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Another look at why ‘Belong’, a stage play will continue to thrill theatre audiences.
Lagos is now characterised by various theatrical performances for lovers of stage business to enjoy the fun embedded in the creative industry. It is glaring that the level of patronage that live theatre receives, is increasing geometrically on daily basis and the standard infused into stage performances, also taking a better leap.
This year is never an exception as both the Lagos Mainland and Island have got busy with various outstanding theatre productions, one of which is the ‘Belong’ performance. Conflict of identity is a crucial phenomenon that has been battling with some individuals; identity of place, person and time. Some people have over the years rebuffed their origin, probably because development created an option for them in a preferred geographical setting.
These issues are being treated in the story ‘Belong’ written by Bola Agbaje, UK based Nigerian playwright, directed by Tosan Ugbeye and produced by Shola Adenugba at the Federal Palace Hotel, Victoria Island, Lagos. Belong was first acted in London at the Royal Court Theatre in 2012. It is a story that deals with situations of identity.
Unlike some stage plays with upcoming faces dominating the stage, the producer of Belong assembled veterans in the Nigerian Live theatre to do justice to the play. Toyin Oshinaike who plays the character of Kayode and Dolapo Oni as Rita are both resident couple in London. Rita has got so glued to the British culture that she detests her native country.
In solidifying their stay in London, Kayode decides to take a giant stride to Parliament through election, but he fails, having sacrificed his career to misguided allegations about the racism of his equally black political opponent. To save the situation, Fola (Bimbo Akintola) appears in the picture. She is deeply into the Nigerian dream and would do anything to persuade émigrés to return home- Nigeria.
Her convincing manner ism and ‘proposal’ gets into Kayode and he decides to take a thoughtful break to visit his mother (Taiwo Ajai-Lycett) in Nigeria. Mama had earlier adopted Kunle (OC Ukeje), a former “area boy”, with the intention of turning him into a Local Politician to juice out the best in him. On the other hand, another desperate politician, Chief Olowolaye (Tunji Shotimirin) with the attitude of ‘Godfatherism’ is typical of a shady, wolfish and frantic leader.
He grooms Kunle as his loyalist. Kayode’s visit to the country sprouts a conflicting interest between him and Chief Olowolaye. Kayode who never believes in the ideology of Chief Olowolaye tries to turn Kunle against him, after a clash. To frustrate the Chief and bring forth his political ideology of creating a positive change, he then picks up interest in contesting.
As that ensues in Nigeria, Rita and Fola are busy tackling it out in London; Fola striving to change Rita’s mentality into conforming to her identity- Nigeria, while Rita has fully erased the Nigerian personality.
In a nutshell, Kayode who initially wants to rule in a British way eventually changes his mind as he converses with the people in a language that they understand thereby winning their hearts. Rita got convinced by Fola to come into Nigeria and see things for herself. On her arrival, she discovers Kayode’s political ambition in the country which shocks her.
Kunle is made to turn against Chief Olowolaye. Kayode is at the end left with the choice of either staying to fight the injustice in the country or retire to London with his wife. And the play ends leaving the audience to fix the end from their own perspective. The full length piece tells of the challenges of being a ‘Diasporan’, deals with love, and explores the theme of gained and missed opportunities. Furthermore, it questions the notions of identity as many people go through life questioning where they truly belong.
One area that the play also addresses is the fact that it is not the responsibility of those who have got soaked in the culture of another land to come and effect a change in Nigeria, rather, those at home should do that with all sincerity of purpose. Expectedly, the setting so unusual as the play was presented in a Theatre on the round stage, which gets the audience really closer to the performers. The characters inserted an unusual energy into the play.
And the directorial style also assisted to aid the play. The question of where does every one belong and where do they want to truly attach their identity to, lingers in the play. In all, origin should not be forgotten! Without doubt, this is a production Nigerians would be willing to see again and again.
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