By Anote Ajeluorou
THE coincidence appeared
deliberate. The thematic focus of the play, Daniel, hit the heart of Nigeria’s political malaise. The
root cause of the country’s political trajectory has long been traced to poor
moral disposition of the men and women at the corridors of power, whether
directly as heads of government or as the numerous advisers that explicate or
complicate governance.
So, last week’s anniversary of Nigeria’s Democracy Day
became appropriate time for Snapshots Productions, the creative and performance
arm of Pastor Poju Oyemade-led Covenant Christian Centre, Lagos to stage Daniel, a play written by Phillip Begho. It’s a
historical-political play on the ancient Babylonian empire.
The story of Daniel as recorded in the Bible of the same
title is first class story of political intrigues that can take place in any
king’s court. But more importantly, it’s the story of morality in government,
and how a few good men or a single upright man, who chooses to stand apart from
the moral decadence around him, can make a difference.
It’s precisely for this reason that Snapshots Production,
led by former Artist Manager to ace gospel singer, Sammie Okposo, Mr. Duka
Kachi, decided to stage Daniel at
MUSON Centre, Onikan, Lagos on Democracy Day, May 29, some10 years after he
first saw the production. Kachi saw in the play a compelling story against the
corruptive tendency that is rife in governance circles in modern day Nigeria.
To cap up the remarkable performance, admission to the two
performances was free, which Kachi said was a way of disseminating the gospel
by inculcating the values of strict morality on young people, as it would stand
them in good stead in their lifelong careers in the years ahead. The two
sessions had the Agip Recital Hall overflowing with audience.
For Kachi, the choice of Democracy Day to stage the play was
deliberate as Nigerians needed to be given a moral compass in the exemplary
character of Daniel, a man who stood apart from the corruption of his day and
who held on to his faith in Almighty God (in spite of threats to his life) as
the one deserving to be truly honoured above any human king on earth.
Kachi stated after the performance, “Interestingly, the
story of Daniel is that of a man who brought excellence to government. He worked
with autocratic kings, who were despots and he still distinguished himself
among his peers. Daniel was led by the spirit of excellence; he gave
impeccable, first class, excellent service in spite of the prevailing political
environment. Daniel is the kind of man we need in Nigeria right now, men and
women who can give excellence, impeccable service in spite of everything else.
“Daniel served and survived four mean, evil, wicked
emperors, but he stood his ground amongst them all and they held him in high
esteem. Even Daniel’s colleagues and adversaries testified to his incorruptible
nature. The important thing about Daniel is that these four wicked emperors saw
something indispensable, something so valuable in him to their being successful
rulers of Babylon and they wanted him in their courts. The great King Darius
even begged Daniel to change his mind; that he should not proclaim God as being
mightier than him so he could spare Daniel his life in spite of a decree he had
signed into law”.
DANIEL’s performance came after an opening glee of classical
musical performance first at the foyer of the hall, then inside the hall by
sensational Ige and her cello partner. They gave the audience a taste of
magical classical music that kept the audience clapping endlessly. For a free
show, such thrilling performance from Ige and her male companion on the cello
was a sheer delight and the audience thoroughly enjoyed it.
Clad in a red gown and a red scarf like some ancient, Middle
East folk artist, Ige’s renditions, coupled with her strong vocal power, was
engaging and compelling. She weaved her way in and out in varying pitches to a
crescendo, with her companion’s cello also weaving along; it made classical
music so enthralling just as it acquired a new, uplifting meaning. Their
performance was with such supreme verve it got the audience applauding for a
long while.
FIRST, Daniel (Tosin Smart)
found himself among lions in the Babylonian men he worked with at the king’s
court. There was the King Darius’ wife, Queen Hajitha (Uchechukwuka C.
Elumelu), whom the king referred to as serpent on account of her devilish plan
to have him assassinated; Satala (Samuel Adejuyitan), the wiry politician and
administrator and Nimri (Femi Abatan), the brainless war general all envious of
the Hebrew slave, Daniel for the huge favour the king bestows on him.
With Daniel newly made the king’s chief minister, the three
others feel short-changed by a common foreigner. They begin to plot his
downfall. With Satala’s political sagacity, he convinces Hajitha (who
unsuccessfully tries to have Daniel sleep with her) and Nimri so the king would
promulgate a decree to the effect that no other god should be worshipped in 30
days in all of Babylon except King Darius (Opeyemi Adaegbo). They know Daniel’s
devotion to the Hebrew God and that he could not bow to any other god except
Jehovah.
Satala manages to convince Darius to set himself up as god
to be worshipped for 30 days. The king ascents to the decree without knowing
that its true intent was to rid the palace of Daniel. Not long after Daniel
returns from a trip to oversee distant lands of the kingdom, he falls into the
trap set for him and is brought to judgment.
His condemnation is a source of grief
to the king, who wishes above all else that Daniel would be proven wrong on the
charges brought against him by the trio. King Darius even begs Daniel to
recount his faith in his God, but Daniel would not. He would not bow to other
gods, not least to a man who has set himself up as an object of worship.
Daniel is delivered to the lions’ den. King Darius is greatly agitated and
laments his courtiers’ treachery and evil plot against Daniel. Daniel as chief
minister is a huge asset to his kingdom and he knew how profound his loss would
be.
King Darius couldn’t find sleep in his agitation. But that is when he gets a
hint of the coup plot being brewed in his own court, with the intent to unseat
him. He sees Satala wooing his wife, Hajitha and of their evil plot to kill
him. But it has all been Queen Hajitha’s plot; she merely recruits Satala to
execute it. Satala would set up Nimri to kill the king and have him also
executed for killing the king, dispose of Satala and become the undisputed
monarch of Babylon!
Begho’s execution of the resolution of Daniel’s plot is finely done and Kachi’s directorial touch
sublime. The performers, too, mostly semi-professionals, did a great job of
interpreting the plot and in putting life to the performance. Except Satala,
whose vocal projection was faint, it was an all-round superb performance.
Elumelu (Queen Hajitha) displayed dexterity in characterization; so also
Adeagbo (King Darius), who gave flawless performance.
Begho’s interpretation of Daniel isn’t just a re-enactment of the Bible story. It
tells of the profundity of living a Godly life; how God turned Daniel’s
adversity into victory for him by turning the evil plots of his enemies against
them.
But even more profound a lesson to glean from Daniel is the dilemma rulers, kings and presidents face in
choosing the right ministers, advisers and other courtiers to assist them in
governance. While Daniel is an exemplary man, the others in King Darius’ court,
including his own wife, are busy plotting to subvert his leadership for the
love of power and pecuniary measures.
But even more telling is Daniel’s life of devotion to his
Godly ideals from which he draws his exceptional lifestyle that sets him apart
from the other corrupt officials. His life of Godly service makes him favourite
of four kings of Babylon.
Produced entirely on the expenses of Covenant Christian
Centre, with the intent to take Daniel around some campuses to show it to young Nigerians, it’s the sort of
production that corporations should scramble to sponsor, as it speaks truth to
power in an uncommon way.
What further distinguishes Daniel, as drama is its non-preachy, performance style.
Although a Christian play, it does not rely on any dose, heavy or light, of
preaching. Even when it doesn’t ring bells of repentance, the silent, exemplary
life of Daniel is its central message unto repentance. Yet in its neutrality is
the compelling story of personal regeneration, whether in a Christian setting
or even a secular one, where morality or uprightness in character is needed for
excellent service to humanity.
Daniel is a
must-watch stage performance, especially now that Nigeria is searching for
similar antidote for its hydra-headed political dilemma!
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