Death and the King's Horseman by Wole Soyinka is a new production in the Olivier from director Rufus Norris. Entry Pass reviewers BEN WOOLDRIDGE, CONRAD LANDIN and SEAN AYDON joined the profiessional critics at the press night and below are their reviews.

Wole Soyinka's powerful play was first premiered in Britain at Manchester's Royal Exchange; now, just less than thirty years following the premiere- the piece finally takes its place in London, under the direction of Rufus Norris.

The narrative draws from real events that took place in what is now known as Nigeria in 1946- although the action has been transferred slightly backward to the climax of the Second World War. To begin, the pace is set within the hot and lively atmosphere of the marketplace- superbly conveyed through the design of Katrina Lindsay which equips the stage with hanging lines full of knick-knacks and trinkets.

The preliminary discourse of the play is concerned with the introduction of the characters that inhabit this lively, Yoruba community and explains the ranking of the villagers- thus exploring a key theme of identity and role. Despite its energy and vital contribution to the establishment of the piece, the beginnings of the play stretch out a little longer than necessary.

Toward the centre and conclusion of the story is where the piece begins to grip its audience, not only with its storytelling but with its morals. We see the bitter debate between the traditions of the Yoruba people and the clueless British officers, played by Black actors in White make-up, who have assumed power and banned the ritual suicide of the Kings Horseman, Elsin- played with incomparable personality and strength by Nonso Anozie.

This turbulent debate embodies the plays ethical examination of philosophy and culture, not only making the ignorance of the British officers laughable- but also the determined globalisation of Western culture a concerning, and frankly embarrassing truth.

Supported by a superbly strong cast the piece stands as a strong tribute to its creator's beliefs and ethics; be they philosophical, cultural, or political.

BEN WOOLDRIDGE

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Wole Soyinka's 1975 play tells the fact-based story of Elesin Oba, horseman of the recently deceased King. A month after his master's death in 1943, Elesin prepares to commit ritual suicide in line with Yoruba custom, and guide him to the world of the dead.

Through poetic speech, music and dance, the play illustrates the richness of Elesin's life, and despite his assurances that he will follow the path of his predecessors willingly, it is clear he will miss what he leaves behind, and could be challenged by the will it will take to end his life. In addition, Elesin must face the challenge of colonial official Pilkings, whose humanity sees no place for such practices.

Getting off to a slow start, scenes seem somewhat dragged out, although this seems necessary, as the content is certainly not easy to digest. Most people in the Western world would consider ritual suicide barbaric and unnecessary, but Soyinka's play asks us to think deeper; at one point a comparison is made to the almost-suicidal actions of the military in the war in Europe at the time.

Director Rufus Norris's brave decision to present an all-black cast, with even Pilkings and his wife having been ‘whited-up' helps us to think beyond the difference in skin-colour, and allows for some comic moments, although the biggest laugh of the night came from the play's exploration of the role of women.

At a time when life is considered precious above all else, and most, especially the young, are reluctant to accept death as part of the natural course, this riveting and altogether highly enjoyable production could not be more relevant in its discussion of the fate we will all one day see, especially through its presentation of a different way of viewing the links between the unborn, the living and the dead.

CONRAD LANDIN

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Walking into the Olivier auditorium you are immediately taken to the end of the piece, welcomed by a set of human-like statues, more suited to a graveyard than a stage, and encircled by ethereal music which certainly enforced the title of the piece. However this transience was broken almost as soon as the play began and we were dragged into the bustling centre of a Nigerian market. This opening scene was highly successful in transporting us and I would say credit for this would have to go to Javier De Frutos' insightful choreography, here and all the way through the piece. Rufus Norris' direction was, throughout, appropriate and made the piece both easy and enjoyable to watch. It was highly evident that he had a deep knowledge of both context and setting and he and designer Katrina Lindsay managed to create quite a spectacle. A strong ensemble added to the depth and believability of the piece - credit must go to Jeannette Nelson's excellent company voice work. Notable performances came from Jenny Jules and Lucian Msamati as the hilarious Pilkings. However what lets down this production, I believe, is the piece. Whilst Wole Soyinka's dialogue is sharp and witty, the message of the piece seems almost contrived: a cheap shot at British colonialism and one that had been heard a few too many times to really have an effect.

SEAN AYDON