Award-Winning Nigerian Play Takes Centre Stage As Wole Soyinka Cultural Exchange Opens In London
A Festival Opens with a Powerful Theatrical Statement
THE 17th Wole Soyinka International Cultural Exchange (WSICE) commenced in London with a compelling theatrical production that underscored this year’s theme, Let Memory Be Our Witness. The opening programme featured Esther’s Revenge, the acclaimed stage play written and directed by Nigerian playwright Kenneth Uphopho, at The Africa Centre on 17 and 18 July.
The production immediately established the intellectual tone of the festival by inviting audiences to revisit an overlooked chapter of Nigeria’s colonial history through drama that blends historical inquiry with contemporary social reflection. More than an opening performance, the play became a catalyst for conversations about justice, memory, gender and power.
Convened by Dr. Teju Kareem, Chief Executive Officer of ZMirage Multimedia Company, the annual cultural exchange continues to honour the artistic and intellectual legacy of Nobel Laureate Professor Wole Soyinka. Soyinka joined cultural leaders, artists, scholars and invited guests at the opening events, reinforcing the festival’s role as an international platform for African literature, theatre and cultural dialogue.
Revisiting a Forgotten Colonial Story
Inspired by the real-life story of Esther Ada Johnson, Esther’s Revenge revisits one of colonial Lagos’ most controversial criminal cases. Johnson was sentenced to death after the killing of her white lover during the 1950s, a case that has often been remembered only through sensational headlines.
Rather than retelling the incident as a conventional crime story, Uphopho reconstructs the social, political and racial realities that surrounded Esther’s life. The production examines unequal power relations within colonial society and questions how gender, race and authority shaped both public perception and judicial outcomes.
Speaking during a post-performance discussion, Uphopho explained that the work seeks to examine structures of power rather than focus solely on the crime itself.
According to him, the play asks who exercised power in colonial Nigeria, who believed they possessed it and what consequences followed when those hierarchies were challenged.
An Immersive Performance that Engages the Audience
The production relies on the strength of a single performer, Bola Stephen-Atitebi, whose immersive portrayal transforms the audience from passive observers into active witnesses.
Moving between recollection, testimony and dramatic narration, she reconstructs Esther’s emotional journey while encouraging audiences to interrogate broader questions about justice, identity and historical memory.
The minimalist theatrical approach places emphasis on performance, language and emotional intensity rather than elaborate stage design, allowing the story itself to occupy centre stage.
Audience members responded positively to the production’s ability to humanise a historical figure who has often been reduced to a footnote in colonial legal history.
International Recognition for a Nigerian Production
Produced by Pawstudios Africa, with Omotola Ibeh coordinating the United Kingdom tour, Esther’s Revenge has steadily built an international reputation since its premiere in 2018.
The London performances marked the play’s 85th staging, reflecting sustained interest in its themes across different cultural contexts.
Its international achievements include the Brighton Fringe International Encore Series Award in 2023 and a successful residency at the SoHo Playhouse in New York during 2024. The production has also toured Nigeria, South Africa and the United States.
These milestones illustrate the increasing global visibility of Nigerian theatre and the growing appetite for African dramatic works that engage with historical and contemporary social issues.
WSICE’s Commitment to Cultural Dialogue
For WSICE Convener Dr. Teju Kareem, the selection of Esther’s Revenge aligns closely with the objectives of the annual cultural exchange.
He noted that the festival seeks to stimulate conversations centred on memory, identity and cultural responsibility while encouraging audiences to engage critically with difficult historical experiences.
The production therefore complemented this year’s festival theme by demonstrating how theatre can function as a medium for preserving historical memory while inspiring contemporary reflection.
Audience discussions continued well after each performance, with many participants describing the play as emotionally powerful and intellectually challenging.
Several attendees praised its balanced portrayal of Esther as neither hero nor villain but as a complex human being shaped by extraordinary historical circumstances.
Continuing the Conversation Across the United Kingdom
The performances at The Africa Centre marked the opening chapter of the play’s 2026 United Kingdom tour.
Following its London debut, Esther’s Revenge is scheduled for performances at the Bread & Roses Theatre, Alma Tavern & Theatre in Bristol, Impact Dance Studios in London and the Bradford African Festival.
For Kenneth Uphopho, opening the tour within the Wole Soyinka International Cultural Exchange added symbolic significance to the production.
He observed that memory is not simply about preserving the past but about determining which stories societies choose to carry into the future.
By placing Esther’s story within the broader framework of African history, literature and theatre, Esther’s Revenge reaffirmed the enduring capacity of performance to recover forgotten voices and stimulate meaningful public dialogue.
