Our Husband Has Gone Mad Again

T

a comedy by Ola Rotimi

Directed by Bayo Akinfemi
Produced by Modupe Olaogun

June 8-11, 15-18, 22-25, 2000
Thur-Sat at 8 pm, Sun at 4 pm
$20 / Elders, students $15 / Thur 2-for-1

The African Theatre Ensemble in association with Artword Theatre presents the Canadian premiere of Our Husband Has Gone Mad Again, one of Africa's most remarkable comedies, by the acclaimed Nigerian playwright Ola Rotimi.
The play's flamboyant main character, Major Lejoka-Brown, attempts to bring his military tactics to a political campaign. In the process, he runs into unexpected resistance from his three wives.
This is the second major production by the AfriCan Theatre Ensemble, an ambitious group made up largely of Canadian Africans who are committed to introducing Canadian audiences to the rich literature and dramatic traditions of Africa. Organized by Modupe Olaogun, who teaches African literature at York University, the company has built a strong base within the African-Canadian community. Their production last year at Artword Theatre of Ola Rotimi's The Gods Are Not To Blame, an adaptation of the Oedipus story set in a Yoruba village, was received enthusiastically by Toronto audiences.
Our Husband Has Gone Mad Again debuted in Nigeria in 1966, before it became the vogue for military dictators (not just in Africa but world-wide) to turn themselves into civilian "heads of state" as a way of perpetuating themselves in power. That was also a time when the women's movement was taking hold in Nigeria. For today's audiences, the questions about what constitutes "true democracy" and the revelations about gender relations raised in the play are as relevant now as they were in 1966.
The inventive staging contrasts an antiquated wattle and clay-walled home with the futuristic world of modern Lagos. The characters have one foot in both these worlds. The central figure, Lejoka-Brown, is a man of many facets: he is ebullient and sounds like a man next-door, but he is also an oddball; he is attracted to modernity but looks for security in very conservative mores. Lejoka-Brown's wives are all unique, representing different generations, nationalities and outlooks. The conflicting impulses that arise from these characterizations provide the play's comic tensions.
In Our Husband Has Gone Mad Again, Major Lejoka-Brown transfers to the campaign arena tactics that he has taken from his experience in military combat. Lejoka-Brown's strategy is to trick, intimidate and ambush his opponents. The ex-major is also head of a polygamous household. Generally, he uses "his" women to stoke his ego. However, he plans to use his newest wife, who is the daughter of the Market Women's Association President, as an easy ticket to the women's votes. The women come together in an unexpected show of solidarity to deliver to Lejoka-Brown, not the anticipated votes, but certain revelations about their humanity.