The stage play ‘Aremu’ interrogates Nigeria’s former military Head of State and former President, Olusegun Matthew Okikiola Aremu Obasanjo with a mix of empathy, soul-searching and a glimmer of hope.

The actor-audience intimacy inside Glover Memorial Hall is indeed one-of-a-kind. Despite its impressive adherence to the Covid-19 protocol of physical distancing which is evident in the seat arrangement, the energy in the hall was enveloping at the recent command performance in Lagos. Last Sunday, the much-trumpeted play ‘Aremu’ produced by Duke of Somolu Productions kicked off with scenes of anticipation of the birth of the great Aremu what with a spectacular naming ceremony.

With the protagonist-narrator characterisation, the plot of ‘Aremu’ is carefully developed by the playwright, Prof. Ahmed Yerima to make the audience understand, empathise and examine the character of ‘Aremu’ through historical accounts. Trailing his childhood years in Owu, the play ‘Aremu’ travels through the annals of the Nigerian civil war to establish Aremu’s persona as a warrior and a survivor. Infused with some comical elements, the playwright juxtaposes the narrator’s account of truth with a voice of reason and conscience which is embodied in the characters of Olohun Iyo and the oral poet.

A controversial political figure, Aremu is seen from a vulnerable perspective in the prison scene. Reflecting the Yoruba worldview of afterlife, Mama Aremu’s character accentuates that cultural pathos that connects the power of the dead- and the supernatural to the life of the living. At the scene lies the core of the play’s conflict. ‘Aremu’ also serves as a commentary on the culture clash-or culture assimilation-involving African traditional religion and post-colonial Christianity in Africa. Within the household of Aremu, the audience had a first-hand peek into the cultural dilemma that colonialists foisted on Africans.