How my stageplay ‘Woroko’ shot me to limelight unexpectedly- Yinka Ola -Williams

Yinka Ola-Williams is the Executive Director of The Ancient Theatre, one of Nigeria’s leading community-based theatre organisations, and the Programme Manager of Change Studios, a developmental multimedia agency.

An accomplished playwright, artistic director, and theatre administrator, he told PREMIUM TIMES how a seemingly simple play he wrote for his church 25 years ago transformed his life and career in more ways than one.

He said, ”In 1999, I wrote a full-fledged play, ‘ Woroko’ for my church. I gave it to my friend at the Theatre, Ahmed Aliu, to read for me and critique. Ahmed submitted the play for the National Troupe of Nigeria Play Reading Session. All the people whose plays have been read previously were professors or Doctors at the University. I was shocked that my play was selected for the fifth play-reading session. It was another milestone in my career. That event shot me to another level’’.

According to him, Aida Opoku Mensah, then a Ford Foundation programme officer, presented a life-changing offer that sounded too good to be true.

He said: ‘‘They told me straight that they are willing to fund me to study anywhere in the world. They began to deliberate about me, saying that if I could achieve this without a university degree, it would be a waste of time to send me abroad to spend four years at the university to be trained on what I was already excelling at. They could not decide and told me to come back in two weeks. The woman kept emphasising that what I need is international exposure. I should go abroad and return, and if I don’t, fine’’.

More exposure

From then, his career took on a different trajectory. Upon return, he was given a letter stating he would go to the University of Edinburgh in Scotland to study Drama and, upon completion, go to the Felix Meritis Foundation of the European Centre of Arts, Culture and Science with the University of Amsterdam in the Netherlands to attend a particular course on The Business of Creativity.

He recalled, ‘‘It was all expenses fully paid. For example, what I learned on the street in Edinburgh was more rewarding than the classroom, where I was taught about Shakespeare’s cultural, political, and spiritual aspects, or Christopher Marlowe or Samuel Becket. I was in Edinburgh during the International Theatre Festival, Jazz Festival, Fringe Festival etc. I was stunned; it was a cultural, social, and intellectual shock.

‘‘I returned to Nigeria a different person and would have nothing to do with children or students’ shows again. Not long in 2001, The British Council funded me to attend training at the University of Leeds on Promoting Rights and Development Through The Arts. My thought has been elevated. I have a global understanding of issues in health, education, migration, human rights, especially children’s and women’s rights, reproductive rights and how arts can play a role. It’s been a remarkable ans rewarding experience for me in the arts. I am grateful to God’’.

Woroko

Mr Ola-Rotimi’s play Woroko tells the story of a man who sold his soul to the gods in exchange for power. He was drunk with power and used his perish powers arbitrarily until he met some Evangelist who had gone to his village of Igbekun in search of souls for Christ. That is where the conflict began.

He added that he was inspired to produce the play after seeing several at the theatre, especially those set in an African village.

He said: “For example, plays like The Gods are Not to Blame or King Emene. I tried to write a play in a local setting but with the theme of God, Jesus Christ and redemption. Woroko is the story of a man who sold his soul to the gods in exchange for power.

“He was drunk with power and used his perish powers arbitrarily until he met some Evangelist who had gone to his village of Igbekun in search of souls for Christ. That is where the conflict began. You can get the book on Amazon. I just published it recently after over 20 years.”

The Chairman of the Coalition of Theatre Arts Associations in Ogun State noted that the play won the prestigious fifth National Troupe of Nigeria Play Reading Session in August 2000.

Influences

Mr Ola-Williams revealed that his plays draw inspiration from William Shakespeare. He cited Shakespeare’s prolific career, his ability to captivate kings and aristocrats as patrons, and the timeless quality of his works that continue to resonate.

While acknowledging that Shakespeare may not necessarily be the greatest playwright in British theatre, he praised him as a brilliant mind deserving of special recognition, respect, and an enduring legacy.

“Another person is Chinua Achebe; I chose him over Wole Soyinka as more accurate, vivid and natural. Unfortunately, Nigeria did not give him the needed recognition, but I hope he will get it someday. I like Herbert Ogunde for his pioneering work, his achievements, his work of constant conflict between good and evil, and the travelling theatre, but unfortunately, he’s not that remembered.

“He was the first artistic Director of the National Troupe of Nigeria with over 100 artists. Unfortunately, he’s not recognised. I visited his Ososa residence years ago and left the place very sad. It should have been an elegant museum and monument, but it’s a shadow of what it should be. He played his part, and I honour him. There are so many, like one of my teachers at Edinburgh, Jim Spaldin. I have learned some wisdom from him that I can never forget. Like Prof. Yerima, I was addicted to one of his works. I performed several times ‘Kaffirs Last Game’”, noted Mr Ola-Williams.