Historic Oyo empire’s struggle retold on UK stage in Igboho

Before the lights even touched the stage at Woolwich Fireworks Hall, the Bàtá drums spoke. It wasn’t just sound; it was a throaty, piercing proclamation of heritage.

Sharp and defiant, the opening beats sliced through the London air like a call to action, ushering in the spirit of the Yoruba historical epic Iku Baba Yeye.

Among the cultural elements that shaped the production was a striking Bàtá dance sequence performed by two energetic dancers—Samuel Oyebajo and Fatimo Tijani.

Their electrifying movements responded closely to the rhythm of the drum, demonstrating a deep understanding of the traditional style in their interpretation.

Seeing the Bàtá dance performed with such precision by dancers based in the UK was a rare delight. In a setting where one might not always expect such nuanced interpretation, the performance captured the energy and spirit of the tradition with remarkable authenticity.

What made the moment particularly remarkable was the conviction and precision with which the dancers brought the form to life.

The dancers move with surgical precision in response to the drums’ patterns, signalling transitions and heightening moments of grief, tension, and impending war.

The story, set against the decline of the Oyo Empire,, centers on the town of Igboho as it trembles under the threat of Nupe (Ajakaku) aggression.

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The narrative unfolds as a tense chess match of succession, betrayal, and the consequences of tampering with the sacred.

As leadership falters and war looms, the drama explores how smaller communities struggle to preserve dignity in the shadow of a crumbling superpower.

The production’s dramatic weight is firmly anchored by Nollywood veterans who trade the camera lens for the raw immediacy of the stage.

Femi Branch, as Balogun, delivers a commanding performance as the warrior-commander, clad in full traditional regalia that projects both strength and the weary burden of defence.

Akin Lewis, as Oba Olujimi, brings a regal, weathered authority to the throne, adorned in richly woven aso-oke and sacred beaded regalia.

Jide Alabi and Ronke Ojo complete a courtly atmosphere that feels lived-in rather than merely costumed, lending the production a convincing historical texture.

As the final echoes of the drums fade inside Woolwich Fireworks Hall, the audience’s reaction — a mix of audible gasps, laughter, and lingering silence — confirms one thing: ethnic theatre is not only travelling, it is settling confidently onto international stages, carrying its history, rhythm, and storytelling power with it.