KAKADU’S GIANT STRIDES AGAINST XENOPHOBIA
One of Nigeria’s box office success stories, Kakadu the Musical takes a bold step against Xenophobia the cast and crew prepare to perform inside the Nelson Mandela Theatre, arguably the biggest in South Africa this June as part of the key celebrations mar
What started rather quietly as a senior advocate’s play writing hobby turns out to be Nigeria’s first musical to debut in South-Africa this June. How impressive! When Uche Nwokedi wrote Kakadu, it was thought to be a tale of the Nigerian people set in Lagos during the civil war. But the play has acquired a life of its own, developing thematic wings that can fly in any clime where similar situations exist.
Then, recently, South-Africa has been in the news for the wrong reasons. Some of its unscrupulous citizens attack Nigerians, destroying their properties and business premises. Some aggrieved Nigerians retaliated, targeting South Africa-owned businesses in Abuja, Nigeria’s capital city. In South-Africa, several lives had been lost to Xenophobia. But the figures are minimal when compared to the Nigeria-Biafra war where hundreds of thousands were killed and three million people were displaced. The wounds are still fresh in some quarters. But one lesson Nigeria can teach South-Africa at this moment is love.
Kakadu hopes to puncture Xenophobia with piercing musical dialogue; torn by costumes that communicate shared cultural heritage and buried by the new voices in contemporary African theatre that the play parades. But nothing good comes easy. One reason why the rehearsals for the musical had commenced early is that the production team is assembling a new cast. Of course, there are a few pioneer actors on board but the audition in February accommodated a wide range new talents in Nigeria and surprisingly too, one actress from Botswana.
What Kakadu has not deviated from over the years is its focus on growing fresh talents and empowering youths through training and workshops. The successful and committed ones take part in the ground-breaking productions which are indeed world-class. Little wonder Kakadu had been selected as one of the performances to mark Lagos at 50. Before setting off for the Johannesburg production, Lagos will see Kakadu the Musical once more at Harbour Point, Victoria Island on May 20 and 21.
While rehearsals were in full swing, this reporter, recently, walked in to get a firsthand experience of how the cast and crew are preparing for the much anticipated show, scheduled to begin on June 7 and running till 18 to markAfrica Day. It is an important period in history as it is annually observed as the commemoration of the day the Organisation ofAfrican Unity (OAU) was established. Kakadu the Musical has fast become a family tradition in Nigeria for its good content in terms of language, role interpretation and cross-over appeal. What is more gratifying is to see Kakadu as a major cultural export to a country that is one of the world’s most vibrant territories for theatre and other entertainment forms.
Obviously, performing at the Nelson Mandela Theatre, which reportedly has 1069 seating capacity and a stage floor measuring 400m2 , will be a big deal for the cast. Formerly referred to as the Main Theatre, the stage has five computer controlled stage lifts that can raise the sets 3.9 metres above the stage and five stage wagons to move sets across the stage as well as a circular stage wagon. These actors have to work with these structures that are currently unavailable in their home country.
The Executive Producer and playwright, Uche Nwokedi was watching the rehearsals at a “safe distance” at a venue in Onikan when this reporter arrived. Being a man who prefers to let his works speak for him, he didn’t say much except to show this reporter the pictures of the stage where Kakadu is set to debut. His play, his son and his beard had all grown on him. The young Nwokedi, who seemed like an introvert at first, would later reveal to this reporter how much work has gone into the legal acquisition of rights to use the musical works in the production. That is expected given the fact that the show is a brainchild of a senior advocate and a self-trained theatre entrepreneur.
The director, Kanayo Omo had the advantage of seeing the stage with Nwokedi. He knows the task ahead.Asides putting up a great show, SouthAfricans long to have the production team at workshops that will add value both ways. Working with an almost entirely new cast presents a unique challenge for Kanayo who seemed very self-assured at handling it.
“People carry on with a sense of right,” he said. “That is the first thing you face in any ensemble be it football or theatre. Sometimes, you are better off with people who have trained because the desire and curiosity will be there. For me, there has been a clear strategy of what we want to do.As the show grows, you discover new things because it is art and it is not static. If you put life and art together, you will have a lot of dynamic potentials. it is going to be much more spectacular other than just the technical details.”
His first reaction when he saw Nelson Mandela Theatre was articulated in one word: “Finally”. He thought there are very few theatres in the world that can boast of the same magnitude.
“This stage gives you everything you need. The actors can now be immersed in a world where you can live so that the audience won’t just go there to watch the show but to experience life. That’s the richness of theatre.”
How well does he know his SouthAfrican audience? Kanayo’s response hinted that the perception of the audience was really secondary to global relevance of the play material.
“The first thing that you want to know in terms of your material is whether it is dealing with the classical nature of the script. Is there a difference between love in Yoruba and love in Ibo? Heartbreak is heartbreak irrespective of the cause. The classical essence is what the story should be distilled to. And if I can portray to you pain, joy, regret, ecstasy, all are classical and they are there, the next thing is to shape your audience to appreciate the cultural nomenclature.
“Every nation has a challenge. How do we progress and build and make it work? It is in the play when you look at the argument between the Yoruba. Xenophobia is basically the fear of the other. It is the same idea of you versus I. So in essence you can say we are fighting because you are hungry and I am hungry. Can we fix the hunger? The stage is expected to help you refocus on a wider view of life. The story provides the opportunity to understand our world. Theatre just brings it to life. That is why actors live the story. They must empty themselves so that the material can fill them up. The mind is focused on that being.”
Are there safeguards for the artists who may be working with the stage equipments like those in the Nelson Mandela Theatre for the first time?
“Health and safety is key and it is a policy in SouthAfrica,” he said. “The actors will be going through some training.Any professional theatre anywhere needs to have that training. The machine part of the stage requires training and it is really an upgrade.”
The production team has eight days for rehearsals as soon as they land in Johannesburg. The vital elements of the musical namely music and dance had been the preoccupation of Ben Ogbeiwi who is the music director and lead actor in the play.
“We represent the truth with this play,” he began. “It reflects the mind, heart and soul of this country. If we play close attention to the issues that we have, Kakadu offers solutions to all the challenges around the selfish elements in the system. If we do not get into the conscience of these wild ones, we won’t get ahead of these challenges and we hold the key to solving these problems.”
The cast which is at present 40 will likely be reduced to half. Unlike before, every singer will wear his or her microphone. The sound is surround which means audibility is guaranteed.
Haji Omonoba Bello who has been a part of Kakadu since inception plays the roles of Uncle Azubuike, a drunken policeman and an armed robbery.As a professional actor, he enjoys challenging roles though he admitted that the rehearsals have been rigorous starting at 8a.m. and ending at 4 p.m. daily.
“Kakadu has been going through phases and I see high level of metamorphosis and new innovations,” he observed. “Turning up for rehearsals have been really stressful. But we know where we are heading anyway. Kakadu rehearsals have always been rigorous but not this intense. The concept of Kakadu is very rare and it speaks of my history.”
The only act drawn from Botswana is Sheila
Molelegwa, a former beauty Queen in her home country and in Nigerian sense, “very endowed”. The lady with sonorous voice was in Nigeria for a short vacation when she got a whiff of the audition. Based on logistics, she was selected and now she is looking forward to the South-African show.
“When you make decisions, they are always calculated,” she said. “Decisions sometimes involve taking risks and making a compromise. I had already heard about Kakadu. Kakadu and Lion King are the biggest in Africa. I had always wanted to live in Nigeria and learn about the culture. I don’t have relatives here. I am all by myself. For me, it is a moment of cultural exchange.”
Her mother is her biggest fan. She has enjoyed her support and hopes to see her at the theatre. Having left music studio for the stage, she has the pleasure of being indoctrinated to Nigerian culture.
“I feel at home in Nigeria. They treat me practically like I am a family member. They used to call me Botswana but I am now fully Nigerian. I have been christened Aisha Olasunmbo Amaka.And my favourite food is Egusi soup and Eba,” she disclosed.
The choreographer, Abel Otuedor from the National Troupe is not new to international cultural exchange programmes having worked with the French Embassy on a couple of productions.
“It means a lot for South-Africa to see our story and know what Kakadu meant for them,” he said.