A few months ago, the National Troupe of Nigeria gave a hint that it would stage Wale Ogunyemi‘s Festival of Arts and Culture play, Langbodo, as its Nigeria‘s 50th Independence anniversary production.
Its decision was based on the fact that the play adapted from D. O. Fagunwa‘s classical Yoruba novel, Ogboju Ode Ninu Igbo Irunmole, captures the essence of Nigeria‘s journey especially since it got independence from the British colonialists. Later, the troupe, however, dropped the idea to accommodate some other programmes emanating from the Federal Government’s anniversary package. But there is a consolidation as a Lagos-based stage freak, Yemi Remi, has taken up the challenge.
Despite the fact that it has political undertone, Langbodo is essentially a traditional play. It breathes in songs, poetry drumbeat, dance, and other cultural elements from different parts of the country. It is such a totality of theatrical experience that is due to keep the audience spell bound on October 1, when the play opens in Lagos.
Produced and directed by Remi, who, among other major appearances in the past 42 years of his career, played the role of Chief Farounbi in Village Headmaster; acted various roles in Behind the Siege and Wale Adenuga‘s Super Story, the current production of the play is still coming in the spirit of the Golden Jubilee anniversary of Nigeria, returning it to the stage 34 years after it won Nigeria gold at FESTAC 77.
Langbodo is a story of valour, sacrifice, patriotism tinged with anxiety, suspicion, excesses and betrayal. Building on the way Fagunwa conceives the story in Igbo Irunmole, seven powerful hunters are summoned by the king to go and climb the Langbodo mountain to fetch a precious object whose discovery is tied to the progress of the nation. The battle ahead is tough, but none of the hunters hesitates to undertake the venture.
Our correspondent, who was at the rehearsal of the play holding at the Lagos State Council of Arts and Culture, Ikeja, which is partnering with Remi, discovered that the producer has been able to rally a huge crowd of seasoned and emerging actors and actresses giving their best to ensure the success of the production. Playing the roles of some of the fire-spitting hunters are Haji Bello (Kako), veteran Yoruba actor, Biodun Majekodunmi (Baba Kekere), acting Aramanda Okunrin; Gbenga Idowu (Akara Oogun); and Barniy Obi-Abiezue (Imodoye).
Also, another seasoned actor, Segun Remi, better known as Kanran, is playing the role of a monarch while Tunde Alabi is the Edo king. Others include Lola Kassim (Second Medium) and Nike Aleyo, who, though has a bountiful stature, dazzled the stage with a sonorous voice as she chanted rara in praise of the king.
While the characterisation of each of the hunters is delineated in a way that the discerning audience will appreciate the need for Nigeria to engage the multitudes of talents among its people in a very appropriate manner and stop putting the square peg in round hole, Langbodo begins with the arrival of the king on the stage. This is greeted by a carnival of drums and dance, as a large number of townspeople join the king to give the hunters a befitting send forth. The lead drummer, Rasaki Ayan, really doing the job well alongside other drummers.
The departure ceremony that follows, laden with mixed emotions, is almost a complete performance experience as it moves from tributes to promises and pledges, even as rara, ijala and esa chants punctuate the proceedings.
On the rationale behind the choice of Langbodo, Remi argues that it is the right play for the country now. ”We need to have a sober reflection now,” he says. ”This time of the country‘s Golden Jubilee anniversary is not just for us to sing and dance. Not a time for cocktail. It is time to engage our past, reflect at the present and opens a new book for our future. Langbodo avails us the opportunity to do these and more.”
For Remi, the project has been that of a tall ambition as he has not secured any concrete assistance from any institution. He says he has tried to get this, but the support has not really come. As a result, he has been relying on goodwill that, he notes, has attracted the artists who are giving the production their sincere best.
Source: http://www.punchng.com/Articl.aspx?theartic=Art201009223474271
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