OLUROMBI THE MUSICAL: A TALE OF INDIVIDUAL CHOICES AND COMMUNITY CONSEQUENCES

The Cast of Olurombi the Musical

In the Christmas weekend of 2020, in their usual tradition, the Bolanle Austen-Peters (BAP) Production put up another fantastic musical. I had thought that I would write about it immediately after seeing it on Saturday the 26th of December, and possibly lure a few people to consider seeing the beautiful production. Body no be firewood, so my body had other plans. I also did not consider the time it takes to upload and compress videos at novice level 😒😪😊

Since the 19th Century, theatre producers, directors and performers have used the slogan “The show must go on” to mean that the performance must continue even though there are problems. 2020 presented problems for the theatre community all over the world. Live productions were halted due to the restrictions for most of the year. Many tried to live true to the slogan, and there were online performances, but for the actors and the show lovers, it was not the same. That symbiotic exchange of energy between the stage and the audience was missing. Reprieve came, and with some restrictions ensuring physical distance, wearing of face masks and health checks, the shows can go on, at least in Nigeria. My bank account did not get the memo though, so when Smooth FM 98.1 Lagos announced that they would be giving free tickets to listeners, I just had to be one of the winners. Thanks to Smooth FM 98.1 Breakfast show, I got to see Olurombi The Musical at Terra Kulture.

A scene from Olurombi the Musical

Olurombi is a popular Yoruba folktale, that has been retold in many ways, so even if you are familiar with the story of Olurombi, the version presented in the musical may be different from any of the others you know. The Musical begins with a beautiful song rendition by Precious Emmanuel, dressed as Iroko Oluwere, an Orisha of the forest, and then segues into the enaction of the annual celebratory festival in Idiroko and the promise of another cycle of fruitfulness. Every scene is graced with excellent choreography, music, costumes, and stage designs. Whether it is Tosin Adeyemi as Olurombi, Ropo Ewenla as the King of Idiroko, or the other supporting actors, the performances are realistic, each conveying convincingly the different emotions of the characters through their voices, facial expressions, speeches, and physical movement.

Opening Scene

The conflict is revealed not long into the story. Olurombi, the wife of the king, is barren. Or rather, the king and his wife have been unable to reproduce and this makes them subjects of ridicule. Although he does not blame his wife at first, before long, the king blames Olurombi for his shame too. So, Olurombi goes through a desperate search for a child from her womb. She is willing to do the impossible, like women continue to do today, in search of children from their wombs, and her search leads her to Iroko Oluwere. It is always the “but”. A child at what cost? Olurombi makes her pledge to Iroko Oluwere. She gets her desired child, and her pledge comes back to haunt her. Iroko Oluwere is not merciful like the Almighty, after all.


Who does a child belong to? The parents or the community? This is a question that subtly runs through the story. Before the play is over, the king must decide whether to do what is right for the community or to choose himself. The community of Idiroko soon learn that the choices of individuals have consequences for the whole community and that it is better for the child to belong to the community. When the child belongs to the community, they also belong to their biological or adoptive parents who are part of the community. Also, instead of deleterious effects, the multiplicity of parents and guardians could be advantageous for the child and the entire community.

A Scene from Olurombi the Musical

In this folklore kingdom of Idiroko, the priest is the conscience of the king and the people. Maybe if we had bold and Godfearing priests today to remind us of truth, we will make better choices. Or maybe we fail to listen to our priests, not just those in our places of worship, but those whose pulpits are written words. This priest of Idiroko makes it clear that Olurombi’s choice is the responsibility of the king and the entire community, including their ancestors because nothing happens in a vacuum. So, when the king says that no parent should ever live their dreams through their children because we end up having children who are unhappy and who make others unhappy, it is another reminder that actions have consequences – we reap what we sow!

Among the show’s many pleasures for me is the interesting theology that pervades the story:

  • The throne belongs to the Almighty
  • The Almighty is the source of all blessings and the giver of children.

There are also some interesting adages, all resounding the theme of actions and consequences:

  •          Be careful of the choices you make out of desperation.
  •          There is more to life than just flying. If you fly without directions, you will come crashing down.
  •          If there is no crack in the wall, the lizard cannot enter.

A Scene from Olurombi the Musical

Olurombi The Musical ended the night I published this☹. I hope that BAP Productions brings it back on stage. Whenever they do, you should see it. It is worth the price of the ticket and even more!

I would like to read your thoughts about Olurombi - the musical or the folklore. Please share in the comment section below.

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