Homecoming: Another reason our stories still matter

Arguably, it has been a while since a story reminiscent of Chinua Achebe’s “Things Fall Apart”– in terms of revealing the Nigerian culture pre and post-colonization – was told on a stage. Such was "Homecoming," a play written by Chetachi Igbokwe. This play,directed by Ugochukwu Victor Ugwu, premiered on May 6, 2021, at the University of Nigeria, Nsukka. 

Although this play has been reenacted several times, this review speaks of its very first performance which has since been made available on YouTube. Many say "Homecoming" tells of grief. However, watching the play, one may realize the word "grief" is too broad. The playwright hones in on the specifics while grief hovers above it all. 

The first stage of grief is denial. The audience would quickly discover that for most of the story, Nwakibe and Adannaya, the couple whose son goes missing, are stuck in this stage. Adannaya writes letters to herself claiming it is from her son. Nwakibe, towards the end, discovers a traumatizing truth about his son and refuses it, thereby turning acceptance, the last stage of grief, on its head and reverting to the first stage. A loop like life.

While the script is well written, the actors’ performances really lifts the words off the page. One must also commend the cast who did not break character, not even when screams erupted from the audience in reaction to Nwakibe committing murder and the display of a headless corpse. The actor who plays Nwakibe even creates participatory performances. In a scene, he urges the audience to sing along as he woos his wife. The script's creative and realistic dialogue adequately captures each character's personality. In Nwakibe's interactions with Ahumaraeze, the village diviner, the audience realizes Nwakibe is more bark than bite. Although the drama presents itself as tragedy, the aforementioned interaction propelled laughter from the audience. 

The set design highlights the interplay between western influence and the indigenous. Scenes move between Nwakibe’s house with a cross hanging on the wall and the village diviner’s abode where he calls on his god. Besides religion, post-colonial influence appears in Nwakibe’s western clothes, specifically his French cap. In contrast, this influence remains absent in Ahumaraeze's attire: a wrapper tied around his waist. Subtle reminders that our stories did not start with (or even after) colonization. 

“Homecoming” is also evenly paced, allowing events to unfold gradually while leaving room for suspense. However, the overwhelming number of informative monologues may not allow the audience to process the story fully. Regardless, the play remains a nuanced and unforgettable tale. 

The interplay between loss and denial, religion and tradition, colonization and globalization and so on reminds one of authors like Achebe. It shows that despite western influences and inevitable cultural assimilation, our stories are still as unique as they are universal, and we should not stop telling them.