Ìṣarà: A Stage Play Review 

Isara, a picturesque agricultural town in Ogun State, Nigeria, boasts a resplendent cultural heritage rooted in a rich tradition of art, music, and festivals. With a storied history spanning centuries, Isara is home to several schools and tourist attractions, including the Isara Palace, the Remo Forest Reserve, and the Ogun River. 

Wole Soyinka, a distinguished native of Isara, is a renowned Nigerian playwright, poet, essayist, and political activist. He pursued his academic journey at the University of Ibadan in Nigeria, and the University of Leeds in the UK. As one of the most prominent and influential African writers of his generation, Soyinka has left an indelible mark on the literary world. In 1986, he made history as the first sub-Saharan African to receive the Nobel Prize in Literature.

With a prolific body of work comprising numerous plays, poems, essays, and novels, this article focuses on one of his notable works, “Isara: A Voyage Around Essay”, a testament to his literary prowess and deep connection to his roots in Isara.

In 1984, two years after publishing his beloved childhood memoir, Aké, Wole Soyinka discovered a treasure trove of family history when he opened a worn tin box that had once belonged to his father, S.A. (“Essay”) Soyinka, a dedicated schoolteacher during Nigeria’s colonial era. The humble contents of the box—a collection of letters, faded journals, tax receipts, meeting minutes, school reports, and program notes from special events—sparked a creative journey for Soyinka and became the inspiration for his second memoir, “Isara: A Voyage Around Essay”, a fictionalized exploration of his father’s life and times.

The stage play adaptation of Wole Soyinka’s memoir, “Ìṣarà” (Isara: A Voyage Around Essay), brings the story to life.  Emeritus Professor Femi Osofisan wrote and directed the production, which was presented by the Initiative for Information, Arts and Culture Development in Nigeria (IACD NG). To commemorate the 90th birthday of Prof. Wole Soyinka on July 13, 2024, the play was staged on July 27-28, 2024, at the Wole Soyinka Theatre, University of Ibadan, and was offered free of charge to the audience, making it a truly special and accessible celebration.

Set against the backdrop of Nigeria’s colonial past, “Ìṣarà” is based on true events that unfolded during the lifetimes of Wole Soyinka’s father and grandfather. A war in Isara concerning the Odẹmọ (traditional king) forced Yode and his friend, Sipe to go to Lagos after just arriving at Isara for the new year to try to convince Samuel Akinsoya (Saki) who the king makers chose to be the new Odẹmọ. Saki was a Nigerian trade unionist and nationalist based in Lagos during the colonial era. Yode and Sipe were able to convince Saki to leave National politics and be the future Odẹmọ of Isara. Sotikare, a crucial ally, thought Saki low for wanting to be Odemo asthey were all educated men. Yode and Sipe used the argument of there being a Queen of England so why is being Odemo of Isara low? Sotikare was later convinced and they agreed on an election in Isara as an alternative to violence in deciding the new king. Pa Josiah performed a ritual with the three friends, Saki, Yode and Sipe to know for sure if Saki truly should be odẹmọ. Saki passed, and Pa Josiah rushed to tell Baba Jagun. At the end of the day, Saki was crowned the new Odẹmọ of Isara, an office which he held from 1941 until his death. He is to this day widely considered as the greatest king of the town. The three friends discussed how they could make Isara better through Saki’s leadership. The play ended as the entire cast took a bow on stage.

The stage setup was simple yet effective, featuring subtle lighting, chairs, drums and a clothes rack. The cast of eight men delivered a lovely performance, with one member dedicated solely to drumming and another skillfully portraying the play’s sole female character. The intellectual script showcased impeccable English language and phonetics, engaging the audience with its clever wordplay.

The actors’ interactions with the audience were inviting, drawing the viewers into the narrative. Each performer excelled in their role, bringing depth and nuance to the story. The stage management and costumes were understated yet perfectly suited to the production, complementing the actors’ performances without distraction.

The play was filled with moments of comic relief, as the actors nostalgically recalled memories from the past. Notably, the entire cast generated all the singing and sound effects, adding to the production’s charm. The audience was filled with mostly elderly people excited to watch the play as they relate well with it.

I am glad that I made time to attend this adaptation. It was truly worth watching. I’m thankful to the organizers for their efforts in producing such a lovely play, and offering it for free too. Once again, I encourage everyone to go see a good stage play, and maybe you’d be hooked like I am. As a stage play enthusiast, I was naturally drawn to this production, but what made it even more compelling was the personal connection I share with the town of Isara, being my mother’s hometown. I saw this as a chance to explore the town’s history and culture, and I’m delighted to have come away with a deeper understanding and appreciation of its heritage.

Ololade Ojeniyi