Tonight:
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Fiona Mountford's rating
, Nigerian nastiness in Iya-Ile
By
Fiona Mountford
26 May 2009
In 2006, Oladipo Agboluaje scored a big hit at Soho with The Estate, a roistering account of an extended Nigerian family gathering for the funeral of Chief Adeyemi. The First Wife takes us back 20 years to Lagos in 1989 and finds the adulterous chief very much alive, although the drama itself is showing only the weakest of pulses.
The play never recovers from a bewildering, fractured, often linguistically challenging start, in which English is interspersed with liberal doses of both Pidgin and Yoruba. It’s tough to get a grip on exactly who all the minor characters are and, by the time we do, we have long since stopped caring.
What forward momentum there is in Femi Elufowoju Jr’s production builds towards the 40th birthday party of Toyin, the chief’s wife, although whether this largely dislikeable family implodes or not among the party poppers is little concern of ours.
There are tantalising glimpses into a fascinating world of Nigerian politics, corruption and banking scandals. It’s the bad behaviour in the home, though, that Agboluaje concentrates on, as both father (Jude Akuwudike) and one of his sons make moves on the canny house girl, Helen (Estella Daniels, excellent).
One hates to side with the patriarchy but seeing as the permanently scowling Toyin (Antonia Okonma) keeps a bullwhip behind the sofa to punish the servants, it’s not hard to see why her marital position may be under threat. I suggest sitting this one out, and waiting for the film of The Estate, currently in development.
Until 20 June (020 7478 0100, www.sohotheatre.com).
Details are correct at the time of publication - please check with venue before booking.
Reader views (5)
This is one of the most authentic Nigerian plays I have seen in a very very long time. The set was beautiful and reminded me of the Nigeria I knew and partly grew up in 25 years ago. The acting was superb and the storyline reflected very much the class struggle in Nigeria, as it was and still is. I cringed everytime the lead actress addressed her house helps, but that's the reality of domestic life in most Nigerians homes. I was disgusted at the lead actor's open infidelity, but again sadly infidelity is accepted for various sad reasons in Nigeria. Not once did the critic mention Toyin's abuse at the hand of her husband, that in itself speaks volumes!!This play shone a light on the shortcomings of the Nigerian society, in a humorous and graphic way and am glad for it! In fact am tempted to say that the critic simply has no appreciation of art, or art that is slightly outside the box or dare I say not western or one with a western overtone. This was not toned down for the western community and am glad! I have suffered too many of those!
- Titilola Bello, London, 30/10/2009 11:26
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Brilliant! I couldn't identify "the weakest of pulses" and the fascinating world of Nigeria is not about politics, corruption and banking scandals. The bad behavior in the home is part of the culture and there where no surprising gasps when it was revealed that chief was being unfaithful. Of course this doesn't make it right. But "Iya Ile" captured the essence of the Nigerian culture- rich, intoxicating and full of life. I am so proud to be Nigerian!
- Toks Aruoture, Bromley, Kent, 30/10/2009 10:26
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I feel like I've seen a different play to the one written about in the above review.
I don't speak Yoruba, or Pidgen, but I found being thrust into the inner workings of a foreign culture from the outset of the play an intellectual challenge, rather than bewildering. It was clear for me that the class struggle being played out in the Adeyemi household - as in the rest of Nigeria - was about corrupt anglophiles vs radical nationalist Nigerians, and the radically different forms of communication for the two groups illustrated that point nicely. The director could easily have 'translated' the text to make it easier for us to understand, but instead chose to hammer home the point that in Nigeria, language is a class defining weapon.
I would heartily recommend this play to audiences interested in intricate, physical storytelling - the dynamism of the production was astounding, especially when compared to the conventional, rather staid drama we tend to see on the London stage. There is no mention in the above review of the choreographed montages or the intricate detail of the set design - this is theatre lovers theatre.
The above review makes me think of the way Look Back In Anger was panned by critics because of the vulgar language and aesthetics - but Iya Ile is real life, and just as you don't have to work at a market stall to understand Look Back, you don't have to be Nigerian to understand Iya Ile.
- David Duchin, London, 30/10/2009 10:26
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I beg to disagree, although I have not seen 'The Estate' (and definitely look forward to it's film release) I think Miss Mountford' s view of Iya Ile is obscured, there's more to it than the issues she's chosen to raise or identify.
The play also raised/highlighted issues/points of hope, faith, living and trying to make something out of life albeit shortcomings found in one's environment. The sacrifice of a mother perhaps. I'd actually say it didn't have enough time to expound on certain points. I'd definitely recommend it and I think the moments of brilliance, fun, jokes.... far outweigh any shortcomings. So I'd recommend sitting this one in and making up your own mind after viewing
- Funmi Akanmu, London, 30/10/2009 10:26
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The family is not unlikeable, but real and coping as best they can with the insane and unconventional way of life in Nigeria. The bad behaviour in the home is an accurate reflection on life in an upper middle class Nigerian family, which can only be truly judged for what it is by someone who understands the culture. This is not a play in which to impose your western values of what is right and wrong, and the more complex issues plaguing the "permanently scowling Toyin" are thoroughly ignored in this review. This is a battered housewife, trying to keep family and face together in the face of her husbands constant philandering, which she knows all about but cannot challenge for many deep rooted cultural reasons. Whilst her aggresiveness towards the help is not justified, it can be understood when placed in the correct context. People who are hurting tend to vent out on others weaker than they are. An age old concept seen everywhere from the playground to boardrooms.
I would HIGHLY recommend this play, there is an excellent cast and thorough introspection on the status quo in the Nigerian society.
- Keji Egbe, London, England, 30/10/2009 10:26
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