‘Death And The King’s Horseman:’ A matter of honour
The debate on whether or not Wole Soyinka’s classic play, which turns forty (40) this year, is a study of “the clash of cultures” is an ongoing one. Truth is, it is much more than that. Death and the King’s Horseman addresses an avalanche of themes, ranging from passage from life to death, tradition, identity, and love among others. It is a fast paced, turbulent play which combines the features of both comedy and tragedy. In other words, it is a tragi-comedy.
Ola Ifatimehin’s interpretation of this play left a lot more to be desired but would pass as the best of the three different productions of the play I have been privileged to see. Perhaps because it was a doctoral production and attention was paid to creative ingenuity.
The play which was set in the ancient Yoruba town, Oyo, was based on an incident which took place in 1946 where, unlike as it was rumoured during the recent passage of the Ooni of Ife where the ‘Abobaku’ was said to have absconded, Elesin (played by Jibrin Ahmed), stuck to his gun, and was, in the name of family honour, determined to follow the ancient custom of the land which required that the Elesin must commit ritual suicide after his master’s death.
But the event is the cause of celebration with the swaggering Elesin impregnating a young bride on the eve of his death. All this is unacceptable to the British district officer, Pilkings, who decides to intervene. Against the wishes of the Elesin’s eldest son, returned from studying medicine in London, Pilkings places the horseman under arrest with disastrous consequences.
While the actions of Olunde (played by Philip ) alluded to the futility of human intervention, the sudden return of the Elesin’s heir, from the United Kingdom where he was receiving western education, brought to the fore, the philosophical angle to the play. He once told Mrs. Pilkings, “You have no respect for what you do not understand.”
Indeed, neither Mr. Pilkings, nor his wife understand anything about the culture of the people; hence, they are caught in the crossfire between rival traditions; that is, Christianity and the African traditional religion. In the end, he took the path of honour and decided to fulfill his father’s destiny as he committed ritual suicide.
For Olunde, and of course Elesin, who eventually committed suicide upon hearing of his son’s death, Wole Soyinka has in this play proved that death must not be limited to a tragic end or exit, but a triumphant entrance into place of honour.
For a purely academic audience which comprised of theatre professors, doctoral students and year one to three students of the Ahmadu Bello University, Zaria, Ola’s infusion of Yoruba folkloric songs into the play, from beginning to the very end, which somewhat present this adaptation as a musical theatre is a beauty to behold. He introduced an entirely new scenario and dialogue at the very beginning of the play, and one which I am sure the legendary playwright would be proud of.
The diversification of Iyaloja’s character (played by Oluwaseun Odukoya) is one of the fresh ideas breathed into the play by the director. We see an Iyaloja that is flexible, engaging and fluid as she combines her role with that of a chorus leader.
Ola makes the production engaging as he draws his cast from far and wide, with Mr. Pilkings played by John Ekpeno), Mrs. Pilkings (played by Millicent Ahupa) and Tommi Tete (as Corporal) who contributed moments of comic relief with his sterling performance. He combined with the ‘girls’ to treat the audience to one of the best moments of the play where two of the girls mimic the British culture of crossing their legs and respectful manner in which they treat their women.
The production is however not without its blesmishes, and this is simply technical, as there is little or nothing to fault in the sterling performances of the actors and the interpretation of the director. Lighting at the drama village was poor and this takes its toll on the overall outcome of the play.
Away from the real thrust of the traditional essence of this play, such honourable acts as displayed by Elesin and his son, Olunde is what one would or should expect from our leaders today in keeping with their campaign promises, They should deliver to the people good governance, regardless of the challenges that might come their way.