Photo: Abdul-rosheed
By: ‘Tunji Solomon
LIKE THE rise of an empire from its ruins, in its wake lies the relics of its former existence: the strength, the glory, fervour and flavour. Its weaknesses? They are simply reminders. Things cannot be the same again. After all, a mind stretched by a new experience can never go back to its old dimensions. The trials of life never leaves any one the same again. A little push here and there unfold the realities of life, where the falcons may not hear the falconer. Apology to William B. Yeats.
SIGNIFICANTLY, every play comes with distinct appeal, soaked within the context of Prof. Wole Soyinka’s eponymous drama, Brother Jero did not fail to live up to expectations. The drama started with the sober-reflective monologue on the genesis of his ministerial calling, not enviable though and no disapproval either from the audience – who looked to see the loads of muses and fuses of religion hypocrisy, commitment and dedication of ordinary citizens garbed as nation of worshippers and devotees; with no conscience.
BROTHER Jero (Bamidele Oluwagbemiga), with his arrays of ironies and satires, like his forebears, he steps into their patterns and brotherhood claims. He reflects on his self-righteous claims: “I have no scandal”. Moving forward, the next scene moves to Amope (Timothy Abigael) – who is neither better than her husband, Chume (Adepoju Ademola): who relies on the emptiness of Brother Jero’s spiritual advice and direction. Amope, a manipulator and partial symbolism of the contemporary insatiable appetite of wife whose desires never end like abyss. “10,875 Naira you owe me”, she claims as she holds on to Brother Jero’s piece of garment for no substantial reason, rather than trespassing. That’s the way of some women. Though sometimes subtle.
SUBSEQUENTLY, the cult of bag-snatchers, art of petty theft, culture of begging and entitlement spirit among others, reign unrestricted. Amope, being frustrated by observable social ills, in her bad mood: “I don’t know what the world is turning into,” she quips. The worsening realities within the socio-economic, cultural and political space continues unabated.
THERE IS no doubt about it, Prof. Wole Soyinka’s dislikes for religion hypocrisy is very high. The context reigns supreme in the lines of lies of each character. A symbolic representation of
who we are as a nation? Not really, but what people pretend to be but are not in reality.
BETWEEN THE characters, especially Amope and Chume, the romantic betrayal is loud and clear. Chume is an unrepentant husband, an unserious element, irresponsible Adam that finds solace in unfruitful reliance on Brother Jero’s church and spiritual compass. There are many Brother Jero around us .
NEVERTHELESS, ON religion hypocrisy across our religion platforms, they are solely represented by white garment churches. Where Brother Jero(boam), captures the typical misrepresentation of what men of God are not to be: “We must pray well”, is the familiar line of Brother Jero. Jero, in his moral trial and battle with flesh, his albatross, he lacks financial muscle to enjoy different taste of beautiful ladies that pass by each day and during worship days. His moral trial and test of his calling unveiled. He called himself. Like every man of God, a lot of contrast manifest in the calling of Brother Jero and the society he finds himself.
BROTHER JERO’S empty prophecies across the scenes, reminds one of the contemporary updates about our men of God and gods of men. Brother Jero extends his prophecy to Young Politician (Ogundana Temiloluwa) who he believes has the prospect of becoming Minister of War. Chume, with his personal issues and relationship with Brother Jero, echoes the Biblical line: “Their sorrow shall be multiplied, those who run after other gods”. The trial of Brother Jero is not only about his desires, but fake prophecies that will not see the light of the day in any form. His prophecies place him on trials. He continues to run from pillar to post, he disappears to reappear elsewhere. His trials continue as long as fake prophecies are unleashed, and the patronage is sustained by the gullible members of the society which Chume represents.
THE PLAY being regarded as one of Prof. Soyinka’s famous plays, plays-up the significances of four major characters, namely: Brother Jero, Chume, Amope and the Member of Parliament, over the course of the scenes. Not everyone matters in life.
KUDOS TO the 188 Inductees into the world of Theatre Art. Being new entrants into the world of make-believe, a lot lies ahead for these young cast to embrace, a lot needs to be learned and re-learned. The observable dropped tempo and little lapses could be worked on. They’re part of learning curves. Thanks to the energy displayed and the zeal to move mountains by the orchestra, props, costume/make-up, dancers, drummers, bystanders, among others; who gave good accounts of themselves. It was a night to remember as The Gladiators entertained the audience before the Induction. Thank you for being an inspiration for the generation next.
MUCH APPRECIATION goes to the 2nd Induction Chief Priest, Dr. Afeez Oyetoro (popularly known as Saka) and the Chief Priestess, Olori Adeola Omowumi Olanipekun, for their presence and theatrical contributions. The Department of Theatre Art cannot but be grateful for the support from the Management of the institution and the university community, ably led by Prof. Ron Kalilu, and the Dean, Faculty of Art and Social Science (FASS), Prof. Temidun Ebijuwa and members of FASS at large.
WITH THE pool of talented and promising actors and actresses, your worries are silenced over your script already. Though there is no free lunch in Moscow, just be ready to pay for their services. Theatre is a way of life, let it catch up with you.
SEE YOU soon!
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