The name Dan Kpodoh has deservedly etched himself as one of the proponents and vanguards of the renaissance of live theatre performance in the city of Port Harcourt and by necessary extension the Niger Delta region. Through his Active Play House, Dan, a script writer, choreographer, artistic director, Festival curator and Event Manager, has produced and hosted with consistency performances in the last few years. Some of his productions which are usually laced with dance and music, include but not limited to; Bolobolo, _The Struggle_, Biokpo, _Unbroken_, _The gods are not to blame_, etc. His choice of scripts for productions reveals his artistic commitment to socio-economic reconstruction. Whereas he addressed the burning issue of domestic violence which I describe as the scourge of the marital space today in _Unbroken_, however, for the most part, Dan's artistic endeavor tilts toward the ideological dramaturgy of the Osofisans and the Fatundes because evident in his thematic construct is the passion for the liberation of the Niger Delta from the shackles of depravity underdevelopment.
On Sunday, 11th September 2022, Dan Kpodoh took another giant stride with his cast and crew to bring to live theatre enthusiasts in Port Harcourt and environs, one of Ola Rotimi's classics in the comedy genre; _Grip Am_. For those not familiar with this very popular script, it is an adaption from vernacular into Nigeria Pidgin English by Ola Rotimi. For some it may have been nostalgic entering the auditorium and perhaps with an air of predictability (that feeling of knowing what to expect). But with dexterity and artistic license, Dan Kpodoh tweaked this comedy into a musical somewhat, suggesting that the present transition in theatre development in Nigeria into Musical Theatre is gradually becoming a norm.
The play started at 05:07 pm; 1 hour 37 minutes from the earlier advertised commencement of 3:30 pm, at the Arena Event Centre, Tombia Street, GRA, Port Harcourt. No thanks to the heavy downpour. The hall was half full; comprising mainly of theatre practitioners, who came to show solidarity and support for one of their own. The main show was preceded by rib cracking jokes by the duo of Angel the Laff (pioneer, Port Harcourt Comedy Club) and Kunle Tatafo (of the Funky Four). They both reeled out spontaneous jokes which relaxed and prepared the audience for what was to come; more laughter and entertainment.
The play opened with a Sunny Neji’s hit track, _Tolotolo_; incidentally that was the name of Alabo (the protagonist) and Warri’s neighbor. The director set the play in the Niger Delta, judging from the names of the protagonist and his wife; Alabo (played by Alfred Fadar Otite) and Warri (played by Favour Nabofa). Tolotolo (played Doubra Agwana) is depicted as a ‘been to’ character, in her speech, nuances and mannerism. But we would discover later that all was for show, she’s never been anywhere but her community. Whereas the Arena is proscenium in orientation, Dan from the outset was not pretentious about his avant-gardist approach to directing in the manner he broke the fourth-wall, introducing his first character on stage from the audience. That singular act created a tacit intercourse between the audience and the actors on stage.
In terms of content, the director made superfluous insertions of social issues, phrases, words, jokes and malapropism into the original dialogue, all in a bid to evoke laughter and indeed it resonated with the audience. So we heard issues like PVC and its importance to good governance going forward. Songs like _Enjoy_ by Tekno, Alpha Blondy’s _Sweet Fanta Diallo_, and of course ‘Carry me dey go, carry me dey go my father house’ (from a skit creation that has gone viral on social media), etc, were freely but appropriately used to the delight of an appreciative audience.
There were three entrances that were innovative for me; the first was that of the Angel (played by Olivia Chinwendu Onyeji) heralded by George Frederick Handel _Halleluyah Chorus_. The Angel appeared on stage spotting a medicated glasses, when asked why, she replies that she doesn’t see correctly. That generated guffaw on stage and in the auditorium. The beggars’ entrance was equally exciting, though unexpected; it added fervor to the dramatic piece with its sonorous songs. However, the entrance of Death (played by Jessica Oluebube Sunday) was the show stopper. Death was introduced with his team, all clad in black and danced in unison to a parody version of Michael Jackson’s track, _Billie Jean_. It was a lively performance. The landlord (was played with panache by Dan Kpodoh). His interpretation of the role held the audience captive especially with his phrase uttered in Yoruba-English; ‘Nor dey S’out’ (shout). Deinmoara James Profit played the typical Ijaw woman’s role effectively too, accent and all. Wisdom Edet as Skiddo, the landlord’s son gave a good account of himself in the few moments he graced the stage. Overall, the acting was excellent.
Ultimately, this was a successful show performance wise. Although there were deliberate attempts at slapsticks by some actors to elicit laughter, it didn’t take anything from the general performance. Alabo (Alfred Fadar Otite) didn’t manage his voice properly, he was shouting in an attempt to project, even with a lapel mic. That was a disservice. If this play ran for 3 days, I doubt he would have retained his voice. Also, the actors played for the most part on the same plane Down Stage, that wasn’t good directorially, as it robbed the play of the needed depth. The Set was as simple as austere as it can be but was too neat like a new project about to be commissioned. The technical director could have aged it a little though. The costumes and make up and sound were on point. The play ended with Kizz Daniel’s anthem; _Buga_.
Like we have always advocated, we should be collaborating and not seen as competing with each other. We should support one another. To that extent, I salute Crabites who defied the rain to patronize one of us. It is okay to acknowledge Boma Kiri-Kalio who single handedly bought 20 or so tickets to share to friends. Also, Mr Yibo Koko, gave an open invite to every member of cast and crew of Seki to attend the show at his expense. Indeed Dan was enthralled by the solidarity.
In all, the feedback attests to the fact that the audience had value for their time and money. Congratulations to Dan Kpodoh, Cast and Crew of _Grip Am_, and the Active Play House on another successful outing.
POSTSCRIPT
Finally, thanks Dan for asking me to do this review. It reminds me of what I consider the best definition of a critic yet; “critics are like manure, they smell but you need them to grow”. Dan is one who is ready to grow, and grow he will.
Don Kester…
The Mentor
12/09/2022
Port Harcourt.
Comments
Post a Comment