Saturday, 8 August 2020
Jemima Asuquo : Nollywood Actor/Make -up Artist
Saturday, 29 April 2017
"Hangmen Also die" Director gets scored after sixteen months by a theatre and Media Critic
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| PRODUCTION POSTER: HANGMEN ALSO DIE |
The
agency of drama and theatre as media of communication, education,
exhortation and entertainment has been variously discussed and
established (Betiang, 2001; Iji, 2001; Barker, 1991). This is made
pertinent by the fact that drama and theatre as a social art (Emasealu,
2008; Traore, 1978; Burns, 1972) imitates or study the society in which
it is written or staged overtly or covertly (Bamidele, 2000) with the
aim of drawing attention to and solving social problems; facilitating
changes in attitudes and lifestyles; influencing thought and opinion;
propagating socio-political cum economic empowerment as well as cultural
diffusion (Ogu-Raphael, 2007). These could be achieved either through a
reading or studying of the play as a dramatic literature, watching it
in performance or both; although the latter is almost always regarded as
a much more instructive experience than the former (Betiang, 2001).
Hence, theatrical performances, in this instance, present to an audience
messages and effects which are deliberately engineered to arouse them
both intellectually and emotionally. It is, perhaps, in this vein that
the production of Esiaba Irobi's Hangmen Also Die as directed by Austine
Lordlaz (Achoakawa ) was conceived - to provide audiences, within and
outside the University of Calabar community, a unique, compelling,
composite and instructive experience.
The
play, as it were, is notably a "spine-chilling tragedy that paints a
bizarre and horifying picture of a society in acute danger of
socio-economic and ecological extinction as a result of the terrible
effects of oil exploration and exploitation" (Production Blurb, 2016).
It dramatizes, amongst other things the perverseness of avarice,
corruption, poverty, marginalization and unemployment; and showcases, as
well, how these could potentially re-calibrate hitherto law-abiding
citizens into villainous monsters if not checked. As written, the play
reveals how Chief Isiokipiri Erikosima connived with other so-called
'political stakeholders' to subvert a federal government compensation
money due the people of Izon Sate (an oil-rich riverine state) for the
oil spillage which had ruined their farms, homes and lives; but not for
the intervention of "The Suicide Squad". However, Hangmen Also Die as
produced, was an experimental re-rendering that sought to employ such
varied Post-modern production aesthetics and directorial
concepts/techniques as Jerzy Grotowski's Poor Theatre, Bertolt Brecht's
Verfemdungs Effekt and Ntozake Shange's Choreo-poem to fundamentally
jolt the audience and create a self-conscious atmosphere where the
audience become an integral participant in the meaning-evoking and
sharing process. The experimentation envisaged the utilization of these
different totalities, media forms and multiple arts as a veritable
backdrop with which to re-engineer or reinvigorate audience's interests
in theatre-going and patronage.In order to do this, the play was
performed or consciously directed from the Hangman's perspective with
the resolution left open-ended for the audience to, either collectively
or individually, decide the fate of the Suicide Squad members.
As
dramatized, the Sucide Squad had, under the bewitchment or influence of
Tamara (Lydia Usang), stormed the palace of Chief Erikosima (Chukwu
Peter). Amidst the raucous ceremony, organized using the compensation
money meant for the people, to celebrate his ascension to a traditional
stool, the Chief was captured and later killed but not after confessing
that he shared the loot with officials of the local government,
commissioner of police and other political stakeholders. The gangsters
were eventually captured, tried and sentenced to death by hanging.
However, the Hangman, Yekini (Bencourage Odey), refused to perform his
duty on the fateful day deeming the sentence given to the boys as
grossly unjust and a miscarriage of justice. From the Hangman's point of
view, the Suicide Squad did a noble, courageous act as they got rid of
one of the leeches feeding fat from the commonwealth and suffering of
the masses. His rebellion and subsequent appeal to the audience to judge
the matter presented, stemmed from his alienation with the hegemonic
societal culture that allows the masses to be exploited by the elites
without recourse to justice, equity or fairness as well as counternance
unfettered punishment on any mass uprising arising from such perceived
marginalisation with heavy-handedness. It is against this backdrop of
wider societal double-standards, corruption, poverty, marginalisation,
injustice etc that Yekini (Bencourage Odeh) urges the audience to judge
and make a stand. Thus, following the Epic and Poor Theatre aesthetics,
the performance made profuse use of such distancing or alienating
elements as placards, music, actor-audience relationship, image
projections, character tags, monochromatic or minimalized costume and
suggestive props in order to aid the audience watch actively, critically
and, thereafter, participate fully in altering and bringing about
appropriate changes in the society either individually or as a
collectivity.
From
my perspective as an audience at the two-day performance, I would say
the experiment was a success to a large extent. It was a success in the
sense that the audience did not just watch a very entertaining story
unfold or unravel on stage, but the performance was presented in such a
way as to make the audience consciously understand or relate the
scenarios onstage to current happenings in the Nigerian society. The
audience could easily piece together facts that pressing societal
challenges such as unprecedented levels of unemployment, unfettered
greed and corruption in politics, sectional marginalisation, poverty and
the likes could force hitherto law-abiding youths or citizens into
"unlawful" acts in their quest for survival as typified by characters in
the play such as Mortuary (Bassey Marshall) , Moshe Dayan (Riyo David),
Hydrochloric Acid (Michael Savage) , R. I. P. (Nkanu Gabriel) , Ayatola
Khomieni (Obibi Samuel), Tetanus Tetanus (Okon Courage), Accidental
Discharge (Fidelis Patrick) and, most especially, Demeari (Okoro
Fidelis) who left home to join the Suicide Squad in the forest. It is
not out of place to assert here that evidences abound within the
sub-strata of our society, and elsewhere, of youths like Demeari, who
have been attracted, or perhaps, resorted to violence and terrorism due
to untold fraustration, marginalisation, lack of equity, fairness and
justice perpetuated within the superstructures of society.
The
matrix of what I could refer to as "Identi-alienation" (i.e. the
ability of the audience to conciously identify, relate or link scenarios
presented on stage with societal occurrences through critical
detachment) was made possible through the concept(s) or approach(es) of
staging adopted by the director. What was most appealing to me, as an
audience, was that the performance seemed to combine different
entertainment formats in its presentation. For instance, there was a
live band performing contemporary Nigerian Hip-hop, Reggae, Highlife and
Folk songs inline with the demands of the play which audience could
sing along as well. There was poem rendition, mime, pantomime,
choreographed dances etc. as a part from the dramatic action. These and
the fact that some of the actions of the actors were done close and in
response to the audience encouraged interactivity between the stage and
the auditorium. Such interactivity between actors and audiences should
be actively encouraged and nursed as it creates an atmosphere of
congenial enjoyment which could prove pivotal in terms of spurring a
repeat visit to the theatre when next opportuned in the mind of the
audience and, perhaps, a gradual revival of live theatre-going culture
in the long run.
Apart from the usually minor performance
blips like wrong stage turnings, drying actors, lines swallowing, missed
cues, the quality of acting exhibited was top-notch. There were
outstanding performances from Yekini (Bencourage Odey), Hydrochloric
Acid (Michael Savage), Moshe Dayan (Riyo David) and most especially,
Demeari (Fidelis Okoro) whose interactions with the "White" lady in the
auditorium drew varied innocuous responses from the audience and , most
importantly, typified the concept(s), style and atmosphere of the
production. The professionalism showed by the dancers and performance of
the live band (U.C.P.C Band) to cue complimented and added spectacle to
the excellent showing of the actors.
Although there was a
somewhat disproportionate application and emphasis of certain
post-modern concepts over others, the major shortfall of the performance
was its attempt to 'stage' or stage-manage audience reaction or
response to the issues raised in play. The 'staged' reaction was
puerile, disruptive and confusing because it was so unconvincingly
enacted. The audience obviously saw through the ruse and did not engage
in the ensuing arguments but merely watched it as part and parcel of the
show. By way of a personal anecdote, I would recommend that directors
should not try to 'stage' the reactions of the audience for them as it
is within the rights and prerogative of the audience to either react to
the message presented or not. Moreso, it must be understood that the
nature, dimension or dynamics of audience reaction to such presentations
could quite, fundementally, transcend the immediate, physical show of
emotions or voiced thought into deeper psychological or spiritual
realms. As such, the audience's right and choice of reaction should not
be encroached, coerced or coaxed by the cast and crew of the
production.
Nevertheless,
I must reiterate that inspite of the observable shortfalls, the
experiment was largely successful. I must, as well, commend the director
for effectively co-ordinating and offering the audience an interesting,
mentally-engaging, message-laden and enjoyable performance experience.
As an avid follower of his rapid-rising career and burgeoning profile in
Theatre and Media directing, the quality of performance delivered was a
vivid testament to his ingenuity, creative acumen, intellectual
insight, technical, communication, man-management and co-ordinating
skills. I must say that the director, Austine Lordlaz, certainly "knows
his onions" and, indeed, has what it takes to carve a niche for himself
in the entertainment industry.
Works Cited/Consulted
Bamidele, L. O.(2000). Literature and Sociology. Ibadan: Stirling-Horden Publishers (Nig.) Ltd.
Barker, C. (1991). "Theatre and Society". In John R. Brown (ed.) Drama and Theatre. London: Routledge and Keegan Paul.
Betiang, L. (2001). Fundamentals of Dramatic Literature. Calabar: BAAJ & Omnix International Limited.
Burns, E. (1972). Theatricality: A Study of Conventions in the Theatre and Social Life. London:Longmans.
Emasealu,
E. (2008). "Drama and Social Changes in Selected Plays of Bode
Sowande". In Stephen Inegbe and Etop Akwang (ed.) The Parnassus. Uyo:
University of Uyo Journal of Cultural Research, Vol.4. pp.
Iji,
E. M. (2001). "The Media As Vehicles for Effective Rural Development
and Productivity." In Towards Greater Dividends: Developmental
Imperatives. Calabar: BAAJ International Company.
Ogu-Raphael,
I. (2009). “The Medium of Theatre as an Alternative Conflict Resolution
Mechanism: A Case of the Niger Delta”. Unizik Journal of Arts and
Humanities 10. 2, pp. 63-76.
Traore, B. (1978). The Black African Theatre and its Social Functions. Ibadan: University of Texas Press.
ABOUT THE REVIEWER
Morison,
G. Ime is a theatre scholar, cultural critic and Media researcher. A
graduate of Theatre and Media Studies, University of Calabar and the
Department of Theatre Arts, University of Uyo respectively, Morison has
featured in over 20 stage and media productions including Ifufe (2014),
Linda's Joint (2014), When Tomorrow Comes (2009), The Twist (2008),
Ekpogogoroo (2008), Midnight Hotel (2008), Blood and Bondage (2007), Not
a Thing out of Place (2006) etc. As a researcher,
Gideon Ime Morison
has tutored, partnered and consulted widely for individuals and bodies
corporate; he is, also, the lead consultant and researcher for Research
Nerds & Partners, a frontline, fast-rising Theatre/Media research
and consultancy firm. Morison is currently a lecturer in the Department
of Theatre Arts, Federal College of Education (Technical), Omoku, Rivers
State - Nigeria.
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| MORISON GIDEON: THEATRE AND MEDIA CRITIC |
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