The stage is set; the lights are on. Get ready… It is Saro, the Musical 2. The musical drama ran throughout the Yuletide inside the Shell Hall of MUSON Centre in Lagos. With three directors to handle music, dance and drama, the multi-million naira performance ended this season. Its three directors share their ‘behind the scene stories’ with Evelyn Osagie.
From high life to afro beat, afro pop, afro fusion, to the inspirational and traditional music, Saro, the Musical 2 returned to the Lagos stage, bringing influences and instruments from many ethnic groups to bear on the audience.
Lagosians had a thrilling theatre experience this Yuletide as Saro’s 100-man cast hit the stage inside the Shell Hall of Muson Centre in Onikan, Lagos.
The musical-play, the story of four young, but frustrated performers who embarked on a journey in search of their destiny, is a unique blend of music, drama and dance drew dignitaries from across the state. They included All Progressive Congress (APC) presidential candidate, Gen. Muhammadu Buhari, Rivers State Governor Rotimi Amaechi, Kaduna State APC standard bearer, Mallam Nasir El -Rufai and Senator Olorunnimbe Mamora.
Like many in the audience, “freedom” is what they sought; and Lagos was the city – that held a promise of escape from the jaws of poverty for the emerging artists – the four young men in Saro chose. Will they realise their dream?
Weaving together the trials, misfortunes, love, and destinies of the quartet into a 14-act masterpiece, the producers of Saro tell the unforgettable and inspiring story of the journey to success in a city filled with broken promises, as we see Lagos personified by its colourful and unforgettable characters, frenetic pace of living, and endless drama.
Fun lovers joined the “Four” on the exciting journey – through different stages of their lives – to the land of discoveries and dreams.
Beginning with two shows from last Tuesday, the play, which ran till Sunday, was produced by Mrs Bolanle Austen-Peters and Mok Art & Media Production. It was supported by Terra Kulture, Access Bank, Etisalat and Africa Magic.
The production, which cost about N50 million, featured outstanding Nigerian artistes and performers, such as Bimbo Manuel; Dolapo Oni; Gideon Okeke; Ade Laoye; Patrick Diabua; William Benson; Adesua Etomi; Dolapo Ogunwale; Paul Alumona and Paolo Sisiano.
Three directors handled music, dance and drama. The play was directed by Ayo Ajayi (music), Gbenga Yusuf (dance) and Kenneth Uphopho (drama). They shared their directing experiences below.
With a 100-man cast and short period to prepare, how was the preparation for this year’s outing?
Saro Music Director, Ayo Ajayi: So far it’s been a trying journey, but then it’s been worth the while. We didn’t just want to repeat what we offered last year, but to refine and produce the best performance so far in Lagos and Nigeria. A lot of hard work has gone into it, and we’re determined to get the result we want. What we had last year was good; this year we were determined to take the play through the necessary process, through fire, through the forge to make it the best performance ever.
Dance Director, Gbenga Yusuf: Preparations were very hectic; we wanted to beat last year’s production. And since we didn’t want to give our audience the same thing, it was challenging. Saro 2 is definitely better than the first. And indeed, we took the audiences unawares from start to finish. The dances were spectacular. We had more indigenous, cultural dances infused with modern dances.
Drama Director, Kenneth Uphopho: The journey has been great. With a tremendous effect in its scripting, Saro 2 had more elements to play with. We wanted to make the characters stronger, distinct because we wanted to carry the audience along, which we eventually did. What we’re selling to people is a lifestyle. The theme of Saro is liberty – liberty to achieve, to excel and achieve what you hope to achieve! That is what we wanted people to buy into. It’s the story of four young boys, who wanted to achieve something for themselves, musically. Fate takes them to Don Ceeto; and Lagos City influences them and impacts their lives. At the end, they come out triumphant. There’s also a love story, as sub-plot which goes to show that a thin line exists between dream and love.
What was new with Saro?
Ajayi: Last year, it was a great show, but this year was greater because we infused many things into it to make a great product. We refined the three departments – drama, dance and music and the effect on the audience was whao! In musical aspect, so many original songs were incorporated to meet the demands of popular hiphop artistes and listeners. The standard of music we had in this edition was higher than what currently exists in the Nigerian hiphop scene.
In 2013 edition, we only had Magba gbe mi, this year’s we had so many other original songs. All the audience needed was to sit tight and get blown away. For me, “the audience must have goose pimples from the effect of music or else, just scrap it!”
We’re trying to set the pace. Since last year’s edition, several musical productions have sprung up. We are also a turn around in Nigeria. Nigerian music at the moment doesn’t seem to have focus, just rhythm, bad sound and silly language. On the contrary, the music is attractive, different in language and music content. Hiphop artistes in Nigeria will learn how to make good music after listening to Saro 2. There was so much musical content for the play than we have on the streets today because we are schooled and professionals in what we do. And the songs make sense unlike most of the music we have on the streets.
The performance of the four young men, which didn’t happen last year, was also grand. Don Ceeto’s musical project is also a new addition. “Don Ceeto” is the man who discovered the four men and gave their music career a lift. In this edition, his musical project stood out on its own. The five tracks of his project incorporated in the production were made up of different genres and styles – jazz, soul and Nigerian music. Three of the tracks have already been recorded.
Yusuf: It is that creative infusion of indigenous and modern dances that gives Saro 2 its magic. Saro envisages the future of music and that was expressed through different dance steps – from indigenous African, Nigerian dance styles to modern styles. It was innovative because we sought to bring something new, original and spectacular into this edition.
Last year, there was no circus, acrobatic displays, no skaters or chopper landing on stage. In this year’s, dance was wide in form and style. It had all those spectacular elements and more. There was also the use of props and things to give it that whaoh effect. Imagine Bata drumming being infused in Jazz and a ballerina. In fact, Saro’s message came out clearer this year. The music, the dance and the interesting acts contributed in giving the audience a clearer picture of the story-line. They were able to follow the story of the four boys from the village to the city and to Don Ceeto’s house. We took the audience through the nooks and crannies of the state to which the audience can relate to as their own Lagos.
Uphopho: Lagosians and Nigerians should look out for Saro 2 in 2015 because what they had during the Yuletide was only the beginning. In fact, this is bigger than elections; elections leave us hungrier and frustrated. Saro will bring joy and smiles to Nigerians. It will provide a beautiful escape from all the election hardships and excesses of our governments.
What is your job in Saro?
Ajayi: My job, essentially, is that of the music arranger and composer. As MUSON School of Music alumni president, I’ve tried to influence a few young artistes in the music scene. We take music to schools to try and influence those coming up.
Uphopho: I’ve done musicals before, such as Cinderela, Shakespeare’s As You Like It, Rubiewe, an African adaptation of Beauty and the Beast and then Beauty and the Beast proper. But Saro was more challenging; it has bigger cast and crew. Luckily, I was part of the script development process. I can only say it’s been tough all through, but absolutely enjoyable! The hardest part is the rehearsal; 100-man cast and crew is not a joke. Managing the emotions of people takes a lot. We tried to micro-manage everything. The cast has been amazing and supportive. There’s no laid back approach; everyone is ever ready to play his part.
We looked forward to a good show. The three directors worked six hours a day to ensure that everything worked out well. It’s a combination of all efforts. Saro is child-friendly with simple language. It was a fantastic way to celebrate Christmas with one’s entire family.
Yusuf: The team I worked with this year was unique; and that was why you saw wonderful performances. We used certain dance forms we didn’t use last year. There was the use of circus and props. The Saro boys not only sang, but danced and acted.
