The Nation Newspaper

Tag: Muson stage

  • Omordia returns to Muson stage

    The 2009 Delius Prize winner in international piano competition, Rebecca Omordia, was in Lagos  for the first time since her  career hit limelight.

    At the event held at the MUSON Centre, Onikan, she held a Masterclass with students of the MUSON School of Music, where she left indelible imprints.

    Omordia was due back in the country last weekend. She would shuttle between Abuja and Lagos, dazzling her audiences who, already in high expectations, were raring up for another round of terrific classical music performances.

    On March 16, she held a Masterclass in Lagos with the MUSON School of Music students.

    On March 21, Abuja would be Omordia’s next point of call where she will be performing in a recital organised by the Romanian Embassy (Ambassador Gheorghe Predescu) to celebrate Romanian’s presidency at the European Union.

    “It is very special to me performing in my fatherland,” the Nigerian-Romanian pianist said when asked about her expectations.

    “Last year, the Nigerian audience made me feel like I truly belong there.  I am honoured to perform at MUSON, the very centre of classical music in West Africa and happy to give a Masterclass to the talented piano students of MUSON School of Music. I was very much looking forward to performing for them again; and I’m glad she did,” she added.

    Omordia remains a trail blazer in her mission to prioritise the Nigerian classical music. Since last March, she has done so much in promoting the Nigerian and African classical music genre.

    Her CD EKELE released last year on Heritage Records, featuring works by three Nigerian composers (Ayo Bankole, Christian Onyeji and Fred Onovwerosuoke) was a huge success in the United Kingdom (UK) and Europe. It was also featured by a newspaper in Italy and was described as an “appealing album” by the BBC Music Magazine), “fascinating programme” by the Gramophone Magazine and “beautifully delivered recital”, according to The Sunday Times.

    Last month, she launched as an Artistic Director, the first-ever African Concert Series at the October Gallery in London, in partnership with the Institute of Music & Art AM15, series described by the BBC as the “African Art Music makes a comeback”.

    AMI5 appointed Omordia to curate a music programme that reflects the depth and diversity of African Art Music, the richly diverse genre of music that originated in Ghana and Nigeria, which forms a bridge between Western classical music and traditional African music.

  • ITAN mounts Muson stage at Easter

    ITAN mounts Muson stage at Easter

    After a thrilling performance at the University of Lagos Auditorium at this year’s Lagos Theatre Festival, Ayo Jaiyesimi’s ÌTÀN (The Story) will return to Agip Hall, Muson Centre in Onikan, Lagos on Saturday and Sunday.

    The production is led by Jaiyesimi as executive producer, theatre veteran and journalist Ben Tomoloju as artistic director and Lookman Sanusi as productions director.

       ÌTÀN, which is another amazing 90-minute production from THESPIAN Family Theatre & Productions, features a talented 60-man cast and crew, which include Norbert Young; Wazobia FM’s ‘LOLO 1’- Omotunde David; Sam Uquah; Nissi George and Segun Dada, amongst others.

    ÌTÀN is a rich blend of cultural and contemporary drama, music and dance. It captures the modern day relational tension that crops up between the different age -generations as Àsìkò (‘Time’ personified) intervenes by taking ‘old school’ – die-hard -village-elder, Pa Latinwo and his newly discovered city, roller-coaster grandson, Dee-Kay, on a journey into the past and future. They discover dark secrets shrouded by the veil of time and come to terms with the fact that they need each other to make the best of the present.

    With ÌTÀN, (The Story), Jaiyesimi believes that many families and work teams are frustrated because of the lack of generational understanding. Beyond the visible youth culture – dress, music and dance that the older generation and corporate bodies exploit to their advantage, how tangible are the investments that are being made in youth issues? How well are young people engaged and being involved in crafting corporate and national strategy in a world that they would form majority of the population? On the other hand, how have young people tapped into the experience and structure that older ones have to offer? These are some of the contentious issues that the play subtly throws up. It calls on all of us to question and fashion a way to bridge this gap before it leads to further disintegration in our society.

    Jaiyesimi disclosed that THESPIAN Family Theatre & Productions intends to undertake a foreign tour with the play and that there are moves to form alliance with other partners. She noted that her outfit has produced plays that are tremendously good and those that could be better. “In fact, some have been quite profitable,” she added.

    The playwright, who has produced and staged plays, such as The Five Maids of Fadaka and Mad King of Ijudiya, is very passionate in trying to minimise the challenges that multi-generational relationships pose in families and the workplace, and the disharmony it causes in families or teams within corporate organisations or communities.

    “Historically, the generations consist of the old-timers and the young hotshots. But today, one can identify five different generations of people influenced by major historical events, social trends, and cultural phenomena of its time.”

    Tomoloju said the intellectual bend of the play remains one big attraction that sets the play apart. He said ITAN has the profundity and philosophy that many cannot ignore as it takes from the tradition and the past for projection into the future.

    On why he accepted to direct the play, Tomoloju said: “This is my first time of directing a play with the Thespian Family or a new theatre outfit. It has to worth the while to accept directing a play. People invite me to direct most of the time. And ITAN is not just a play for today, but for tomorrow.”  One thing that must be allowed to flourish according to him, is the new enterprise in the theatre business because theatre is not getting enough boosts apart from media efforts.

     

  • Kakadu recreates Lagos life on Muson stage

    Kakadu recreates Lagos life on Muson stage

    Award-winning hit musical Kakadu was on stage at the Agip Recital Hall, Muson Centre, Onikan, Lagos from December 29 to last Sunday. The musical is  a narrative of love and friendship that characterised Lagos life of the 60s, Assistant Editor (Arts) OZOLUA UHAKHEME reports. 

    Unlike the trendy way of starting most musical and theatrical performances, an art exhibition was held in place of a red carpet to herald Kakadu The Musical.

    Mounted on an unusual stand made from raw wood at the lobby of the Agip Hall, Muson Centre, Lagos, the exhibition featured 14 paintings and sketches by Polly Alakija, which are the artist’s visual way of getting ‘into character’ and learning the visual language of any subject.

    The paintings include These politicians are at it again, Rehearsal and We don’t know where we are going. Like an appetiser, the paintings refresh the audience’s memories with many images of rehearsal sessions and discussions between the cast and the director of the musical, Uche Nwokedi.

    The opening stanza of the musical, which is a blend of music, drama and dance, leads the audience into the Lagos life of the 60s and 70s, using a popular  night club, Kakadu, as backdrop for the era. Within the first few minutes, every slice of Lagos life is being captured on stage. They range from traffic jam to vendors of newspapers and food hawking their wares on the streets, mobile tailors (Obioma tailors) sanitary inspectors (Wolewole) and the regular hangout on Saturday night at Kakadu Night Club. On the band stand is the Fabulous Flamingo Dance Band presenting the old school songs for the popular Twist dance steps.

    “Kakadu is Lagos life. And Lagos means love all girls on Saturday. In Kakadu, you don’t rush alcohol or women,” warned the band leader.

    “Forget Nigeria and the outside, this is Kakadu in Lagos, he added. All these were pointers to the fact that irrespective of one’s place of birth, Lagos provides the leveler for all visitors. Issues of ethnicity and tribal differences found no place then.

    Produced by the Playhouse Initiative, Kakadu The Musical, which made its return by courtesy of MTN Foundation, Access Bank Plc and Casers Group is the journey of four friends through a time of infinite possibilities. “It is a story of peace and war, of friendships and broken promises, and of innocence. It is a powerful plot and a captivating storyline that sees and looks at the 1960s Lagos as a nation celebrates the end of colonialism and the birth of a new nation.”

    No doubt, Kakadu The Musical is being described as arguably Nigeria’s first contemporary stage musical and is a real tribute to the period and infinite possibilities of Nigeria in the 60s and early 70s. Apart from offering a complete theatre that educates and enlightens while entertaining, it also recalls the strong bonds and values that kept Nigeria together as a nation before the unfortunate civil war that was preceded by military coups.

    Set in the 60s and 70s, the musical concert did not fail to re-enact the significant role Highlife music played as the soul of Nigerian music industry at that time. Classical works from the rich repertoire of Nigerian musicians such as the late Bobby Benson, Fela Anikulapo-Kuti, Celestine Ukwu, Christian Igbokwe, Onyeka Onwenu, Victor Olaiya, Sir Victor Uwaifo were rendered all through the two hour performance. It was a refreshing night for the ‘old school’ with the presentation of songs such as Bobby Benson’s Taxi Driver, Victor Olaiya’s Sisi Mailo, Sir Victor Uwaifo’s Guitar Boy and Onyeka Onwenu’s Dancing in the sun among others.

    In the spirit of the independence celebration, Kakadu lighten up the hall with the post-independence party held at the club though was truncated by the announcement of a military coup. Suddenly, the hitherto friendly Lagos life turned unbearable for many. “And we must close Kakadu. Everything is changing. People are leaving Lagos in fear of a looming war.”

    Complementing these old tunes were dress codes that take people back to the 70s when Afro wig hair style was the vogue.Also part of the customs is the shuku (elongated) hair style common among women of that age. “Tonight we will celebrate Africa. From Congo to Ghana, Port Harcourt to Lagos,” the band leader reassured the audience who danced to the evergreen Olaiya’s Sisi Mailo and Benson’s Taxi Driver songs.

    Even when the war was declared closed, the people of Lagos still did not find it easy to accept one another because of perceptions and misconceptions. War is ugly, and even at the close of it, it still raises some national questions of tolerance, unity and understanding among the various ethnic nationalities. Little wonder Jimmy Cliff’s Many Rivers to Cross was aptly presented to prick the audience conscience.

    But why are we here? Several governments and laws have been in made but how do we build a nation? These were some of the posers for the audience as the curtain was drawn two hours after.

    Instructively, the performance is returning on stage when similar drumbeat of war is sounding again across the country, especially the on-going agitations by Movement for the Actualisation of the Sovereign State of Biafra (MASSOB) and Indigenous People of Biafra (IPOB) for the creation of Biafra nation led by Nnamdi Kanu.

    According to its Executive Producer Nwokedi, ‘’The Kakadu storyline catches the watershed years in Nigeria’s history.’’ He described theatre as amazing and that through this process ‘’we get to see the truth in what we do as human beings, and learn what we should about lives we live. The Kakadu family continues to grow and we are encouraged by the support of many to reprise the production. With this run of Kakadu, we will donate some of the proceeds from the show to the Pacelli School for the Blind and Partially sighted, our chosen charity for 2015/2016’’.

    To one of the lead actors, who acted Lugard Omo Eko da Rocha, Lagos city is life at a furious pace and it is theatre at its best. “It is the celebration of the infinite possibilities in life. Lagos is a musical called Kakadu, rich and enthralling, an amazing combination of brilliant dance routines, a roller coaster of emotions and a powerful narrative of love and friendship. It is a way to re-connect and recreate on several levels, where stage mirrors life in Lagos,” he said. Interestingly, Kakadu was performed simultaneously at the same centre same days and yet, tickets were always sold out on each day.

  • Moremi reenacts tragedy of love on Muson stage

    Moremi reenacts tragedy of love on Muson stage

    The true test of love has been showcased in Wole Oguntokun’s premiere of Legend of Moremi Ajaasori at the Muson Centre, Lagos.

    It was held in conjunction with the Musical Society of Nigeria (MUSON).

    Set in the ancient kingdom of Ile-Ife, the play narrates the brave sacrifice of a young woman’s undying love for her husband and his people. Originally from Offa, Moremi’s heart easily warmed to the people of Ile-Ife. The play is plotted on the tragedy that befell Moremi after she discovered the secrets of the Ugbo people who raided and terrorised the people of Ile-Ife. The revelation of their secret weaponry by Moremi led to their defeat. Though warned by her beloved husband, Oranmiyan not to carry out her espionage plans, Moremi sought the help of the gods with a promise to make a costly sacrifice if victorious.

    She allowed herself to be captured by the Ugbo warriors during one of their raids and would later be the wife of the king of Ugbo. After the people of Ile-Ife conquered their longtime enemies, Moremi returned to the Esimirin shrine to fulfill her promise to the gods.  It never occurred to her that the gods would demand for her only son, Ela. Thus, till date, Edi festival is celebrated in Ile-Ife as a hopeful wish that Ela, the son of Moremi would return someday to reap the fruits of her labour.

    Shown at the MUSON centre recently, Renegade theatre’s efforts to celebrate one of the festival deities in Yoruba kingdom was not a complete waste as the play lived up to its expectations. The stage was appropriately set in a traditional design, setting the mood for the audience to travel back in time and relive the sacrifices made by a courageous woman. The transition from each scene was seamless carrying the audience along in its crescendo pace.

    Starting off with the rabble rouser played by Precious Anyanwu who bickered endlessly to the annoyance of his fellow soldiers, was a bit lengthy and could have been boring if not for the quick switch to the narration by Sunkanmi Adebayo accompanied by mournful citizens of Ile-Ife. Onwards, the play transcends to a flashback where the audience captured the beginning of the love tale.

    The stage manager, Anike Alli-Hakeem made good effects of its lighting by dimming the lights during mournful scenes and lighting up the stage in stronger scenes. The costumes used were mostly traditional attire peculiar to the Yoruba tribe. A fog effect was also used to signify the presence of Esimirin, the god of Ile-Ife.

    The play’s director, Wole Oguntokun really scouted for the best cast to bring action into this drama. Ajike, Moremi’s best friend which was played by Barbara Babarinsa stole the show away with her funny antics and undying devotion to her friend. Though quite a talker, she was admirable in her acts, and knew when to portray the expected character.

    The lead character Moremi, which was played by Jumoke Ladi Bello, was also a strong one. Described as a brave young woman, one would expect the contemporary outright stubborn nature attached to bravery but in this case, Moremi was a blend of gentility, bravery and wisdom. For instance, she cleverly deceived her best friend Ajike and escaped into the battle field where she could easily be captured by the invisible Ugbo raiders. The audience was left to their imagination on how the Ugbo raiders defeated the people of Ile-Ife as only cries of defeat and victory could be heard, accompanied by vibrant dancing or mournful singing.

    Oranmiyan (Rotimi Fakunle), Moremi’s husband on the other hand was a gentle warrior. Though very loving, he was highly strict and exudes this when he reprimanded Ajike for allowing his queen to leave the palace unguarded. He was a loving husband to his wife and a fearless commander in the battle field.

    However, a weaker character in the cast was the king of Ugbo played by Austine Onuoha. As a terror to the people of Ile-Ife, one expected a very callous being or intimidating character. Despite this, he was still able to play his part well in his gentle manner.

    The play drew themes from friendship, loyalty, sacrifice and ignorance as well. The people of Ile-Ife were mystified by the mask wearing of the Ugbo people, assuming that they were spirits who could not be defeated, not until Moremi returned with the secrets of the Ugbo marauders. This clearly depicts the fearful nature of mankind caused by naivety sometimes.

    Ajike’s demise in the play was a very touchy one and rendered justice to the subject matter: love and sacrifice. In an attempt to save her friend from being caught by the Ugbo soldiers, Ajike had to stay back in the palace, pretending to be Moremi while her friend escaped with the night to her beloved land, Ile-Ife.

    Another interesting feature of the cast is the Ile-Ife citizens. The synergy exuded by these characters was simply impeccable. They really executed the traditional approach of the director through their protestations and victory chanting. The music and dance performances by these characters were entertaining to say the least.

    As the cumulative scenes reached its peak with the defeat  of the Ugbo raiders after Moremi’s return to Ile-Ife, the narrator quickly snatched this feeling of happily -ever-after by announcing Moremi’s promise to Esimirin. A gleeful Moremi is seen dancing excitedly in the shrine as she presents gifts to the gods in appreciation of her victory only to be reminded of the demand of Esimirin of something very dear to her through a playback if she returns successfully from her sojourn.  A heartbroken Moremi is consoled by her fellow women as she watched painfully as her only son, Ela, is being kidnapped by the servant of death to Esimirin. This provoked a feeling of compassion and pity from the audience, and served as a wicked reminder of the wishes of mankind and the costly price they have to pay.