Death and the King's Horseman | Sheffield Crucible

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 the 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 allows 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 warning 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 way for a future, although not quite the one he had planned on.

The play tackles a number of difficult themes that far exceeds 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 grasp the depth of the complexities of the issues at hand. Weighed down by riddles, literary references, metaphors and proverbs, there are specific moments that 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 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 casted 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 the each word remains as striking on stage as it were on the page. 

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Anthony Robling