NDC celebrates Soyinka with production of The Lion and the Jewel
Jewel (Photo compliments of the NDC)
Svanity, and narcissism. The play is comic in its presentation of how both the young protagonists and the Bale’s first wife Sadiku are duped and outwitted by the cunning old Baroka. The play is tragic in presentation of the fall of both Lakunle and Sidi, but even more than that – the tragedy of the traditional African village and its ancient culture.
A battle between Baroka and Lakunle over Sidi, who they both desire, the play is also an allegory since it is about the conflict between tradition and modernity, “underdevelopment” and “civilization” with the African society and culture as the prize. It is a fight between the old and the new, with the playwright hesitating to take sides – or did he? oyinka makes use of symbolism, first of all in the title. The “jewel” is Sidi – the attractive, desirable belle of the village – representative of beauty, youth and vitality. She might even be the new Africa, at an era in which traditional Nigeria was first being confronted by British colonisers with foreign life-styles and new technology. The “lion” is Baroka – a 62 year-old cunning trickster with a superior maturity – representative of the predator and of power, the old tradition and ancient Africa, whose trademark emblem is the lion, king of beasts.
Very closely linked to this is the element of feminism in the play. It is about women and their place(s) in a very patriarchal society. Women are commodities, subject to a rigid male regime. Sadiku is the loyal first wife of the Bale, who lives very much according to custom and tradition, and is faithful in her service to her husband. She serves as head of his harem and even helps him acquire additional wives. Yet we discover that she resists this subservient role – this existence of being simply a vessel of service, and even a procurer to her husband. She champions the cause of women’s victory over male dominance and power, when she believes that Baroka is impotent. She is in private protest and an avenger against the system.
Sidi begins the play as another agent of female resistance The Lion and the
since as a member of the growing new society, she does not subscribe to dominance by men. She stands up to Lakunle and is skeptical of the Bale, is wise to the nets he throws to catch women, jeers and rejects them. She readily joins the older Sadiku in rituals of victory. But Sidi soon becomes little more than a conventional prize to be conquered, claimed and possessed by the man who wins her in the contest. She is no match for tradition and the Bale’s mental power. She proves ineffective in her attempt to change the patriarchal status quo.
The Bale uses his wits to conquer – living very much according to the old social traditions and is the Anansitype folk hero. He is a strong defender of masculinity and power, of the old ways and of the traditionally anointed male kingship over society.
But the play is boldly post-colonial in its presentation of the east-west conflict. It shows the Bale’s stubborn resistance to changing the ways of the village and how he blocks the threats of modernization. In addition, bribes are effectively used, and suggests that inheritance of corruption from the arrival of Europeans.
Of interest in this NDC production is the staging and performance styles used by the directors, Waddell and Singh. There is the new brand of post-modern techniques. There is the generous use of dance as performance strategy, and the way it goes along with the ritualistic features in the production.
The play is staged to make it clear and alive for the benefit of the schools, but it is also a demonstration of forms of theatre being pursued by the NDC. The cast includes Esther Hamer, who is actress and choreographer, Keon Heywood in the lead role, with Tashandra Inniss and Linden Isles completing the principal leads. Supporting them are Kimberly Fernandes with Nirmala Narine, Onix Duncan, Akbar Singh, Melinda PrimoSolomon, Taneka Caldeira and Subraj Singh.
It is of interest to see the way Soyinka dramatises the cultural conflicts that faced traditional Nigeria in that previous era. You have the task of deciphering who wins the battle staged by the drama. Which side does Soyinka take?