A two-hour thrilling musical drama WAKAA The Musical presented at the Congress Hall, Transcorp Hilton, Abuja stirred up some questions on the commitment and credibility of our political leaders, among other social vices plaguing the country’s socio-economic development. The 79-man crew production by Bolanle Austeen-Peters was the concluding command performance to round off a 10-day tour of Abuja, Assistant Editor (Arts) OZOLUA UHAKHEME reports.
After a successful ten-day performance tour of Federal Capital Territory Abuja, WAKAA The Musical, stunned the high profile guests at the Transcorp Hilton Abuja with satirical messages especially on politics, good governance and corruption. The presentation could not have come at a better time than when the nation is marking its 57th independence anniversary celebration. Its timing is as relevant as the quality of guests that included Vice President Prof Yemi Osinbajo, his wife, Dolapo Senate President Bukola Saraki and Information and Culture Minister Alhaji Lai Mohammed among other top government functionaries.
The family oriented two-hour performance, which had a full capacity audience, is a satirical piece on Nigeria’s socio-political life that explores the scheming intrigues, betrayals and games of survival of the fittest. Amidst laughter and dancing to some lyrics by popular Nigerian musicians, some critical issues such as electioneering campaign fraud, unfulfilled promises and cross-carpeting of politicians were jocularly thrown at the guests. Even the popular Ajeku iya nio je released via social media by one of the senators attracted thunderous applauses from the audience.
Little wonder, Vice President Osinbajo could not help but acknowledge the performance as incredible. Wakaa The Musical is making its first outing at Abuja after successful outings last year July at The Shaw Theatre, London’s West End and the Terra Kulture Arena, during the Lagos @ 50 celebration early this year.
Executive Producer WAKAA The Musical Mrs Bolanle Austeen-Peters described the production as a satire on the nation’s political space laced with message of hope, triumph of good over evil. She said WAKAA The Musical has been on stage at Abuja for then days and that it has been amazing. “Though arts have been on the back seat in the past, but it has been taking shape of late. The industry is nothing to be ashamed of,” she added.
The two-hour musical drama which recorded a full house opened with a powerful dance drama featuring dancers and singers, followed by a love scene with Tosan and Kike as lead players. The musical then shifted smoothly to a university setting, the Emeritus University that witnessed the graduation of students who had individual plans on what to do after school. The trials, successes and experiences of Nigerian graduates were relived in the drama especially by five of the cast Patrick Diabuah (Tosan), Nengi Adoki (Kike), Dolapo Philips (Ngozi), Justin Ezirim (Cletus) and Jolomi Amuka (Rex).
The ever-changing political landscape of the nation was the focus of subsequent scenes of the drama that highlights the emptiness of electioneering campaigns by politicians, unfulfilled promises, rigging, and corruption as well as cross carpeting of aspirants.
Amidst rendition of some popular songs by Nigerian musicians such as Chief Ebenezer Obey, Lagbaja, Flavour, Fela Anikulapo Kuti among others that complement the situations in the performance, the musical took the audience to the political turf where intrigues, unfulfilled promises and cross carpeting were the order of the day. Typical of the Nigerian politicians, Bimbo Manuel (Chief Sagay) and his deputy Mawuyon Ogun (Mama Ke) who contested for governor of Savannah State exhibited the ‘chop I chop’ political philosophy. From unfulfilled campaign promises to inducement of electorates with cash gifts, looting of treasury and wasteful spending of public funds, the politicians on the platforms of Generating Party, Brainy Party and Savannah for Progress showed the stuff they are made of.
But it was time to celebrate the rich Nigerian culture during the wedding ceremony of Ngozi featuring the colourful Efik dancers and backed by Flavour’s hit song Ada.
The younger generation was, however, not spared as the drama also mirrored, among others, the consequences of living fake life via social media (Facebook, Instagram, Whatsapp and Tweeter) as represented by Rex, a medical doctor who checked out of Nigeria to join his facebook lover Cassandra in London. Unfortunately, Rex who merely got a security job later became a stooge for Cassandra who contributed to his deportation. On return to Nigeria, Rex had lost all. Instructively, Rex was a typical example of Nigerians and indeed foreign aliens who felt it is greener out there only to hustle to make a living in the UK.
Apart from the humorous nature of the satire, the musical is a loaded package that captures every aspect of Nigerian life. It is a clarion call on Nigerians, especially the politicians on the need to demonstrate patriotism and commitment to the cause of the electorate who gives their mandate in trust. The effects and backdrop employed in the musical are as instructive and illustrative as the costuming of the cast. Of particular interest is the smooth change of scene done by stage hands effortlessly in few seconds.
All said, Wakaa The Musical has simply raised the bar in theatre circuit in Nigeria. It would be recalled that the show was held at Terra Kulture Arena in Lagos in the last 50 days of Lagos@50 celebration this year, which according to Austeen-Peters, is a testimony of their steadfastness and acceptance by stakeholders in the industry. The curtain was drawn with a strong resolution that together Nigerians can build a nation they will be proud of using Timi Dakolo’s song.
