The Overnight Trial: National crime, justice and reconciliation

The Nigerian Civil War of 1967-70 is one singular event whose effect would reverberate through generations after generations. Not just because of the pains caused both the Nigerian nation as represented by Men of the Nigerian Army and those of the Biafran Army, but the national crime committed against innocent citizens on both sides of […]

The Nigerian Civil War of 1967-70 is one singular event whose effect would reverberate through generations after generations. Not just because of the pains caused both the Nigerian nation as represented by Men of the Nigerian Army and those of the Biafran Army, but the national crime committed against innocent citizens on both sides of the divide who became the casualties of war. Or like the popular Yoruba aphorism states that when two elephants engage in a show of strength, it is the grass under them that suffers.

The years that follow were not any better, as successive military administrations inflict pains on innocent Nigerians. Those crimes, even with democracy in place in the last sixteen years, remained unsolved. The questions of who ordered them and who carried them out and for what purpose remains a mystery.

This was the case in the play, The Overnight Trials, a Segun Michael’s adaptation of Arief Dorfman’s Death and the Maiden produced and directed by Chidi Ukwu for the Abuja based theatre outfit, 2 Masks and a Griot Theatre Company.

The Overnight Trial, staged on the weekend of September 30th and October 1st, which incidentally was Nigeria’s Independence Day, tells the story of Wando Ate (played by Christie Kantiok), one of the ‘grasses underneath’ who became an unwilling victim of the crimes against humanity during the civil war and subsequent military misrules that follow. She was ravaged, violated and left in the cold hands of death.

This horrible memory she had to live with for twenty-five years, until one night, when one of the perpetrators of that inhuman act walked into her home. The pain, hatred and anger she had bottled in for over two decades suddenly burst open and an urge for vengeance transformed to a never-before-seen-violent- woman that even her legal practitioner husband could not believe.

Following an intriguing cat and mouse game between the trio, which lasted the entire night, Hassana Danlami (played by Leo B Okwese), a military doctor and fan of the Afro Juju star, Shina Peters, though unwillingly, had to confess to his crimes in the bid to negotiate his freedom from the claws of the vengeance-driven Wando.

There couldn’t have been a better cast for this play than the trio of Patrick Otoro, Christie Kantiok and Leo B Okwese, who despite the dark nature of the play, did a good job of sustaining the interest of the audience who were put on the edge of their seats through the seventy-two minutes play.

Patrick Otoro (Gbadebo Salami)’ cadence, stage presence and excellent interpretation of his character, evokes the flamboyance of don-like image that filled the audience with excitement. These unique characters of his I have witnessed over and over again, from play, to play. Patrick assumes different element for the different characters he has had to play, to the excitement of the audience, who most times, reward his sheer artistic brilliance with standing a ovation.

Christie’s sing-song voice and mood swing make her a delight to watch. Her role is such a challenging one, which requires some measure of emotional play as she represents hundreds of Nigerians who have suffered one form of injustice or the other without justice. She did a good job of sustaining the difficulty of sustaining her limping character and switching between the sane wife of Gbadebo Salami and the vengeance-seeking Wando Ate. 

Leo’s comical disposition was infectious. Despite enduring such a torturous night in the hands of an angry woman, he provided the needed comic relief that adds up to make the show worth its while. It was sheer beauty.

Space is one of the major challenges of theatre in Abuja; hence, the British Council venue was a case of theatre in unconventional places. However, the set design and construction masterminded by Pope Egbuche added the needed aesthetic to the play.

The play was set in a post-civil war/military era Lagos. Hence, the depiction of a modern day living room with all the features of an upper-class family which includes a bookshelf, lampstand, soundrack and dining table among others gave the stage that feels of reality that audience loved to see.

The only let down would be small lighting hitches but which did not in any way take away from the beauty of the production. And of course, the low turnout of Abuja audience.

On a Saturday and Sunday, and the nation’s independence weekend, one would expect that Abuja residents, in search of fun-time would besiege the venue of the show to see the play but no. As has been the case with theatre in Abuja, the dedicated theatre audience is only just forming.  The play on display is elitist in nature and requires elite audience who are not just after entertainment, but education as well. One thing the stands out with this show, however, is the quality of audience, who in my estimation had a good evening as evidenced by their applause, the occasional burst of laughter and the standing ovation accorded the cast and crew at the end of the play.

One important message the 2MG Theatre Company has passed with this play is the urgent need to start afresh by providing answers to the many unanswered questions of the past, and serving justice accordingly, or else individuals would take laws into their hands, making it difficult for our wounds to heal.

 Adesewo is the founder and Artistic Director of Arojah Royal  Theatre, Abuja.