by Wilfred Okiche

For years now, the Nigerian attempts at capturing the Broadway cultural experience have mostly been imported recycles from South Africa (Umoja) or the United States (Fela!). Then 2013 birthed ‘Kakadu’, the first indigenous musical. In an entertainment industry currently enjoying a resurgence in movies and music, the local theatre scene has for some reasons been playing catch up to it’s more glamorous siblings. This, despite the fact that some of the most rewarding moments in entertainment now can only be experienced on the stage.

Enter Bolanle Austin-Peters, founder of Terra Kulture, the cultural colossus responsible for breathing new life into Nigerian theatre, long after the national monuments were abandoned to decay. Not content with her already iconic status on stage, she dreamed an even bigger dream. One of singing and dancing; of big stages, bright lights, multiple showings and international possibilities. The result of her 3 month labour of love came alive the last weekend of October 2013 when she marshalled a cast and crew of over 60 performers to put up a show stopping ode to popular music.

The word ‘Saro’ in historical terms refers to former slaves who migrated from Freetown, Sierra Leone in the 1800s and settled in the Ebute-meta and Yaba areas of Lagos in search of new beginnings. Ab initio Lagos has always been the land of starting over, a melting point of various cultures and influences and a lightning rod for creative impulses. City of blinding lights, music, dance, poetry and more music.

Bolanle Austen-Peters’ ‘Saro is less the actual history of Lagos and more a chronicle of the musical influences of the city. Her ‘Saro’ is highlife, juju, fuji and Apala music. It is Bobby Benson, Rex Lawson, Fela-Anikulapo Kuti and Ebenezer Obey all rolled into one. It is King Sunny Ade, Onyeka Onwenu and Sir Shina Peters influencing the D’banj’s, the Tiwa Savages and the Olamide’s. It is timeless, contemporary and futuristic.

Four young chaps (Patrick Dabuah, Paolo Sisiano, Anthony Edet and Olumide Dada) leave the drudgery of rural life in Edo state with nothing but a song in their hearts and an itch for the big time. On arrival in Lagos, they are abused, robbed and imprisoned but refuse to let their misfortunes get in the way of their big dreams. Do they find fame or fortune or are they swallowed up by the city’s noxious underbelly.

This production of SARO the musical definitely has it’s highlights. It aims for a splashy, sprawling epic big in showtunes and bigger in song covers. The live band most of the time struggled quite unnecessarily to outshine the actors on stage, assaulting the ears with the diverse sounds of Nigeria’s musical history. But the hardworking actors and dancers give it all they’ve got, with Dabuah particularly impressing with his vocal range. While the leads are not played by household names, a smattering of experienced stalwarts of the stage were added to add some shine to key supporting roles. Dakore Akande and Bikiya Graham-Douglas vibrant as two talent scouts cum producers, and Tinsel’s hottie, Tomi Odunsi who sizzles and seduces the audience with her sensuous body movements.

Saro makes for a tortured slow start as the audience is kept unawares as to what exactly is happening. The first hour is dull, saved only by the spectacle. The dazzling colours and bright costumes are great but they amount to naught when the script is clunky. Things however pick up eventually as the action heats up. The original music is fine but at some point, the medley of pop staples becomes stuporous. How much Psquare does one really need in a 2-hour production?

The script seems to be set in the seventies what with the costumes and presence of Fela Kuti in his prime but liberties were taken with the fidelity of the music chosen, lending an air of timelessness but also of inconsistency to the production. Also for a musical intent on showcasing the industry and spirit of Lagos, the heroes seem to have it easy as they are plucked safe from misfortune. Whatever good fortune they get is handed to them, almost on a platter. They don’t work and sweat for it. The music business may work that way sometimes but Lagos is the antithesis of that. The rewards come after a hard day’s hustle. That is the Lagos dream.

The pop finale medley brought in every one from D’banj to Davido. Some songs are better left to the radio and club deejays.

‘SARO the musical’ is a welcome new chapter in our theatre history and a little retooling will shift it as close to perfection as it can possibly get. It is surely an experience none the less. One that should be replicated nationwide, supported, enhanced and then packaged for export.

 

– The writer tweets from @drwill20