Death And The King's Horseman

Written in 1973 by Wole Soyinka, a Nigerian political activist, and first staged a couple of years later, Death And The King’s Horseman explores what appears at first sight to be a clash of cultures between long established Yoruba and European traditions.

Soyinka himself seems to represent a fusion of opposites as he grew up in Nigeria immersed in traditional Yoruba customs including multiple gods yet his parents were ardent Christian converts. The two main themes of the play are those of personal duty versus responsibility and to me, thought provoking insights into long established colonial perspectives.

The play is set during the time of the second world war and is based upon events that took place in the ancient Yoruba city of Oyo in 1946. According to ancient tradition servants were required to commit a ritual suicide thirty days after their Master’s death in order to accompany him into the next world. However, Elesin (our hero in the title) by chance meets a beautiful woman and also has to battle a local British officer, determined to eliminate such cruel customs and avoid any civic unrest during a royal visit. Further, his eldest son, studying medicine in London makes a surprise visit home. The stage is thus set for the action to unfold.

The large cast is led by Wale Ojo who plays the role of Elesin Oba, the King’s Horseman and Kehinde Bankole (Iyaloja, the Mother of the market) both of whom are well established stage actors. Together they lead a cast of both professional and local non-professional actors taken from the Utopia theatre, a charitable and leading African Theatre company based in Sheffield.

The first act opens in the colourful and lively market place where the main characters ‘set out theirs stalls’ literally and metaphorically. The depiction is true to an African market being both lively and colourful. It is not until we reach Act 2 that the British ‘ruling’ characters emerge who are portrayed almost as caricatures. This especially true of the District Officer Simon Pilkings (David Partridge) and his wife Jane (Laura Pyper). The opening scenes of Act Two depicting a masked ball in honour of a royal visit highlights the blatant absurdity of two very differing cultures juxtaposed with each having little or no understanding of their differences or perspectives. A point further emphasised by the Pilkings choice of costume for the event.

Directed by Mojisola Kareem, who coincidently is the Artistic Director of the Utopia theatre company, the creative team have much to be proud of as together they have created a highly thought-provoking resonant theatrical experience showcasing music and dance deeply rooted in the culture and spirituality of the Yoruba people.

If you would enjoy a colourful and lively spectacle coupled with some serious issues to challenge your grey matter, then this is certainly a play that you should make an effort to go and see.

Crucible Theatre Sheffield Until 8th February