BUDISO, satirical and hilarious offer of Nigeria in the 1980

By Adedayo Odulaja

For BUDISO, it is about a perfect interplay of music, dance, drama and else there is to make a poignant mark on the mind of the audience. It all started with a song about struggle and labour in the play’s latest showing on the day its writer was honoured by the National Association of Nigerian Theatre Arts Practitioners, NANTAP. Staged at the National Theatre, Iganmu Lagos. The play’s latest showing, directed this time by fast rising thetare man, SegunAdefila, was a nostalgic recall even if it’s one that is not so palatable, of events long gone. But are the realities far from us all, even today? The song for a better Nigerian society ends and there is a new day for which all around are preparing when a harmfully sounding announcement reaches that soldiers have taken over, with the usual curfews, declaration of public silence and such once again imposed in the country now called Budiso. With the new wave of military intervention, the normal course of events which would have led to So (Smart Adejumo), a judge becoming the chief bencher, is interrupted. While he complains of the lengthy years he has spent on the bench, a phone call directed at his house that he is to be fetched by the new military rulers, leads him into collapsing with fear in a hugely dramatic scene filled with fitting action, practiced movements and rising dialogue. With the coming of General Bu and his deputy, Di, repression is unleashed on the land with obnoxious laws known as ‘Budicrees’ but the most stinging being that no one is allowed to die without the permission of the authorities. The next scene presents a flamboyant pastor and some members of his congregation, saying they desire paradise. Simultaneously on the other side, a sonorous voice wails in lamentation. Pastor Obidike (Bayo Ogundele) complains that the economy is so bad and prays that his church should be remembered in every budgetary allocation. Calling on God for showers of naira instead of the Holy Spirit is an act the church does not frown at also. Soon, two of those indicted and wanted by the new regime for corruption comes into the church and a competition ensues between the pastor and his congregation as they help themselves to some cash put in as ‘offering’ by the two men, until marauding soldiers storm the church. Although just going about their business of ensuring no mutiny or treason is engineered anywhere against their big master, stumbling on two of the most wanted men in the land makes a lot of sense to the soldiers who round them up promptly. This is however, after they teach the people how to respond when they make the call: “Budiso” sure to lead to the Yoruba meaning of the coinage and prompting them to hold on their buttocks while standing straight. Coming to the grandmasters of the regime, So is ushered into the presence of the two topmost characters of the game and hurriedly, unconventionally made the chief bencher after another member of the Bench, Ajibaba (Haji Bello) rejects the offer. With a Bible absent although he is a Christian, So is sworn in with a copy of the dictionary and told to only apply the laws as made by them and handed to him. Insecurity, high-handedness and helped by the now mischievous So who is ready to protect his position with all he has got, rule the land. One does not need a seer to foresee the chaos lurking around, which inevitably overwhelms the land. But aside the person of So, on which the story is based and the many chaotic sessions his active and complicit support of the military rulers ignites in the play, BUDISO offers a journey into the past. But the most gripping element of the play, as far as I am concerned, is the whole lot of humour buried in its many scenes but that does not of course alter the impeccable armour of its viciously didactic arrows. A look into one or two wittily–packed scenes might provide better insight. The soldiers come into a place like a village square where almost every member of the community is busy either playing, involved in a business or buying and selling and announce a new set of ‘Budicrees’ as they call them. Then the messenger, who comes with an interpreter in tow, unveils the ‘Budicrees’ one by one. The people, finding the laws extremely impracticable, disagree especially with that about dying unlawfully and that which says women must give birth in 12 months either below or above child-bearing age. With the punishment said to be killing a relative of any one who dies, an old man in the gathering (George A. Eyo), defies the order, dying instantly. Except that as he lies down dead, one of his two hands is raised and the soldier, wanting to confirm if he is truly dead, brings down the hand only for the ‘dead’ man to bring it back promptly, eliciting so much laughter from the appreciative audience. Even if that does not really tickle you, then the scene in which an Alhaji goes to church would, with the turban-wearing man saying he is ready to call on Jesus if Allah refuses to forgive him for collecting the ‘gift’ from appreciative contractors. And when the discovery of an Alahaji in the church gets the soldiers mad, the pastor quickly says he is not one of their members although there is no discrimination when his money is concerned. How about the infinite energy and smooth chronological ordering of the well marshaled scenes of the benchers? The truth is it is difficult to find a down side in the performances of the cast of BUDISO and why would anyone not appreciate them the more, considering the professional manner those on stage stood still when a power outbreak occurred. Although the outage lasted about five minutes, they stood transfixed, slipping once again into their roles when power was restored. There are many bright spots in the play with all the actors exemplifying the themes with their reflections. But more than anyone else, Smart Adejumo who takes the role of So deserves a lot of kudos for his absorbing manner of acting and speaking as far as this stage production is concerned. Maybe you would not expect anything if you learn he is the son of renowned thespian, Moses Olaiya Adejumo better known as Baba Sala but the young man is one to watch out for. ,Budiso essentially a satirical template of the Nigerian nation with all the attendant issues, as well as that of three men whose grip on power was vicious and whose roles in Nigeria’s history will continue to be talked about for a long time, is a riveting play. Muhammadu Buhari led, supplying the BU in the title while Tunde Idiagbon, his deputy and Justice George Sodeinde Sowemimo, the attorney general and minister of Justice at the time, supplying the DI and SO respectively. The play, written by Fred Agbeyegbe, was actually commissioned by his fellow lawyers, was in commemoration of 100 years of the law profession in Nigeria.