For World Theatre Day, LCAC Stages ‘The King Must Die’

Yinka Olatunbosun

Aplay built with the theme of power struggle, titled ‘The King Must Die’, was staged on March 28 by performers drawn from the Lagos State Council for Arts and Culture at the Lagos Theatre, Igando. The play was one of the set activities to mark this year’s edition of World Theatre Day. Set in a fictitious community called Ilu Odo, the play opens with the eulogies of the people for Atobatele, a popular choice of candidate for military regent. Loved by all, Atobatele soon became the envy of other political aspirants.

Despite being the people’s choice, Atobatele is denied the right to rule. He is imprisoned while successive military regents overthrow one after another. From authoritative to egotistic leadership, Ilu Odo was drowning in political crises. The little ray of hope came with the interim government headed by Omolade. This was meant to last for a month and then was cut short by Fijabi, the Abobaku.

Staged on the heels of post-election discourse, the play is a metaphor on the Nigerian political climate and how the people’s mandate is stifled by threats to democracy. However, the death of Atobatele is a warning if not a threat to any aggrieved candidate who insists on justice. The end of the play leaves a disturbing after-taste.

Every society that seeks to pursue democracy will affirm the civil rights of its citizens. Atobatele is poisoned in the play and his legal and moral right to affirm justice and humanity is being questioned in the resolution of the conflict.

Using crisp choreography and urban-type of music laced with rap and Afrobeats fusion, the scenario painted in the drama is reminiscent of the June 12 struggles where the people’s choice, MKO Abiola was imprisoned after declaring himself as President. One of his wives was assassinated in the struggle against the annulment of the June 12 elections. In the play, Atobatele’s wife was killed too while he was poisoned after the visit of two diplomatic officials.

Sadly, ‘The King Must Die’ evokes a traumatic past at a delicate time in Nigeria’s political history. The last Presidential election, unlike June 12, was characterised by voter intimidation and suppression and pockets of violence. Meanwhile, June 12 was deemed one of the freest and fairest elections ever held in Africa. How then do the audience reconcile the parallel being drawn between Atobatele and Abiola?

But for what it is worth, rekindling live theatre at purpose-built venues is indeed a great way to boost the cultural life in Lagos at the grassroots level. Hopefully, the under-utilised venues will serve its purpose, provide job opportunities for young creatives and boost the local economy of the host communities.