to show this as wrong. The Pilkings will never ‘get it’; it is who they are.
The first stand-out role is the eponymous King’s Horseman, Elesin Oba (played by Wale Ojo). The role demands humour, drama, anger, which Ojo carries off perfectly. Iyaloja (Kehinde Bankole) is the leading wife/mother to the Yoruba community. She exudes power, providing balance to male mismanagement. Simon Pilkings (David Partridge) could have been played as a caricature, however, there is humanity. He is hidebound by his colonial role and by his belief in the superiority of The Empire but his mistakes are the result of misunderstanding, not malice. Olunde (Michael Ahomka-Lindsay) is a cultural bridge. Pilkings has sent him to England to train as a doctor. This has not given Olunde a European outlook, to the contrary, he has seen the effects of war on young men. Despite his university education he still knows the significance of Yoruba ritual. Ahomka-Lindsay plays the role with clarity, exposing the shortcomings of English cultural norms. The ensemble adds considerably to the atmosphere of the play through song and dance, and their execution of supporting roles.
There is frequent music and song, though this does not make it a musical. The music is there because it should be, not because of surreal demands that the cast should burst into song. The Yoruba music is more natural, life affirming, than the music that plays at the Ball of the European Club. The concluding songs were much appreciated by this audience, some even singing along to the closing numbers.
Though dealing with death, and its meaning, there are moments of humour. When a crowd of women deal with the local police there are many laughs. Some are at the expense of European culture, and some at the local police themselves. Humour is scattered throughout the scenes.
On the technicalities of the play, the sound was generally good, though there were a couple of glitches on a microphone. Though this momentarily interrupted the suspension of disbelief, there was no material effect on the understanding of dialogue. Lighting was used to good effect, particularly in defining space on stage. One surprise omission from the credits is the Costume Department. The Yoruba costumes were bright, and exuded quality throughout.
Recommended for a good night. This is a long play that doesn’t feel it – that’s always a good sign. It is a powerful production.
Phil Scown has been a regular theatre-goer since his student days many years ago. Mysteries, thrillers, ghost stories, comedies and musicals are all part of his theatre diet. Phil writes short stories in a variety of genres, some of which have become screenplays. He likes to tour England, Scotland and France, nowadays by car rather than motorcycle. At other times Phil likes to cook and to drive his Caterham, though generally not at the same time.
*https://northernartsreview.co.uk/central-north/review-death-and-the-kings-horseman-at-crucible-theatre/
*******
“Strikingly powerful”
All told, a memorable if occasionally uneven production, lacking nuance in the colonial scenes, but full of mesmerising passion and drama elsewhere
By Clare Jenkins,
WOLE Soyinka – the first African writer to win the Nobel Prize for Literature – wrote Death and the King’s Horseman in the early 1970s, not long after the end of the civil war in his native Nigeria and less than two decades after independence from British rule.
Yet, despite its story of a sacred Yoruba ritual being destroyed by white colonialists, the playwright has insisted it’s not about a ‘clash of cultures’. And although it might sometimes seem that way in this Utopia Theatre/Sheffield Theatres co-production, with the white characters shown as arrogant, disrespectful and sometimes downright racist, it’s instructive to take a step back and see ourselves as others might see us. Just like other cultures have had to do with some Western literature.
Much in the play is Shakespearean in both its tragedy and its earthy humour. Based on a true story from the Nigerian Yoruba tribe, it tells of a king’s horseman who, after the death of his master, is honour-bound to follow him into the next world. The trouble with horseman Elesin (a magnetic performance by Wale Ojo) is that he is torn between his earthly desires and his religious and cultural beliefs. When he should be preparing for his ritual suicide, he prefers to dally in the teeming marketplace, bantering with the women stallholders. And when he spots a beautiful young woman, he determines to spend his last night with her. So he teeters, perilously, at “the gateway to the great change”, the door to the afterlife.
David Partridge and Kehinde Bankole in Death and the King’s Horseman
“Exuberance”
It is this weakness, together with colonial intervention, that creates the tragedy that follows. Elesin’s eldest son Olunde (Michael Ahomka-Lindsay) returns from Britain, where he was sent to be educated by Jane Pilkings (Laura Pyper), wife of district officer Simon (David Partridge). His duty now is to bury his father and inherit his mantle, a task aborted by Elesin’s arrest by Simon, and his subsequent imprisonment. The result is potentially catastrophic for the Yoruba people.
The cultural divide is powerfully demonstrated under Mojisola Kareem’s direction through the exuberance of the marketplace scenes, with their colourful costumes, hypnotic music, impromptu singing and lyrical language. They’re in stark contrast to the skirts, shorts and knee-high socks of the pallid Pilkings (the “ghostly ones”), their stiff, formal dancing at the colonial ball and their clipped speech. “Christ! Why must your people forever speak in riddles?” snaps Simon to Iyaloja, the market matriarch. As Olunde tells Jane, “You have no respect for what you do not understand.”
There are times when the contrast is too stark, as when Jane (“How thrilling!”) debates the pros and cons of colonial power first with the arrogant Simon (who dismisses the people as “pagans” and their beliefs as “mumbo-jumbo”), then with Olunde. In both scenes, the actors are reduced to shouting at each other across the large, bare stage, and roaming restlessly around like horses in a training circle.
“Strikingly powerful”
The market scenes, on the other hand, show the whole cast embracing an unfettered physicality. Kehinde Bankole is a strikingly powerful Iyaloja, showing fiercesome strength and wit. The women generally are a force to be reckoned with, mercilessly taunting both Elesin and Sergeant Amusa (Olusegun Lafup Ogundipe), as well as mocking the English: “What’s your handicap old chap? Is there racing, by golly? Splendid golf course…”
As Elisen’s virgin bride, Bridget Nkem, wordlessly demonstrates fear, shame at her very public deflowering, and ultimate grief. Theo Ogundipe gives an equally powerful performance as the Praise Singer, whipping himself up into a trance, accompanied by the sounds of thunder and drumming.
All told, a memorable if occasionally uneven production, lacking nuance in the colonial scenes, but full of mesmerising passion and drama elsewhere.
Death and the King’s Horseman – Review – Sheffield Crucible Theatre
*******
Compelling revival of a dense and satisfying drama
It’s a demanding work, but from the opening bustle of a Nigerian market to the devastating conclusion of Elesin’s story, it compels. Its themes will keep you thinking for days, if not weeks, afterwards
DESPITE being a much revered piece of work, Wole Soyinka’s drama has only been staged a handful of times in the UK – most recently by Rufus Norris at the National Theatre in 2009 – and it’s easy to see why. It’s a dense play that demands a lot of its audience, and tackles issues such as duty and responsibility, the importance of rituals and the impact of colonialism.
There is a rare power to the piece, which Sheffield and Utopia Theatres successfully harness here. Soyinka’s tale is based on a real incident that happened in colonial-era Nigeria: a Yoruba king has died, and as per tradition, his chief horseman, Elesin, has to commit ritual suicide in order to help his master reach the afterlife. When the colonial administrator (Simon Pilkings), hears of this, he intervenes – a decision that has spiralling, tragic consequences.
The first half feels almost celebratory – director Mojisola Kareem stages some beautiful scenes of Nigerian singing and dancing (featuring a 12-strong community ensemble) and Wale Ojo gives a mighty performance as Elesin. He’s full of charisma and charm as he chooses a bride for his final night, dancing across Kevin Jenkins’ sand-strewn set. But the constantly pounding drums soon take on a more eerie quality.
The party atmosphere in the village is nicely contrasted with the stuffiness of Pilkings’ residence. David Partridge is excellent at portraying the supercilious and patronising British officer, with Laura Pyper equally good as his naive wife, Jane. There’s a wonderful scene in the second half, in which Jane talks to Elesin’s son Olunde – a conversation that covers ancient traditions, racism, colonialism and family pride, all in about 10 minutes. It’s a beautifully played scene between Pyper and Michael Ahomka-Lindsay (who makes a real impact in the single scene in which he appears).
We’re swept along by the spectacle of the first half, yet it’s after the interval that Soyinka’s play becomes utterly absorbing. It forces the audience to confront challenging ideas and, despite its complexity, Kareem and her company present it in a very accessible way. The way in which Soyinka expertly switches dialogue between his African characters and their English counterparts is beautifully done.
It’s a demanding work, but from the opening bustle of a Nigerian market to the devastating conclusion of Elesin’s story, it compels. Its themes will keep you thinking for days, if not weeks, afterwards.
*****
…A vivid play is let down
It seems small-minded, ironic even, to complain about struggling with the thick accents used in a play about white colonialists not listening properly — and I understand the desire to privilege authenticity for some in the audience over full comprehension for all
THIS is exciting programming: a rare chance to see the Nobel prizewinning Nigerian writer Wole Soyinka’s 1975 play on the Sheffield Crucible’s main stage, in a co-production with Utopia Theatre. It’s based on a true story from 1940s Nigeria: after the death of a Yoruba king, his horseman, Elesin, must commit ritual suicide to guide the king into the afterlife. Elesin, however, has his head turned by a young woman and insists on marriage and one last afternoon of pleasure. Pilkings, a British colonial officer, gets wind of Elesin’s planned sacrifice and attempts to prevent it — but when Elesin’s son Olunde, now a doctor in England, returns home, the situation travels inexorably towards tragedy.
It’s a rich, complex and pretty heavy-going play about the lure and terror of ritual and death, resonant with Yoruba proverbs and poetic fables (“The sap of the plantain never dries,” Elesin says to justify his lust). It also seems to contain big, ambivalent questions around honour and duty towards community versus individual desire, the upholding of traditions versus questioning them and the dangers of cultures not listening to one another. “You must know by now there are things you can’t understand,” Olunde says to Pilkings, criticising his interfering, superior mindset.
Unfortunately, Mojisola Kareem’s production is often difficult to hear and follow. It seems small-minded, ironic even, to complain about struggling with the thick accents used in a play about white colonialists not listening properly — and I understand the desire to privilege authenticity for some in the audience over full comprehension for all. But Soyinka surely wanted the richness of his language to be heard and the nuances of his characters’ struggles to be felt. To fail to tell the story, on this fundamental level, is a failure to serve the play.
It’s a shame because elsewhere there’s a vividness and real potency to Kareem’s staging: a community chorus brings lively bustle and the singing, drumming and dancing is joyful and intensely atmospheric and transporting. As Iyaloja, Kehinde Bankole has a particularly stunning voice, bringing the hairs on your arms to attention. The colonial Brits can be played too close to comic caricature, although David Partridge’s blustering exasperation shades convincingly towards despair. Wale Ojo gives a captivatingly physical performance as Elesin — beginning with a lascivious glint in his eye, but later racked, his body twitching and writhing. But the words matter too. I’d recommend going to the captioned performance for this one.
…The ensemble was exemplary… but promo poster a let-down
The technical aspects added so much, and the acting was so powerful and well done. It was a really splendid production that brought to life so many interesting questions and ideas about this emotional and highly charged topic with astounding grace and tenderness.
DEATH and the King’s Horseman, written by Wole Soyinka and directed in this production by Mojisola Kareem, is adapted from the true story of a Nigerian man prevented from committing ritual suicide by the colonial authorities, as suicide was seen as an illegal act. This incredibly moving play explores the differences and parallels between Yoruba and British culture, and the violence of the British colonial regime in Nigeria. It was marvellously staged, with incredible acting and design choices that brought a huge amount of life to both characters and ideas.
The stage in the Crucible is a thrust stage, and designer Kevin Jenkins had chosen to cover it in a light layer of sand, with a red flooring that swept up to the ceiling at the back. This expertly communicated the idea of an outside space in a hot country, that was then altered with props and other set pieces to create the different scene locations. I liked how the set interacted with the costumes as well, making the Yoruba marketplace scene feel totally at home, whereas the British ball was starkly at odds with the sandy floor. It effectively communicated how this place was not for the British characters, and they were attempting to own something that was never meant to be theirs.
The costumes were all stunning, and it seemed as though a lot of thought had gone into them, especially the different outfits we saw Elesin, the King’s Horseman in. They narrated first his power and high esteem within the community, and then as he was preparing for death and then imprisoned, he was stripped of his richly toned agbada and was shirtless, showing the vulnerability he had under the rule of the colonial authorities.
Furthermore, the contrast between the clothing of the Yoruba community and the colonial guards and officials was powerful in highlighting the differences in culture. The Pilkins, the main British couple who were in control of the authorities, wore white shirts and shorts, with enormous sunhats. Their outfits looked uncomfortable and stuffy next to the flowing robes that Elesin, Ilayoja and the other Yoruba characters wore.
The sound was great and really helped to convey the atmosphere of the performance. Recordings of traditional Yoruba singing were blended with onstage performers singing compositions by Kayefi Osha to create a really beautiful setting. The lighting was well designed too, especially the prison in the second act which was portrayed through the shadows of bars on the floor.
Soyinka’s script is a stunning achievement, and it is perfectly acted by the cast of this production. Wale Ojo as Elesin Oba, the King’s horseman and de facto protagonist, had incredible energy onstage, always dancing and moving with enormous power. Michael Ahomka-Lindsay as Elesin’s son Olunde, previously off at medical school in London, played the character with perfect poise: the conflicted son of a culture so different from what he has experienced the last few years in 1940s London. Even his accent – received pronunciation British sometimes slipping into the Yoruba accent of his father – highlighted this combination of cultures.
Ahomka-Lindsay and Laura Pyper as Mrs Pilkins performed by far my favourite scene of the play: when Olunde returns to mourn his father, he ends up in the Pilkins’ house and discusses with Jane Pilkins the ethical and cultural perspectives of ritual suicide. Olende suggests it is no different from the young men across Britain signing up for world war II, in which they know the likelihood of their death is extremely high, but they are motivated, just like Elesin, by a higher purpose. It was incredibly thought-provoking and the performances from both actors were at their best.
Julius Obende and Olosegun Lafup Ogundipe were both great as the smaller roles of Joseph, a servant, and Sergeant Amusa respectively, with both of them bringing a huge amount of personality and likeability to their characters.
The ensemble too was good, especially when they sang, though there were a few moments where they blocked the action or important plot points due to staging. Additionally, they didn’t always match the energy of the main characters. However I did enjoy their physicality and during the last scene they added so much to the atmosphere. Kareem as director did an amazing job with such a large cast, and although there were a few issues with blocking parts of the stage, overall it was superbly done. Scenes with just a few people onstage still felt so dynamic and interesting to watch in her hands, and she brought out the best in all of the actors.
The only thing I felt truly critical of was the poster and publicity design for this play. An AI-generated image of a man in traditional Yoruba robes holding a handful of apples was used as the poster for this show, which was quite disappointing. In a production that was so expertly designed, it feels a shame to cheapen its representation outside of the theatre with an image that was so badly created: it only takes one look to see that the agbada the man is wearing doesn’t really make visual sense and the ropes of beads around his neck smear into the clothing underneath. This lowered my expectations going in as I assumed that a production that seemed to care this little about presentation, perhaps wouldn’t be the highest quality. I was pleasantly surprised upon actually seeing it, which was lovely! I just question why that creative choice was made considering the high standard of design in the actual performance.
The poster did not impact my final view of the show though, and I still believe it was an amazing piece of theatre. The technical aspects added so much, and the acting was so powerful and well done. It was a really splendid production that brought to life so many interesting questions and ideas about this emotional and highly charged topic with astounding grace and tenderness.
Rating: ★★★★★
*******
…A strong message of a shameful act of colonialism
Reviewer: Sheila Stratford
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
DEATH and the King’s Horseman is based on true events that happened in Nigeria in 1946. According to the Yorubatraditions 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 marketplace 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 marketplace. 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 King’s 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 spirituality. 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 add 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.
https://www.thereviewshub.com/death-and-the-kings-horseman-crucible-theatre-sheffield/
*****
…Show received well by the audience
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
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.
https://fairypoweredproductions.com/death-and-the-kings-horseman/
*******
…A colourful and lively spectacle
Directed by Mojisola Kareem, who coincidently is the Artistic Director of the Utopia theatre company, the creative team have much to be proud of as together they have created a highly thought-provoking resonant theatrical experience showcasing music and dance deeply rooted in the culture and spirituality of the Yoruba people.
WRITTEN in 1973 by Wole Soyinka, a Nigerian political activist, and first staged a couple of years later, Death And The King’s Horseman explores what appears at first sight to be a clash of cultures between long established Yoruba and European traditions.
Soyinka himself seems to represent a fusion of opposites as he grew up in Nigeria immersed in traditional Yoruba customs including multiple gods yet his parents were ardent Christian converts. The two main themes of the play are those of personal duty versus responsibility and to me, thought provoking insights into long established colonial perspectives.
The play is set during the time of the Second World War and is based upon events that took place in the ancient Yoruba city of Oyo in 1946. According to ancient tradition servants were required to commit a ritual suicide thirty days after their Master’s death in order to accompany him into the next world. However, Elesin (our hero in the title) by chance meets a beautiful woman and also has to battle a local British officer, determined to eliminate such cruel customs and avoid any civic unrest during a royal visit. Further, his eldest son, studying medicine in London makes a surprise visit home. The stage is thus set for the action to unfold.
The large cast is led by Wale Ojo who plays the role of Elesin Oba, the King’s Horseman and Kehinde Bankole (Iyaloja, the Mother of the market) both of whom are well established stage actors. Together they lead a cast of both professional and local non-professional actors taken from the Utopia theatre, a charitable and leading African Theatre company based in Sheffield.
The first act opens in the colourful and lively market place where the main characters ‘set out theirs stalls’ literally and metaphorically. The depiction is true to an African market being both lively and colourful. It is not until we reach Act 2 that the British ‘ruling’ characters emerge who are portrayed almost as caricatures. This especially true of the District Officer Simon Pilkings (David Partridge) and his wife Jane (Laura Pyper). The opening scenes of Act Two depicting a masked ball in honour of a royal visit highlights the blatant absurdity of two very differing cultures juxtaposed with each having little or no understanding of their differences or perspectives. A point further emphasised by the Pilkings choice of costume for the event.
Directed by Mojisola Kareem, who coincidently is the Artistic Director of the Utopia theatre company, the creative team have much to be proud of as together they have created a highly thought-provoking resonant theatrical experience showcasing music and dance deeply rooted in the culture and spirituality of the Yoruba people.
If you would enjoy a colourful and lively spectacle coupled with some serious issues to challenge your grey matter, then this is certainly a play that you should make an effort to go and see.
https://yorkshiretimes.co.uk/article/Death-Of-The-Kings-Horseman
******
“…No one will be left unchanged by the events…”
The production explores the following themes, either implied in the text or seen on stage (noted as visually represented): Death (visually represented), Ritual Suicide, Suicide, strangulation by chains (visually represented), Blood, Sexism and Misogyny (visually represented) and Racism (within the text and visually represented
WOLE Soyinka’s play based on true events of events that took place in 1946 is a powerful and exciting piece of theatre. Utopia Theatre’s production directed by Mojisola Kareem feels vibrant with the help of Kevin Jenkins’ sumptuous set and costume design aiding the cast in bringing this story to the stage in a sympathetic and challenging way.
Death and the King’s Horseman has at its heart the themes of how important culture and tradition were to indigenous tribes during the time of British Colonialism in Nigeria, and how it is impossible to escape your destiny no matter how hard someone tries. It also reminds us that just because we do not understand an opposing culture, that does not mean that this culture is lesser or that our culture is immediately superior
The play opens in the village of Oyo where the Alaafin (King) has died, and Elesin Oba must die by ritual suicide to follow The Alaafin to the afterlife, as his final role as his Horseman. Wale Ojo is phenomenal as Elesin Oba, and you feel that you are a key observer during his journey to fulfil his destiny. Even in the more challenging parts of the play, especially during the scenes where he chooses a new bride, you can feel Elesin’s heart throughout.
Kehinde Bankole as Iyaloha is a standout performance, she is strong and powerful yet always remaining as the heart of the tribe, the ensemble are harmonious and extremely talented. Theo Ogundipe as the Praise Singer is a standout and he commanded the stage throughout.
At the same time as the events taking place in the village, we meet Simon Pilkings (played by David Partridge) and his fellow Colonial officers who have taken it upon themselves to stop Elesin Oba’s rite of passage due to their belief that it is savage and against God. We learn that through Pilkings interference Elesin Oba’s son, Olunde (played by Michael Ahomka-Lindsay) has been studying in England. He returns to honour his father, however, due to the interference of Pilkings there is a devastating chain of events that lead Pilkings and the audience to realise that by lack of understanding of a culture more damage is caused than good.
The closing scenes were especially powerful, and you see that no one will be left unchanged by the events that have taken place
There is no doubt that the play will be a challenging watch for many, but it feels an incredibly necessary watch, especially in the current climate in which we live. There are undoubtedly challenging scenes and language that some people will find incredibly difficult to hear however it is important to view the piece for what it is, which is a way of telling the story of a piece of Nigerian history that many would never have heard of.
*****
…’The performances are exemplary”
WALKING through the doors of Sheffield’s Crucible this week felt like entering hustling Nigerian villages filled with music, song and dance. Before the production of ‘Death and the King’s Horseman’ had even begun, the atrium was filled with feverish live music that built anticipation and excitement. All this before the audience had even had the chance to take their seats. Mojisola Kareem’s (Far Gone) presentation of ‘Death and the King’s Horseman’ kicks off with a bang but then makes sure to take the time and care to develop and reveal its story with precision and purpose.
The show transports us to 1940’s Nigeria during the second world war and contrasts the experiences of tribal Nigerians and the British citizens that have colonised them. Based on a true story, it revolves around Elesin (Wale Ojo), the king’s horseman, and the sacred ritual that he must carry out upon the death of the king. What follows is a production that is full of deft, meticulous details. Each scene is given plenty of time to reveal itself. The show never feels rushed and its slower pace allows the production to give full justice to the intensity and depth of the story that it is telling.
The performances are exemplary. Wale Ojo unleashes a jaw-dropping and impassioned performance of the leading character, Elesin Oba. Ojo is at times manic, troubled and cacophonous. At other times he is plaintive and considered. Ojo delivers this performance with such range and skill that is almost impossible not to be fully immersed into everything he says and does. The show is also filled with excellent tribal music performed live on stage by three drummers and a small army of singers and dancers. Seeing them perform this Nigerian music with such passion was one of the highlights of the evening and really pulled the audience in its world and immersed them within a culture that many may not be fully familiar with.
The story is full of African mythology, folklore and native vocabulary. It’s fantastic to see such an authentic presentation of African culture on stage and the evening’s programme does a brilliant job of helping audience members to decode some of the native language that is used. This is just another example of the attention to detail and care that has been put into all elements of the production.
‘Death and the King’s Horseman’ ended with a jubilant standing ovation. The audience had been swept off their feet and transported all the way to rural Nigeria. Make the epic journey yourself and catch ‘Death and the King’s Horseman’ at Sheffield’s Crucible Theatre from Monday 3rd to Saturday 8th February.
* https://www.theatre-news.com/review/UK/6076/Theatre/Death-and-the-King-s-Horseman-The-Crucible
*****
…An incredibly intelligent play
The piece feels fragile at moments, reflecting a fading tradition that the majority of the audience will never have heard of; and yet its this exact notion that gives the piece such credibility, with strength in its steadfast nature. Soyinka has included fine details in the culture, weaving them into the language, and director Kareem has ensured that each word remains as striking on stage as it was on the page.
DEATH and the King’s Horseman, which is written by Nobel Prize winner Wole Soyinka and directed by Mojisola Kareem, is a historically rich and intellectual piece of theatre that challenges its audiences to question a world and culture that they aren’t a part of. Based on a true event in 1940s, Soyinka’s play which was written in 1975 examines a rapidly changing world where the traditional and modern clash, and result in severed ties of order and peace.
The play, which is set in 1930s Nigeria, follows Elesin Oba (Wale Ojo), the King’s Horseman, on the day that he must die. As per Nigerian traditions, the King must be accompanied by his favourite horse, favourite dog and his horseman, in order to safely and peacefully cross the passage into death, and to maintain the order and peace of the community. Failure to do so will render calamity upon the people. The horseman is duty bound to fulfill this final ritual, a month after the King’s death at the latter’s burial. However, under British colonial rule, this custom of ‘ritual sacrifice’ is viewed as a criminal offence, and the British take matters into their own hands to prevent this ritual, much to the chagrin of the Yoruba people. The return of Olunde (Michael Ahomka-Lindsay), Eleshin’s eldest son from England, causes yet another monumental stir in the natural order of this tradition.
Death and The King’s Horseman is an incredibly intelligent play; shrouded in countless layers of centuries of tradition, that struggles to breath against the friction of countless conflicts. This constant clashing between the characters themselves, their relationships with one another, external forces and the British colonialism and the war, creates a quickly unravelling tapestry into its core units. This creates a fascinating study that the play, to its credit, manages to showcase in its run time of three hours, and yet, audiences will still leave and dive into mounds of readily available literature study about the events of the play.
The play, despite winning accolades and being one of Soyinka’s most famous works, is rarely staged for the gravitas of the core plot is so heavy and requires certain nimble fingers to coax it out well. Director Mojisola Kareem has painstakingly brought this play to life in a strong production that will be a talking point in theatre for years to come. The play may not appeal to everyone, but it should definitely be watched or consumed by everyone in one way or the other. The play, although often rather slow-paced, particularly in the first scene, never pauses for breath, suspending any notion to comprehend or analyse its events. By doing so, audiences can merely oversee the events and only allow the full realisations and intentions behind the play to wash over them slowly as they begin to dissect its events after the show.
A line from the character Olunde sums up the play; “I am not here to make you understand”, which stands firm at the core. The play, although welcoming audiences to be enthralled and lost in Nigerian traditions, never quite invites audiences to have their say and allow their opinions to influence the history of this tradition. Audiences, particularly predominantly white audiences, are never quite prepared for the events of the play and are caught off guard frequently.
This is further achieved by the stellar cast, each tasked with a tough role that they tackle triumphantly. David Partridge and Laura Pyper as Simon and Jane Pilkings, the District officer and his wife, both do a fantastic job. Taking on the British colonialism ignorance to new levels, as their selfish and superior tendencies render themselves inexcusably oblivious and downright disrespectful towards the people they mean to provide for, Pyper and Partridge manage to come across as ignorant and yet not wholly unlikeable. Spurred by their own good intentions, at times, and their limited understanding of the culture and traditions, they do seek to be understanding and protective in moments that are far and few between, ironically doing more damage than they will ever realise.
Olusegun Lafup Ogundipe is particularly memorable as Sergeant Amusa, highlighting the betrayal that the community feels as one of their own works for the British, yet remains conscious and respectful of traditions that can’t quite be erased through religious conversion. Although amusing at times, Amusa’s plight is deviously complex, and worrisome. Julius Obende has a small role as Pilkings’ butler boy Joseph, but another striking role. His ability to adapt to accept the British ways, whilst still standing by his own religious beliefs becomes a rather strong starting point for a possible new future.
Bridget Nkem as Elesin’s wife has a tragic and harrowing narrative, that undermines much of the rest of the play, a silent but powerful commentary about tradition, culture, and rights. Ironically it is also the moment that she chooses to use her voice, that makes her inspirational and reflects an unchallenged strength. Theo Ogundipe as the praise singer has a particularly tricky role, as he becomes the possessed voice of the recently departed King. Embodying this restless spirit, Ogundipe’s performance is authentic, as he disappears into the role. Led by Oluchi Odii and Kayefi Osha, the community ensemble moves as one, a large and fierce wave that can not be contained. They fill scenes and represent the community at large.
Wale Ojo is astounding as Elesin Oba, effortlessly slopping in and out of various emotions, and bringing an undeniably grace and charm to his performance. Ojo glides through the dialogue heavy portions, delivering each line with deliberate flair; becoming a natural storyteller. Ojo’s performance is boosted by his ensemble, with a particularly edge-of-your-seat moment at the culmination of Act One, but it’s the quieter moments OF his that really feel important. As he’s stripped of his honour, his power and his duty, but never of his grace, Ojo’s performance fills the stage with a chilling stillness.
The stand-out performances go to Kehinde Bankole as Iyaloja and Michael Ahomka-Lindsay as Olunde. Bankole’s majestic portrayal of the ‘mother of the market’ Iyaloja guides the play throughout, constantly questioning and challenging anything and anyone who threatens to unbalance the peace and order. With such a gravitas, Bankole commands the stage with ease, becoming the most powerful performance and character. Bankole fully commits to the role, taking on the enormous burden of speaking with the voice of the community as well as the voice of the gods, issuing warnings and later becoming the voice of reason.
Ahomka-Lindsay as Olunde becomes the bridge between the British and the Yoruba, with a stellar performance as the tormented and tortured son who has been grappling with his own identity. Torn between the two lands and cultures, Olunde has been carefully sharpened by his lived experience and upbringing, acting as a sharp dual blade that will ultimately sever any loose ends and save them all. Ahomka-Lindsay, despite only appearing for one scene in the second act, has the greatest emotional impact on the show, as he challenges the notions in a unique way, leaving audiences shifting guiltily in their seats or nodding in agreement. The innocence and hope of Olunde’s future as a doctor is brilliantly and painfully stolen away as he chooses to serve the greater good, with an innate sense of duty, goodness and justice. Ahomka-Lindsay is sensational in the role, tugging at every available emotional tangent, particularly so as he casts aside his own father with a seething rage that sparks the burning fire, paving the way for a future, although not quite the one he had planned on.
The play tackles a number of difficult themes that far exceed an individual’s capability to process in three hours, thus driving every audience member to start a discussion. Whilst there are shorter moments that feel intense, the play as a whole will leave audiences reeling and hopefully open to self and societal reflection. However, the length and language used in certain pivotal moments at the start of the play can feel meddlesome at times, leading to audiences not fully grasping the depth of the complexities of the issues at hand. Weighed down by riddles, literary references, metaphors and proverbs, there are specific moments when the small details are lost in translation, although audiences can still follow. By the middle of the first act, this problem fades away, and act two is as close to perfect as one can hope from a script.
As custom in the culture, the play includes music, song and dance, performed by a small group of actor-musicians themselves. Using traditional instruments, Music Designer Juwon Ogunbe has members of the cast performing original compositions by himself and Kayefi Osha, the latter also serving as lyricist. The performers Ajide Adeyemi, Olusegun Lafup Ogundipe, Julius Obende and Clement Ule carry their instruments, often escorting Elesin Oba with their beats and music. The community ensemble often take up the vocals together, creating fulfilling, loud and charming numbers that provides its own lasting presence in the show, especially when paired by the choreography by Joseph Toonga. Often used in moments where Elesin Oba is seen to be enjoying life in the marketplace, the music nods to the scene tone, ranging from subdued and solemn, to beat-heavy and joyous.
This production, co-produced by Sheffield Theatres and Utopia Theatre, has cast the community from non-professional actors in an admirable bid to create more opportunities for local African talent, and is the debut for ten of its cast members. This ensemble includes Jina Wilder, Betty Anyika, Quiana Smith (Nicole), Jennifer Edwards, Pauline Naylor, Shami Sochaitwa, Mumbi Nkonde, Bola Akanbi, Emmanuel Adetoye, Victoria Marrett, Sarafina Maneus, Annie Anthony Mays, Joanna Graham and Jim Steinke.
The set designed by Kevin Jenkins is simple, yet grounds the play in Nigerian roots, with its mud red sandy floors, that the community often crosses barefooted. Wooden panelling runs across the stage, curling upwards to create a backdrop, almost as if their very foundation were being ripped up to create something more modern and Western. A large circle hangs from above, glowing in the light, becoming both sun and moon in various scenes. This design by Jenkins is not only immediately intriguing but serves as a strong metaphor, especially during the British ballroom scene, where the contrasts of sand and fancy chandeliers are glaringly obvious.
The piece feels fragile at moments, reflecting a fading tradition that the majority of the audience will never have heard of; and yet its this exact notion that gives the piece such credibility, with strength in its steadfast nature. Soyinka has included fine details in the culture, weaving them into the language, and director Kareem has ensured that each word remains as striking on stage as it was on the page.
★★★★☆ (4*)
- https://www.adventuresintheatreland.com/post/death-and-the-king-s-horseman-sheffield-crucible
******
…An impressive and enjoyable experience
This is a complex, thrilling play which deals well with subtextual issues relating to politics and morality. The direction by Mojisola Kareem is exemplary, with everyone in the cast, professional or not, absorbed in their performances and contributing strongly to the singing and physical aspects of the roles. An impressive and enjoyable experience
ENTERING the Crucible auditorium on a dark evening, a huge space under a muted sun reveals a busy market at the end of a working day. We are in Oro, Nigeria, before the end of WW2 where the Yoruba Empire has recently lost its king. The townspeople eagerly await the arrival of the King’s Horseman, who is required to perform a ritual suicide which will enable him to lead the deceased King to meet his ancestors. A band of drums and other rhythmic instruments inspire the women to join in with rich-toned African chanting, which is a delight to hear.
Playwright Wole Soyinka, now nearly 90, has had an outstanding and varied career as academic, creative writer and political activist. In Death and the King’s Horseman, he juxtaposes the culture and values of the Yoruba nation with those of the British colonialists. ‘Duty’, ‘Responsibility’ and ‘Honour’ are concepts important in both cultures. But the emphasis is on very different things.
Elesin the Horseman has led a comfortable life as the King’s Servant, has had needs supplied and demands met, been lauded by the community and has had many wives. Even though he is close to his end, he insists on one more marriage to a beautiful girl who passed him in the market square, and after a short disagreement with Iyaloja, the powerful and authoritative Mother of the Market, he has his way.
The scenes in which the colonialists appear are stylistically quite different from the Yoruba scenes and verge on satire and TV sitcoms. Simon Pilkins is an unintelligent District Officer, whose wife Jane sees herself as much fitter for the job than he is. It doesn’t occur to either of them, or indeed to more superior members of the Residency, that it is totally unacceptable for them to wear confiscated masks used in serious native ceremonies to a fancy dress ball, or indeed to make cynical comments about Christian rituals to recent converts. All of this, including the comic policemen, is beginning to feel like a farce.
After his marriage, Elesin seems to lose track of time and is locked up by a colonial policeman when it seems he might commit suicide, which is forbidden by the authorities. Elesin loses his opportunity to die for his king and country and is a disgraced figure who has neglected his duty, avoided responsibility and besmirched his honour. Simon Pilkins and the policemen don’t fare much better, as they seem to have triggered off a riot during a visit by a Royal Prince and will probably be punished for it.
The effect of Elesin’s failure is disastrous for his family and for the wider Yoruban community. Elesin’s son Olunde has been waiting to do his duty and say goodbye to his father before he dies. He rejects his disgraced father when they meet, but Elesin’s failure and disgrace can only be negated if Olunde assumes the role of Horseman and guide and sacrifices himself for the King and his community. There is nothing left for Elesin to live for, so he kills himself.
There are powerful performances from all the main characters. Wale Ojo is exceptional as Elesin and covers the emotional range of the role in a way that compels admiration. Theo Ogundipe is powerful as Elesin’s other self, particularly when he gradually self-destructs in response to Elesin’s failure. Kehinde Bankole as Iyalojah has magnificent stage presence and a strong, resonant voice, as have many of the women in the chorus.
This is a complex, thrilling play which deals well with subtextual issues relating to politics and morality. The direction by Mojisola Kareem is exemplary, with everyone in the cast, professional or not, absorbed in their performances and contributing strongly to the singing and physical aspects of the roles. An impressive and enjoyable experience.
Reviewer: Velda Harris
- https://www.britishtheatreguide.info/reviews/death-and-the-k-crucible-theatr-24139
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