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Fela and The Kalakuta Queens
SA State Theatre, Pretoria
R150 to R300 at webtickets.co.za
Until April 7
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It’s almost as if critically acclaimed Nigerian musical Fela and The Kalakuta Queens should come with a brief history lesson as a preamble, as audiences need to be au fait with a few basic facts regarding the iconic multi-instrumentalist, singer and political figure.
You have to know that he was a Nigerian social activist who used hard-hitting tracks to highlight injustices that took place in parts of his country.
To understand the sometimes sexist jibes peppered throughout the production, it is essential to understand that Kuti’s cup runneth over and he married his back-up singers and dancers ... all 27 of them … all in one day. These women are usually omitted from Fela’s story – but the production tells the tale from their perspective.
During an interview with eNCA, actress Josephine Ewu explained the importance of including the Queens.
“The play is about Fela’s girls. The tendency has been that people talk about Fela and his life without the ladies. There was really no Fela without these ladies. It was important for me to tell Fela’s story from a different perspective – looking at the ladies who formed part of his music and were his protectors.”
Last, it is essential to know just how defiant Kuti was as an artist. Two of his creations were the Kalakuta Republic, a commune, recording studio and home that he declared independent from the Nigerian state, and the other the wa Afrika Shrine, a nightclub that doubled up as a venue where he officiated at Yorùbá traditional ceremonies in honour of his nation’s ancestral faith.
With those nitty-gritties taken care of, it then makes sense why Laitan “Heavywind” Adeniji and Patrick Diabua play Kuti in such a passionate manner. They lay their souls bare on stage as they demonstrate just how larger-than-life their inspiration was. They pour all they have into every scene, ensuring audiences are immersed in Kuti’s music and life-changing narratives.
The exceptional lead actors are almost surpassed by the 30-plus back-up Kalakuta Queens. Their dynamic energy (in the form of jealousy – as they have to share Kuti – and visible love for their country) is some of the finest you will witness.
The production’s only shortfall is perhaps its choreography, with parts when there are too many people on stage and some of the dancers “get lost” in all of the movements.
More importantly, as Kuti was a mirror to the society of his day, so is Fela and The Kalakuta Queens now. On a deeper level, the production is a reminder that, as Africans, we still have a way to go when it comes to appreciating who we are. While we have started appreciating our own culture, fashion and music, we are still far too content with emulating Western trends.
Besides being an entertaining tale, Fela and The Kalakuta Queens is an education on African appreciation, and a must-see.
