Shex Ladipo reviews the stage play, Zik of Africa, by Duke of Shomolu Productions, and pronounces it ready for the world.
These are extracts from a much longer essay originally published by ThisDay newspaper.
Most of us have seen the best of Broadway and I can tell you that the stage craft of Zik of Africa was first class. The actors were very good and the technical support was perfect.
Shex Ladipo
I was privileged to be invited as a special guest at the stage play “Zik of Africa” mounted on Easter Monday (10 April 2023) at the MUSON stage. It was produced by Joseph Edgar, the indefatigable and indomitable Duke of Shomolu. Edgar is the proprietor of the Duke of Shomolu Foundation, an organization irrevocably committed to entertaining and educating Nigerians through stage drama.
I had become a fan of the Duke, though he thinks of me as his egbon, true to Yoruba culture, ever since I saw his “Ogiamen” production on stage. I was very impressed and we became egbon and aburo since that event.
Zik of Africa was equally impressive, receiving resounding ovation from a very appreciative audience that included the cream of Lagos and Nigerian society. There were many Special Guests at the Command Performance. His Royal Majesty, Igwe Nnaemeka Achebe, the Obi of Onitsha, was the Special Guest of Honor, supported by members of Zik’s immediate family. This was my first close encounter with the Obi and I found him to be a very distinguished and personable modern day monarch.
The history of Nigeria’s independence struggle, as portrayed by the stage play, based on historical accounts, throws up several posers about the dramatis personae and their true objectives. The play was well researched and ably directed by Dr Erojikwe; himself a Zikist and drama icon in his own right. The story shed light on some germane issues and I feel obliged to share my thoughts.
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Let me confess that I love music and dance. Like my father, I played trumpet. I played in the King’s College School Band, the Hotspots. In our days, in the 60s, Keem Belo-Osagie did lead vocals, while Yele Aluko played Bass and Ladi Williams (the Pilot) played lead guitar. I was part of a very virile horns section composed of trumpets and trombones. The horns section was trained and led by my seniors Kitoyi Akinsan and Chinyere Ohia. My father JK Ladipo, in his own time as a trumpeter, in the 40s and 50s, led the Mills Orchestra, composed of talented musicians, most of whom worked with him in the food processing factory. They produced yam flour during weekdays and played music on weekends. These are stories for another day.
So for me, the music and dance, which have become the forte and a trademark of the Duke of Shomolu Productions, is the most exciting element of their outings. The stage play Zik of Africa served up pulsating traditional rhythms and dance from many parts of Nigeria including Yorubaland, Igboland and Hausaland; all Zik’s constituencies.
The Arts must surely be appreciated for its bridge building and unifying role in every society that yearns for development.
Shex Ladipo
The richness of Nigerian culture was on full display. The excitement that the production delivers, in contemporary music and dance, is unmatched in the history of Nigerian stagecraft. It was simply quintessential; and madd! to paraphrase the Duke of Shomolu. It is ready for export, if I might add.
Of course the story of the play is equally very compelling; probably more so. Remember that education and entertainment are what is on offer from the Duke of Shomolu Productions. Zik of Africa certainly gave the best of both worlds in about two hours running time. It was a topical and compelling story and many people in the audience came away with a better understanding of our nation’s history. Some answers were provided to the oft asked question of “how did we get here ? “ It may also have provided a better perception of the path to unity.
The Arts must surely be appreciated for its bridge building and unifying role in every society that yearns for development. After the curtain dropped, there was lots of hugs and back patting to go round. Segun Awolowo, the Sage’s grandson, who was a Special Guest and the Azikiwe children were in great demand amongst the audience. Zik’s surviving widow, Emeritus Prof (Mrs) Uche Azikiwe, drew plenty of tears from the audience. She had featured prominently in the play in some very moving love wan tin tin scenes with Zik.
The Obi, in his brief remarks, proved to be a real royal father of the day with his admonition for love and understanding amongst all Nigerians. He also commended the qualitative stage production. I must not forget Olisa Adibua, the anchor and master of ceremony. As usual, Olisa was neat and tidy.
Most of us have seen the best of Broadway and I can tell you that the stage craft of Zik of Africa was first class. The actors were very good and the technical support was perfect. The dancers, both male and female, were exceptional. The cultural dance movements were well choreographed, with our trademark Nigerian acrobatic maneuvers executed to precision. First class. It was a great Easter treat. Kudos to the Duke of Shomolu Productions.
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