Penultimate Saturday at the ancient Obisesan Hall, Dugbe Ibadan, I had the privilege of watching the thought-provoking stage play written, directed and produced by Ladepo Duro- Ladipo, a renowned and prolific theatre director and producer. The captivating production explores the rich realm of Yoruba mythology, delving into the concept of mythical creatures and the inevitability of one’s chosen destiny.
The title is Oluweri, a mythological play set in the spiritual realm of Oluweri and the physical world. The play opens in the spiritual realm of Oluweri, where four individuals—a woman, a farmer, a hunter, and Oshawunmi—choose their destinies. Oluweri seals their choices, granting each their desired path.
In the physical world, the characters become precisely what they choose: the woman (Adeoti) bears many children, the farmer prospers, and the hunter excels. Oshawunmi becomes a powerful woman skilled in charms and herbal medicine but childless despite her enterprise.
Oshawunmi’s desperation drives her to challenge Oluweri. On her journey, she confronts powerful spirits and demonic forces. When she finally arrives at Oluweri’s realm, she demands why she had no child. Oluweri reveals that Oshawunmi chose her path herself, leaving her perplexed.
Defiant Oshawunmi refuses to accept her fate, but Oluweri rebukes her and returns her to the world. As she re-enters the world, she’s transported into the womb of Adeoti, her husband’s second wife.
In the final scene, Oluweri appears to the audience, emphasizing the Ifa corpus message: “Destiny has no cure”. The play concluded with a thought-provoking reflection on the nature of destiny and free will.
First and foremost, the cast delivered outstanding performances, particularly Ooshawunmi, played by Ayo Ewebiyi, whose desperation and determination were palpable. Adeoti, the second wife of Alao, played by Banke Solomon, brought depth to her character, navigating the complexities of polygamy and fate. Ronke Adewale, who played Oluweri, commanded authority and wisdom, embodying the deity’s Omnipotence. Ladepo Duro Ladipo, the producer, succeeded in weaving the mythological narrative seamlessly between the spiritual and the physical worlds. The pacing was well–balanced, allowing the audience to absorb the emotional intensity of each scene. Ladepo equally adapts Yoruba mythology impressively by staying true to the Ifa corpus while crafting a compelling narrative.
The dialogue was rich and poetic, reflecting the cultural nuances of the Yoruba language.
I was somehow disappointed when I did not see original Yoruba-speaking Nollywood stars such as Alapinni, Yinka Quadri, Iya Gbonkan, Abeni Agbon, and the like who would have brought the local flavour of the Yoruba language. These superstars would have brought more vibes into the language. However, the craft was more of emergent stars and upcoming actors trying their best to get the beauty of the Yoruba language.
Technically, the special effects, particularly the thunder and lightning, added to the dramatic tension. The traditional Yoruba music and dance effectively enhanced the cultural atmosphere.
It is recommended that the play be presented to audiences interested in cultural heritage and mythology, such as the association of traditional religion practitioners, perhaps as a commissioned piece for “Isese” Day rather than as a commercial show.
I could see more young people and some invited personalities in the audience who, out of curiosity, just wanted to see a cultural play for entertainment and fun.
In an interview with Ladepo Duro-Ladipo, the artistic director, about why he didn’t use many superstars, he replied that it’s all about finding the right fit for the role, regardless of fame or experience.
He says, “Upcoming actors bring fresh energy, hunger, and dedication to their craft. They are more willing to take risks and immerse themselves in the character”.
I also observed that the costumes and makeup of some characters did not blend well with the flashing colours from the lighting, particularly in the spiritual realm of Oosawumi’s journey to Oluweri’s abode.
Everything should blend and be balanced to create an ethereal atmosphere and avoid visual overload. For example, characters like daemons who followed Ooshawumi, Aroni Gidigba, Akuko Orun, and witches were too elaborate.
Again, the makeup of the actors lasted only a short time. By the time the cast did the curtain call, the makeup on the faces of most of the cast had faded.
Conclusively, the play’s unflinching examination of complex themes and its stunning cultural display solidifies “Oluweri” as a landmark production in Nigerian theatre.