Kakadu the Musical stands tall in the vibrant realm of Nigerian theatre as it reaches a remarkable 10th anniversary. The journey began in April-May 2013 when the visionary writer and producer, Uche Nwokedi, unveiled this theatrical masterpiece. From its inception, Kakadu exceeded expectations, earning accolades such as an award from the National Association of Nigerian Theatre Arts Practitioners (NANTAP) for its completeness in theatre.
In a recent interview, Nwokedi reflected on the evolution of Kakadu over the past decade.
“At the time, I think it was something that was totally unexpected. And in a way, it brought another genre of theatre to the stage in Nigeria,” he said.
Despite having travelled to diverse locations like Calabar, Davos in Switzerland and Johannesburg in South Africa, the play has consistently reinvented itself with each new cast chosen through rigorous auditions. Nwokedi emphasised the significance of auditions, noting that each run has featured almost an entirely new company or cast, marking the fourth iteration since its debut.
“Our usual approach is to audition each time we have a run,” Nwokedi stated.
When asked about the satisfaction derived from this long theatrical journey, Nwokedi expressed pride in Kakadu‘s enduring production and theme. The central question posed by the play, “How do we build a nation?” continues to resonate, making it eternally relevant in addressing Nigeria’s national consciousness. Nwokedi highlighted the unique aspect of the play, noting that even after 10 years, Kakadu prompts introspection about the nation’s progress.
The nostalgic elements of Kakadu, set against the backdrop of 1960s music and lifestyle, evoke a sense of loss, prompting audiences to ponder the nation’s future. Nwokedi explained that this central question – “Where do we go from here as a nation?” – remains crucial and resonates not only in Nigeria but also in places like South Africa, where the play’s impact is equally evident.
“One of the patrons who came to see the show said she liked the fact that, at the end of the day, we asked the question, ‘how do we build a nation?’, because that’s also where they are. “That question, ‘how do we build a nation’ resonated so well with them. That is a question that’s facing Nigeria today: how do we build a nation? It’s a question we should always ask ourselves in everything that we do: how do we build a nation?”
Despite a decade passing since Kakadu‘s debut, Nwokedi addressed the absence of a sequel, citing the strong spirit of the production that has kept them engaged. He acknowledged competing interests, including his law practice and recent work on his childhood memoir of the Nigerian civil war, A Shred of Fear. He however hinted at future drama projects, emphasising the need for careful consideration to maintain the simplicity and impact of Kakadu.
While comparing Kakadu to A Shred of Fear, Nwokedi described them as two distinct children with different characteristics. Both works, he noted, share a love for music, emphasising the profound influence of music in our lives.
“When you look at both works, you see very different characters who are united in their love for music. We underestimate the influence of music in our lives. If you look at Nigeria today and what kids like Burna Boy, Wizkid, Davido, Rema are doing, you will appreciate that they are our best ambassadors Nigeria has today and like our footballers and athletes they too should be encouraged, because anywhere you go in the world, they play Nigerian music,” he said.
He urged the need to nurture and promote this aspect of the arts.
Turning to the role of the government, Nwokedi expressed disappointment in the lack of government support for the arts, particularly in leveraging the success of Nigerian artistes as cultural ambassadors.
There is nothing that the government has done, he pointed out, to get us that kind of PR Nigerian artistes garner for the country.
“They have been the ambassadors in the universal acknowledgement of Nigerian talent. We must be very careful to nurture and promote that aspect of the arts,” he stated.
Addressing the potential adaptation of A Shred of Fear into a film, Nwokedi remained open to the possibility, stating that he would cross that bridge when he comes to it.
For those eager to witness Kakadu on stage, Nwokedi announced upcoming performances on December 28th, 29th and 30th at the Shell Hall, MUSON Centre, Lagos.
The show is sponsored mainly by First Bank through its First@Arts and supported by Kingmakers, Nwokedi said while highlighting the challenges of production costs in the face of a shrinking economy.
As the interview concluded, Nwokedi offered insights into the diverse cast for the upcoming performances, emphasising the fresh perspective brought by young actors interpreting Nigeria’s history in the 1960s. He hinted at changes in music, drama and staging, assuring that audiences returning to Kakadu would experience a different and improved production. The play remains a dynamic exploration of Nigeria’s past and present, challenging audiences to ponder the question, “How do we build a nation?” for another decade and beyond.