I wasn’t quite sure what to expect when I bought my ticket to see Single in Gidi, produced by Lydia Idakula Sobogun. It was on the strong recommendation of a friend with trusted taste in theater, so at the very least, I imagined it would be worth my time. Little did I know that even before Single in Gidi became a play, the concepts it hoped to explore were already embodied in a blog with the same name ran by Sheila Ojei, who happens to be the writer and creator of the play.
Staged in the seating area, allowing the audience a 360 degrees view of the play, I found myself sat on what would normally serve as the stage, watching a young man play the guitar while singing Bob Marley’s Redemption Song. It was only after other cast members approached the stage that the murmur in the crowd died down as we realized the guitarist was not an opening act. His performance was part of the play!
While I am tempted to give a quick run through of this play, I will save you the spoilers and discuss the themes explored instead. At the centre, Single in Gidi examines the current condition of being single in Lagos and how societal and family pressures, most especially on women influence it. It touches on the implication of the female biological clock and the default position of women as “prey”, which allows men to have more of a choice when it comes to mate selection.
All the actors delivered commendable performances, the scripting realistic, relatable, and humorous. As is to be expected from veteran director Kenneth Uphopho, the scenes flowed seamlessly and the character movements never went stale. With a mix of dialogue and the occasional splash of music, Single in Gidi is a contemporary masterpiece and has secured a place in my heart. It was on at Terra Kulture till the end of June. I certainly wish it makes a comeback to theatres. I cannot recommend it highly enough. Regardless of your age or relationship status, this play is sure to have you nodding along and laughing with delight.
November 30, 2018
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