The stage adaptation of the historical script—increasingly discussed as Yinka Folahan’s Oshodi Goes to Theatre—directed by Mr Timileyin Ayeno and performed at the New Theatre Hall, Lagos State University of Education, Ijaniki, Lagos, on June 3, 2026, has firmly established the names of everyone involved—from the playwright to the director and cast members—as exceptional contributors to contemporary Nigerian theatre.
Presenting a historical narrative through the medium of theatre rather than film is a demanding artistic undertaking. Unlike film, where editing can correct mistakes and enhance storytelling, theatre requires performers to sustain energy, coherence, and emotional intensity throughout a live performance. The cast of this spectacular Lagos stage production rose impressively to this challenge, delivering a performance that forms the basis of a truly memorable Oshodi play review.
Having read the text and witnessed the stage production, it is evident that Yinka Folahan carefully distinguishes between myth and history while exploring the interconnected themes of power, trust, jealousy, betrayal, and sacrifice. Through the story, the playwright examines how ambition and false accusations can alter the course of individual lives and entire communities.
Cultural Heritage in Contemporary Nigerian Theatre
The significance of this production cannot be overstated. As the first major public performance of the stage play titled “Oshodi: A Place of Movement” (produced by the Lagos State Council for Arts and Culture) was staged at the Alliance Française, Mike Adenuga Centre in Ikoyi, Lagos and the second performance; also on Lagos soil, featured a cast largely made up of Lagos residents, it provided an opportunity for Lagosians to engage directly with a story rooted in their historical and cultural heritage. The performers demonstrated a remarkable understanding of the narrative, resulting in a production of exceptional quality.
At its core, Yinka Folahan’s Oshodi Goes to Theatre is a historical drama that revisits the history of Eko (Lagos) in the seventeenth century. The play tells the story of Oshodi, a prince from Bida whose wisdom and leadership contribute significantly to the development of transportation and commerce in Eko. However, his achievements attract envy among certain chiefs, who falsely accuse him of engaging in an affair with Mopelola, the king’s wife.
Convinced by these allegations, the king turns against Oshodi. Unable to endure the shame and humiliation brought upon her, Mopelola takes her own life. Before her death, she offers prayers on Oshodi’s behalf. Through this tragic sequence of events, the play explores enduring themes such as sacrifice, jealousy, betrayal, honour, and the devastating consequences of false accusations.
Director Ayeno’s Vision for the Lagos Stage Production
Speaking on the production, director Timileyin Ayeno said, “My vision for Oshodi is to present a production that not only reflects the historical story of Eko in the seventeenth century but also speaks to contemporary society through its themes of jealousy, betrayal, sacrifice and false accusations. The production adopts elements of realism, Brechtian Epic Theatre and African Total Theatre through the use of narration, symbolism, music, dance and stylised performance to create both entertainment and critical reflection. Through these techniques, the audience is encouraged to connect with the story while also reflecting on the moral and social consequences of the characters’ actions.”
One of the most remarkable achievements of the production lies in its ability to serve as a critical interpretation of the text. Theatre remains one of the most effective forms of literary criticism because it transforms written words into living experiences. The cast maintained a high level of linguistic proficiency, effectively conveying the playwright’s simple yet powerful language and emotional depth.
Furthermore, the production successfully balanced entertainment with intellectual engagement. While Folahan’s text appears to foreground feminist concerns through the tragic fate of Mopelola and the consequences of patriarchal power structures, Ayeno’s direction places significant emphasis on Oshodi’s heroic contributions and the historical foundations of the community that bears his name today.
Preserving Lagos History and Identity
Ultimately, the production of Yinka Folahan’s Oshodi Goes to Theatre stands as a testament to the vitality of contemporary Nigerian theatre and the enduring relevance of historical drama. Through strong performances, creative direction, and thoughtful storytelling, the play not only preserves an important aspect of Lagos history but also invites contemporary audiences to reflect on timeless issues of power, justice, trust, and betrayal.
It is equally important to note that in establishing the storyline as a true history and representation of the people’s story, the author notes that “the story is credited to the creative imagination of my mother’s memory, of which I’m indebted to present as real as possible. And the memory is the personal, subjective, and emotional recollection of an event kept alive by individuals and communities. History is the critical, evidence-based reconstruction of the past, aiming for objective truth by analysing archives, artefacts, and multiple (often conflicting) perspectives.”
And for the production, he notes that “I never expected the genius presentation of the play, and the one-hour production remains vivid in my imagination. I must salute the hard work, dedication, and effort employed in the preparation, rehearsal, and production of the stage play. It is history of a kind.”
Deliberately mentioning the names of the characters and casts for this production, Oshodi Cast list, for the sake of posterity:
- Oshodi / Orchestra: Adekoya Feranmi
- Mopelola: Benson Alexandra
- Eshinlokun: Kadiku Muiz
- 1st Chief: Ibrahim Tobi
- 2nd Chief: Ghazad Shinikun
- 3rd Chief: Tonueyi Taiwo
- Queen / Orchestra: Anjorin Naomi
- Spirit: Akindubuwa Oreoluwa, Lateef Aishat, Ayoola Islamiyat
- Guard: Akamo Olajide
- Extra: Flexi
- Orchestra Villager: Akala Olamide
- Warrior: Jayi Osep, Adekoya Adedamola, Fagbamila Omoniyi
- Herb Seller / Villager: Agidigada Aminat
- Slave / Passenger / Spirit: Rauf Bushiroh
- Orchestra: Godonu Rebecca
- Choreographer / Dancer: Okologume Prosper
- Messenger: Boluwatife Oladipupo
- Driver: Adebayo Adedeji
- Messenger / Spirit: Nzekwue Chiamaka
- Illusional Spirit: Ashiyanbi Deboral, Kpade Michelle
- Drummer: Olademeji Stephen, Ori Ade
- Dancer: Bitrus Patience Joy, Ajulo Damilare, Florence Kalu, Ogechi
- Villager: Abu Mistura, Adeyemo Adeola
- Conductor: Motadegbe Oluwaseyi
- Lead Orchestra: Wura
- Crowd Member / Spirit / Villager: Albert Islamiyat Eniola
- Olori: Agba Goodluck, Oluwaseun Modupe
- Technical Team: Kehinde Thompson, Obioha Victor
- Passenger / Spirit: Nwachukwu Chisom
- Choreographer / Demon / Dancer: Babatunde Mary
- Witch & Orchestra: Bada Temiloluwa Damilola
- Orchestra & Chanter: Olatoye Suwebat
