Whispers in the Dark

The Crown Troupe of Africa always takes the creative route in the execution of their plays, whether foreign or local, original or adapted.

Noel Greig's Whispers in the Dark was the troupe's production for April; and it was a bumper package - with Footprint's performance of Window Talk; Qudus Onikeku's dances, and Nefertiti's songs.

The performance opened with an ‘ewi' recital by Adisa; he made use of pun (‘ase oro') a lot in his description of love which thrilled the audience as they cheered. Footprints, the children's dance group, proved that they are capable of more than dance, as they took the stage with Window Talk a play written by Segun Adefila and directed by Seun Awobajo.

An existentialist, almost absurdist philosophical play, Window Talk raises questions about opposites: heaven and hell, peace and war, politics and power, wisdom and folly, religion and belief, God and man, amongst others.

It is also interactive, inviting feedback from the audience. There is a high poetic use of language, play on words, use of Yoruba proverbs, pidgin English, and the use of songs (local and foreign). Truth is poured straight from the lips of children, sometimes in long rants, at other times in arguments.

The troupe did justice to Whispers in the Dark, the main menu of the day. The play is a fable with other stories embedded in it, the thematic thrust being the survival of the arts in an oppositional society.

The Crown Troupe adds its special touch to the story not only by by double casting, but also with the use of songs (the Yoruba folk song, ‘Ero-Oja,' was remixed for the performance), flashbacks, riddles, etc.

The thematic thrust is reminiscent of George Orwell's Nineteen Eighty-Four and the antics of the government to control everything including arts. This may not be the usual Crown Troupe act because of the seriousness of the theme, yet they do not fail to deliver as they tackled social issues posed by the play.

Then comes the funny dramatic skit that the troupe has been known for: ‘Oga Malo Wan Piss', a comic satire on various social realities around. The skit takes a look at the mess in our political parties, which are given names like: Chop I Chop Party, Jeun Soke Party and Chop Clean Mouth Party.

They also commented on global issues like the economic meltdown and global recession. One line goes: "Taking and taking without giving equals global warming, and chop plus chop equals economic meltdown."

They closed on a very funny note. The audience participated in a call and response song. It worked like this: those that have blood (eje) flowing in their veins are the rich (the audience responded: ‘lejeleje') the poor have no blood in their veins (response: ‘Iro Nla (A big lie). It goes thus:

Call: Se president leje? (Does the president have blood?)

Response: Lejeleje (Yes, he does!)

Call: Se commissioner leje? (Does the commissioner have blood?)

Response: Lejeleje Call: Se masses leje? (Do the masses have blood?)

Response: Iro nla (Big lie) Here is the twist, the caller asks: Se audience leje (Does the audience have blood?) and they wanted to say ‘Iro nla' but changed it to ‘Lejeleje'. It was amidst riotous laughter that

Nefertiti does a final number to round off a day of fun, laughter and truth.

Going out of the National theatre on that day, I could not but be glad for the opportunity to watch a play that was interesting and educating, one that confirmed the sustenance of art in any society. Listening to the whispers of my heart, I knew that the National Theatre had come to stay as a mirror that reflects our society even through the arts.

Crown Troupe performances hold on the first Sunday of every month.