By Anote Ajeluorou
Among the pandemics that afflicted mankind in recent memory HIV/AIDS
is perhaps the one with the longest and lasting span of life. While campaigns
against it may appear muted for now, it does not mean the pandemic is over. It
just means that there are new ways of looking at it. While HIV/AIDS may not be the
overnight killer it was a few years ago, knowledge through accurate information
about it is still key to beating it.
This much was the
message in a stage adaptation of a novel Promise
of the Future performed on Sunday at Terra Kulture, Victoria Island, Lagos.
It is written by University of Lagos’ medical student, Miss Towunmi Coker,
whose Teecoks Literary Initiative seeks to propagate reading habit among
Nigerians. Directed by Segun Adefila and performed by his Crown Troupe of
Africa, Promise of the Future operates
on many fronts in informing viewers/readers alike on the need to secure the future
for the collective good of all with informed choices.
Ajoke’s parents
suddenly meet an untimely death through generator explosion in their home. This
leaves Ajoke and her brother, Ademola, orphans. Ajoke is taken in by one of his
father’s business friends, Arinze. This brings her into collision with the
madam of the house who puts her through all manner of hardships as a
house-help, who is not given any quarter to breathe. Her education is aborted
and she lives a life of misery. Her father hadn’t written a will before his
death. Arinze does nothing to intervene on Ajoke’s behalf, whom his wife
rechristens Celestina.
In fact, Arinze
actually takes advantage of Ajoke to inflict sexual torture on her; she becomes
his sex slave whenever he is at home from his many business travels. He has a
concubine in Abuja; in fact, Arinze has a string of sexual relationships. He
contacts HIV and infests his wife and Ajoke with it.
But before this,
Ajoke’s thirst for education has remained. This she is able to assuage with the
help of the neighbours’ children. She teams up with them in the little time she
has to study. She puts in for the external examination and passes. As luck
would have it Ajoke runs into an aunt of hers, who had been looking for her
since her parents death. She is shocked to learn of Ajoke’s condition, but she
tells her she is her father’s next of kin and is the inheritor of her father’s
wealth in shares in companies and bank accounts.
Ajoke is ecstatic;
she quickly writes matriculation examinations and enters university. On
graduation she learns of her status as HIV positive she is crestfallen. But
Johnny is undaunted and proposes to marry her. She doesn’t find it funny, but when
the doctor intervenes to explain to her that if she sticks to the use of
prescribed drugs, neither her husband nor her unborn children would run any
risk of contacting HIV/AIDS, she eventually agrees to marry Johnny. Their first
attempt produces a set of twins to their collective joy.
The lesion is
precise. Parents, particularly fathers, need to write their wills as early as
possible to secure the future of their children or loved ones. Ajoke nearly
lost in all as a result, as all her relations abandon her after the parents’
funeral. Also, HIV/AIDS is not a death sentence, as it was previously believed.
If the cocktail regimen of drugs is strictly followed, chances of living a
normal life is possible; a woman having it can have a normal sexual life, and
not infect her husband or her children. Such accurate knowledge, Coker, who
should know as a medical student, considers key to combating the virus and
removing the stigma and fear associated with the disease.
As a performance
piece, Promise of the Future is a challenging
play, but the Adefila-led troupe did well to piece together a disparate
narrative and dramatic piece. The troupe deployed multi-character narrative
technique to tell the story. In fact, the bulk of performance rested with the
narrators, who combined it with the skeletal main cast to give interpretation
to the play. As typical with Crown Troupe, the use of multiple narrative
personalities who were inter-changeling in roles, made the play tick. But it
would sometimes seem that there’s just a bit over use of the technique in the
overlaps that sometimes occurred.
Perhaps, fewer
narrators would have sufficed. While their appearance among the audience is
somewhat innovative, the seemingly dense lines sometimes got in the way. Then
enunciation by some of the actors cropped up. ‘H’ as in ‘house’, ‘have’ often
gives most children brought up in Lagos problem to pronounce as they often omit
it; it happened frequently on the night.
However, overall Promise of the Future was worth the time.
Attendance, too, was impressive. As first play to be performed this year, such
attendance signaled good things to come to the theatre this year. It is hoped
they will keep faith with live theatre to really grow this sector of cultural
expression.
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