Kongi’s Harvest, the 1965 play by Wole Soyinka, could have been written only yesterday when one considers the theme of the bad leadership bedevilling the African continent long after independence.
Directed by Segun Adefila and performed by his 19-year-old Crown Troupe of Africa at the Amphitheatre in Ijegba Forest, Ogun State, everyone who was part of this year’s Wole Soyinka International Cultural Exchange (WSICE 2015) agrees that the staging is a fitting end to the annual fiesta that celebrates the Nobel Laureate’s birthday.
The same troupe had staged the play in Lagos shortly before the Ijegba performance, but the magic of the forest backdrop of starry sky, flora and fauna cannot compare to any indoor venue. Then there is the stellar performance of not just Joy Akran, who was on fire in her role as Organising Secretary, but also that of every member of the cast and crew, and even the audience. Indeed, this performance on a stage that comes out better than any 3D experience is better witnessed than described. It is sad that Soyinka was not there to witness this elaborate spectacle in his honour.
In the plot, President Kongi, the dictator of an African developing nation, Ismaland, attempts to modernise after deposing King Oba Danlola, who is being held in detention. Kongi demands that Danlola presents him with a ceremonial yam at a state dinner to indicate his abdication. Daodu, Danlola’s nephew and heir, grows prized yams on his farm.
Daodu’s lover, Segi, owns a bar where Daodu spends most of his time. She is revealed to have been Kongi’s former lover.
As the different tribes resist unification, Kongi tries to reach his goal by doing everything within his power, including seeking advice from the man he deposed through disguised emissaries. In a climactic scene at the state dinner, Segi presents Kongi with the head of her father.
Complex as many of Soyinka’s plays, including this one, may be, Adefila’s direction brings it very close to the audience with a masterful use of contemporary slang, humour and even songs. Of particular note are expressions like ‘Oba Bado’, ‘Twale’, ‘Shoki’ and a host of others that sit very well with the audience comprising of young and experienced people of arts and culture.
But one of the people everyone will remember is Akran, who takes the part of a man, with total control of her lines and mannerisms while traversing the stage with four sections like the play without breaking a sweat.
Her effort helps bring this satire on contemporary political situation on the African continent with a loud and clear call for holders of public office to desist from enriching themselves from the commonwealth and lording themselves over the mass of the people to whom power belongs.
This is even more poignant today as it was the case when Kongi’s Harvest shortly around the time countries on the continent gained independence.
Staged away from civilisation, in the Ijegba forest, the crew must also be commended for bringing technical savvy to the production. Not only was sound near perfect for the better part of the production, the lighting was equally good, lending credence to the expertise of the Teju Kareem-led ZMirage.
In all, it was one of the best performances ever put up for the play that lasted over two hours.
