Racism, corruption, unity, colonialism and neo-colonialism are some of the issues humorously explored in the stage play, ‘A Palm Tree in London’ presented by Emmanuel Okocha and Instinct Pictures at the 2024 Lagos Fringe.
THE 2024 Lagos Fringe Festival has come and gone, but the memories of the plays staged during the two-week event remain. Though there were 25 plays, including three international showpieces, one of the exciting productions was ‘A Palm Tree in London’.
Written by Chris Iheuwa and staged at Freedom Park, Lagos Island, with Emmanuel Okocha as executive producer, it was a two-person play starring Chukwu Martin as John Carpenter Stone and Kelvinmary Ndukwe as Nwarusi Ogbuediabali Dibiaukwu.
The play, directed by Ndukwe, was staged on November 23 and 24. Okocha later revealed that it would be at the Brighton Fringe from May 23 to 26, 2025, followed by the Wandsworth Fringe.
Dibiaukwu, the son of a prominent herbalist from southeast Nigeria, is in London, the United Kingdom, to study medicine. He shares a room with Briton, Stone, who has never travelled outside the UK but is highly opinionated about ongoings in other parts of the world, especially Africa. But the horror of horrors, his encyclopaedia, which he never lets go of during the entire play, is the source of all his knowledge.
Stone thinks little of the continent and credits the Europeans with opening her up. He believes that whites are superior to blacks and that colonialism brought civilisation to Africa. In a heated hour-long conversation in their room, he avers that Africans would still be jumping on trees, as depicted in George of the Jungle if the Europeans had not colonised her. Stone also queries why black men travel to study in the UK, how it feels to be black and why white ladies prefer black males.
Nigeria’s famous jollof rice is also a subject of interest to the loquacious Stone in the play, which explores racism, corruption, unity, and the impact of colonialism and neo-colonialism.
But ‘Nija nor dey carry last’. Dibiaukwu dishes out more than he receives, humorously putting down his interlocutor. He tells Stone, who couldn’t answer questions on why people still die of diseases despite medical advancement in the West, that he is in the UK to “study why white medicine kills people”. He will then ‘use black medicine to cure them’. Dibiaukwu also claims Africans live longer than whites because they feed on nature.
The young man adds he is studying in London because Nigerian employers love British certificates. The Briton, with his annoying questions, then asks what it feels like to be black. Dibiaukwu seizes the opportunity to flaunt the beauty of his fatherland. To him, Africa symbolises strength, courage, and resilience. The continent, he adds, is home to great foods, herbs, and traditions.
The audience was engrossed in the intense conversation and reacted visibly to each question and line. With an apt title that stands as a metaphor for resilience, rootedness, and adaptability, ‘A Palm Tree In London’ is heavily loaded with thought-provoking messages which ordinarily could ignite severe tension but are masterfully laced with humour.
The dialogue and conflicts provide an insight into the tensions and misunderstandings that have historically plagued societies, revealing how deeply rooted prejudices and historical injustices can impede progress toward true unity.
The palm tree, a symbol of resilience and growth, embodies the hope for a future where cultural differences are tolerated and celebrated.
Explaining why he staged the play, Executive Producer Okocha said he loves unusual productions with controversial themes. “I like controversial themes; I’ve treated postpartum depression, depression, abuse, and others, but I don’t want to get tied to only mental health-related issues. At last year’s Brighton Festival and the 2024 edition, despite there being no case of colonialism and slavery, there is still a sort of bias by the whites. When it’s you, the black man, they shift on the bus. That prompted the theme of cultural dichotomy and unity in diversity.”
He added that his focus is preaching unity in diversity. “I have been producing different theatre projects for the past six years; I cannot say I am in it for the money because I want to talk about issues. I have a full support show here today, but the interesting thing is if I sell out this place five times, it is not enough for my budget. I am dealing with A-list actors in the theatre business; of course, they are well-paid. Still, if I check what I spent on promotions and other stuff, it is not enough, so for me, it’s not the money.
“It is the fact that we are trying to bring back theatre; we are trying to make our people come back to theatre the way they used to be back then. Some three or four years ago, I could not have this audience, no matter the promotion I did. I am glad to sit in the back seat and watch the audience enjoy the play. Now they are talking to their friends about coming again and enjoying it. It is a great fulfilment for me, which is important for any theatre producer.”
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