t1AIVlblli Brooklyn Academy of Music 1996 Next Wave Festival

Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" The Beatification of Area Boy

BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn The Solomon R. Works and Process Inc. Academy of Music Guggenheim Foundation Mary Sharp Cronson Bruce C. Ratner in collaboration with Producer Chairman of the Board

Harvey Lichtenstein President & Executive Producer

present The Beatification of Area Boy A Lagosian Kaleidoscope by Wole Soyinka

BAM Majestic Theater October 9, 1996 at 7pm October 10-12 at 8pm October 13 at 3pm

Running time: Performed by The West Yorkshire Playhouse approximately Director Jude Kelly two hours and fourty­ Associate Director Toby Swift five minutes, including Designer Niki Turner intermission. Musical Directors Tunji Oyelana, Juwon Ogungbe Lighting Mark Pritchard Sound Mic Pool, Roman Kung Production Manager Mike Brown Stage Manager Lianne Bruce Wardrobe Karin Moffa, Vivian Brown American Stage Manager Kim Beringer Tour Management Naw30 Production Zurich Consultant to Works and Process Liz Dunn Production/Management, Inc.

Supported by Naw30 Cultural Exchange Programmes, Zurich. Sponsored by the University of Leeds. Leadership support provided by The Rockefeller Foundation and The Peter Jay Sharp Foundation. Special support provided by The Harold and Mimi Steinberg Charitable Trust and The Gladys Krieble Delmas Foundation. British Airways is the official airline for this presentation.

Photo by Simon Warner He was charming and obliging but, as ever, ferociously busy. The true character of Soyinka is that much as he would prefer to be perceived as an artist, he is absolutely prepared to live his poli­ tics if necessary. He has never stood by as a mere cultural commentator, witnessed by incredible incidents such as holding up a Nigerian radio station at gunpoint in order to issue a warning to the president to get out of town. That first play

Photos of Soyinka & Kelly by Simon Warner & Brigitte Lacombe I had been led to, The Road, was an extraordinary I suspect my relationship with Wole Soyinka, and metaphysical fable in which the carnage caused the long process which led to the production of by road accidents formed an allegory for the road The Beatification of Area Boy espouses the value to death. So it was characteristic that at the point of patience and positive thinking. If you work hard I met him, Soyinka was engaged in setting up a enough for something you passionately believe in, commission to improve the dire state of traffic it should eventually come to pass. I hope this safety in Nigeria, and was hence far too preoc­ proves true not only in having arrived at the pre­ cupied to write a play for me. miere of this magnificent play; but also that Nothing more was heard for the next few years, there may be a brighter future for Nigeria beyond though we continued to maintain informal con­ the current political morass. If there is, it will be tact. Then suddenly last year out of the blue an in no small measure due to the passionate com­ unbound copy of The Beatification of Area Boy mitment, bravery and inspirational eloquence of landed on my desk, with a note from the publish­ the man who wrote it. ers to say they would like me to take a look at it. Yet back in 1987, to my shame, Wole Soyinka Reading it was one of those rare experiences was all but unknown to me. At the time I was you can have as a theater director, if you are very working at the Royal Shakespeare Company, and lucky. I was swept away by the play's wit, depth had been discussing the writers I truly loved, and and design of Brechtian perception, and yet it whether anyone's greatness could compare with wasn't a work which carried its intellectual lug­ Shakespeare. The Director of the Shakespeare gage in a way that precluded its value as enter­ Institute suggested I try Wole Soyinka's play The tainment. It was full of great songs for one thing; Road, on the grounds that he was probably as and as a whole it seemed so light and humane. close as anyone to Shakespeare that he knew. I thought it was a gem. I didn't meet Wole Soyinka until 1989, by And yet sheer enthusiasm for the work was which time I had been appointed Artistic Director not going to get the play put on alone. My exhil­ of the new West Yorkshire Playhouse in Leeds; aration was tempered by the sheer, terrifying the city where thirty-five years earlier Soyinka had magnitude of the play's requirements. The play studied at the University, before embarking on an was subtitled "A Lagosian Kaleidoscope," and it extraordinary career as playwright, poet, novelist demanded no less than the illusion of putting all and outspoken critic of Nigeria's successive mili­ Lagos on the stage. There were upwards of twenty tary regimes. actors involved, plus musicians. And beyond that, I found myself invited to attend a dinner at the each of them would have to possess an intimate University of Leeds, at which Soyinka, the recip­ feel for the Nigerian capital if the play was to have ient of an honorary doctorate from the University, any sense at all. I was going to have to find a would be present. I thought there would be cast of Nigerian actors. I was going to have to nothing to lose in going straight up to him and go to Nigeria. asking him outright if he would write a play for The prospect only became a reality with the the new theater. intervention of the Swiss producer, Niggi Popp, of the Nilwao Cultural Exchange Program. He the seriously dangerous gunmen and armed began raising money for a production that would criminals which riddle the city, generally confining become a joint British-Swiss-Nigerian effort with themselves to small-time drug dealing and petty a multiethnic cast representing all three countries. extortion. Soyinka's play focuses on a day in the I was forewarned that Nigeria under the pre­ life of one of the breed, Sanda, an intellectual sent political climate is an intimidating and drop-out and shopping plaza security guard whose potentially dangerous place to be. The process small-scale scams and rackets seem to hold a of finding actors became an absurd but deadly peculiar kind of virtue; being the obverse of the serious cloak and dagger operation, in which the iniquitous way in which the country is run at large. actual project we were casting for could never be In the week I was there, fourty-four political specifically named. I had to keep my copy of the prisoners were executed-yet even then I had no play without the title page and take care never to idea about how inflammatory the situation was refer to Soyinka personally. It became more and goi ng to become. more apparent that in his native country he is The death sentence was passed on Ken condemned as a dangerous influence which the Saro-Wiwa the same day that The Beatification authorities wish to eradicate. And yet among the of Area Boy opened in Leeds. Wole Soyinka had actors, auditioned in secret crammed into a vari­ been with us interm ittently th roughout the ety of inappropriate small rooms, it emerged­ rehearsal period; flying in battle-weary but never whenever they twigged the writer's identity-that despondent from end less efforts to promote the Soyinka is revered as far more than a significant cause of Nigerian democracy in Canada, Japan, playwright. He is honored as the potential savior the Commonwealth Conference in New Zealand. of the country; commanding in exile the kind of He was not present at the press night, partly due esteem accorded to Nelson Mandela during his to the need to keep his movements elusive, but imprison ment. also due to the focus of the world's media attention Lagos itself was exh ila rati ng, shocki ng and in the wake of the Saro-Wiwa verdict. Suddenly bewildering in its diversity. Although I was staying our work was of more than simple cultural sig­ with a wealthy friend of Soyinka's in a privileged nificance; it opened wide a crucial political debate quarter of the city, the house still required three about an issue at the center of international affairs. Alsatians and huge iron gates for protection. There Saro-Wiwa and his colleagues were hanged were people sleeping, setting up stalls or simply during the play's run in Leeds. The shock to curling up to die on every street corner. We were myself, the cast and everyone involved would be close to the beach, wh ich was covered with impossible to relate, particularly the anxiety of the hovels and temporary shelters, and not far from Nigerian members of the company who found that the Maroko district where an entire community they may not safely be able to return home. The who had been living there for twenty-five years run ended with a specially scheduled benefit night had their homes cleared at a sweep, as the land in honor of Saro-Wiwa, which many of Soyinka's had been commandeered by the government to colleagues and su pporters ca me to attend. build homes for the military. The Beatification of The Beatification of Area Boy became an apt Area Boy depicts one such brutal clearing of a demonstration of how cultural enterprise can grow swath of streetlife, and includes the tragedy of the beyond all the established parameters in response Maroko refugees. to a genuine hunger for social and political change. Most importantly, while I was there I met the Despite the superhuman scale of effort required Area Boys-that distinctively Lagosian incarnation to mou nt the fi rst prod uction, it wou Id be irrespon­ of the Artfu I Dodger. Area Boys provide a cou nter­ sible to allow such a project to fade. Yet however culture to the shifting corruption of the official extensively Wole Soyinka's play is registered, the systems, representing what can only be called a urgency of his message can never penetrate far version of free enterprise. They are distinct from enough.-Jude Kelly Photo by Brigitte Lacombe

Cast Janice Acquah Miriam Keller Tunji Oyelana (in alphabetical order) Miseyi Maid and Band Member Minstrel

Makinde Adeniran Vomi A. Michaels Malcolm Scates Boyko Judge and Officer Foreigner and Officer's ADC Anthony Ofeogbu Abu Sidique Susie Baxter Parking attendant, Band Member Foreigner Prisoner and MC The ACTORS in The Bisi Toluwase Beatification of Area Femi Elufowoju Jr. Juwon Ogunbe Band Member Boy are appearing Sanda Band Leader with the permission Everal Walsh of Actors' Equity Derek Ezenagu Wale Ogunyemi Area Two Four Association. Cyclist, Groom Barber and Governor's ADC The American Stage and Warden Manager is a member Ombo Gogo Ombo David Webber of Actors' Equity Folo Graff Big Man Shopper and Trader Association. Band Member Military Governor

-;.;i.,..-' Marcia Hewitt Denise Orita Il:'~~~: Mama Put's Daughter Mama Put Wale Soyinka (Author) was born in Nigeria in the Festival Director for The York Mystery Plays in 1934. Educated there and at Leeds University, 1988. Her production of The Bag Lady by Frank he worked in British theater before returning to McGuiness, starring Sorcha Cusack, was pre­ Nigeria in 1960. In 1986, he became the first miered at the Edinburgh Festival in 1988 and African writer to win the Nobel Prize for Literature. transferred to the Riverside Studios in London. His plays include The Jero Plays (1960, 1966), She directed the world premiere of Colours by The Road (1965), The Lion and the Jewel (1966), Jean Binnie at the Abbey Theatre, Dublin. She Madmen and Specialists (1971), Death and the and Michael Birch also directed The Tempest King's Horseman (1975), A Play of Giants (1984), with Frank Langella in New York. A Scourge of Hyacinths (1991) and From Zia, Jude became Artistic Director of The West With Love (1992). His novels include The Yorkshire Playhouse in 1989. Since then two of Interpreters (1973) and Season of Anomy (1980) her productions have transferred to the Royal Court and his collections of poetry include Idanre and the Comedy Theatre in London. (1967), A Shuttle in the Crypt (1972), composed Toby Swift (Associate Director) trained at Bretton during a period of over two years in prison with­ Hall before joining the National Student Theatre out trial, most of it in solitary confinement; and Company as a director. From 1986 to 1988 he Mandela's Earth (1990). In 1988, his collection was Artistic Director of Active Education, a theater­ of essays on literature and culture, Art, Dialogue in-education company. He then spent seven years and Outrage, was published. He has also written as Artistic Director of Yorkshire Theatre Company, three autobiographical volumes Ake: The Years a company touring new work throughout Britain of Childhood (1983), Isara: A Voyage Around and into Europe. In 1990 YTC was a runner-up Essay (1989) and Ibadan (1994). for the prestigious Prudential Award for Theatre Jude Kelly (Director) is the Artistic Director of the and in 1994 won Best Production of a Comedy West Yorkshire Playhouse where she has directed in the London Fringe Awards for Derby Day. Wild Oats, Safe in our Hands, Playboy of the Freelance work includes Henceforward... at Western World, The Pope and the Witch, Savages, Harrogate Theatre, Treasure Island (as assistant Second from Last in the Sack Race, Pratt of the to Frank Dunlop) at Edinburgh Festival and 22 Argus, Revenger's Tragedy, The Wicked Old productions as visiting director at ARTTS Man, Happy Days, The Taming of the Shrew, International. He is involved in new writing work Comedians, Gypsy, The Merchant of Venice, Call with Young Vic, Yorkshire Playwrights and BBC in the Night and King Lear. Comedy Development Unit. Swift and his writing Jude began her career as an Artistic Director in partner have been commissioned to write their 1976 with Solent People's Theatre. In 1980, she fifth full-length theatre play. Television and film was appointed Artistic Director of Battersea Arts credits as an actor include: Coronation Street and Centre; her job was to open the Centre and estab­ Children's Ward, Portrait of a Marriage and lish it as a national venue. During this period, she Freerunner. was also director of the National Theatre of Brent Janice Acquah (Miseyi) grew up in Ghana. After and co-wrote and directed The Messiah with a degree in Environmental Biology at the University Patrick Barlow and Jim Broadbent. In 1984 she of York, she co-founded an educational theater also co-wrote and directed The Complete Guide company. Other theater work includes Arawak to Sex for the company, which was staged at the Gold for Talawa Theatre Company, To Kill A Lyric Theatre, Hammersmith. During her five years Mockingbird, York Theatre Royal, and The York at Battersea, Jude became a director of Harvey Mystery Plays. TV includes regular roles in Silent and the Wallbangers, and created a large scale Witness and Health and Efficiency. She has per­ contemporary pantomime with cabaret artists formed in the radio version of Soyinka's Death Fascinating Aida. and the King's Horseman. Janice can be seen in In 1986 Jude joined the Royal Shakespeare the new Mike Leigh fi Im Secrets & Lies. Company. Her production of Sarcophagus by Vladimir Gubaryev was nominated for two Olivier Makinde Adeniran (Boyko & Officer ADC) trained awards. Since then, she has worked at Bristol Old at Obafemi Awolowo University, Nigeria. Theater Vic and the Lyric Theatre, Hammersmith, and as credits include Strong Breed, The Crucible, A View from the Bridge, Trials of Brother Jero; Childe 1991 he formed and toured with Orchestre Jazira. International; The Lion and the Jewel, Fences; Graff became an actor, musician, and then Esu and the Vagabond Minstrels, Macbeth, Irara Musical Director with Kultural Kontractors for Alagbe. TV and film credits include Drive and Stay Children of Koyo. He has performed with the Alive, Aye ye Won Tan, Dilemma, New Dawn African Players in The Lion and the Jewel. Mr. and Slavery in Africa. He directed Wedlock of the Graff is also a member of the international story­ Gods, Fences, Muje Muje and Chi/de International telling group Common Lore. and was recently highlighted as a Newly Marcia Hewitt (Mama Put's Daughter) trained Discovered Director at Obafemi Awolowo University. at the London Studio Centre. She started her Susie Baxter (Foreigner) trained at East 15 Acting professional acting career in the Pulitzer Prize School and has worked in theater all over Britain. winning play Third Child at the Worsley Theater, She was a founding member of Solent People's Ipswich. She went on to play the lead roles in Theatre and General Theatre Company at Battersea several other plays including the children's version Arts Centre. She has toured her own musical and of Sherlock Holmes at the Polka Theatre, No comedy show and was part of the improvised Worries at the Worsley, and Theatre Foundary's comedy series Live Soap at the Donmar interpretation of Hans Christian Anderson's The Warehouse. Previous shows at the West Yorkshire Grimms Tale of the Magic Nightingale. She has Playhouse include Safe in Our Hands, Sunsets also performed in several plays with Inner City and Glories, Second From Last in the Sack Race, Theatre Company in London, Polka Theatre, Carib Pratt of the Argus, In All Innocence, Pope and Theatre, at the Southwark Playhouse and the the Witch and The Merchant of Venice. TV credits Contact Theatre in Manchester. Her television include The Haggard Falcon, Sutherlands Law, debut was in What You Lookin' At? What's Your Story and Just Us. Miriam Keller (Band Member & Maid) trained with Femi Elufowoju Jr. (Sanda) received a degree in Scuola Teatro Dimiti, Versio, Switzerland. Theater drama from Leeds University. Theater credits credits include Variete-Varieta and Sopra I Tetti Del include seasons at The Royal National Theatre Mondo (Teatro Dimitri), L'Ucello Magico (Compagnia and The Royal Court, world tours with the Oxford Troubadour), Josephine Baker-Life of the Black Stage Company, The Lyric Theatre, Hammersmith Venus (Theatre Pas de deux). and a spell with Theatre de Complicite. Radio Vomi A. Michaels (Judge & Officer) recently fin­ credits include Blood Wedding, The Wide Sargasso ished a British tour of Zumbi. He was a member Sea and Thieves Like Us. TV work includes The of Leeds University Theatre Group, and of the cast Bill, The Knock and Supply and Demand. He that took Wole Soyinka's Death of the King's was awarded a Trainee Directorship by Camsoon Horseman to The Edinburgh Festival. Other credits Mackintosh and Channel Four, and is to serve include Big Mountain for M6 Theatre Company, Philip Hedley at the Theatre Royal, Stratford East, Carousel at Leicester Haymarket. He performed through Autumn 1997. Romeo and Juliet and Othello for Deconstruction Derek Ezenagu (Cyclist, Warden & Groom) grad­ Theatre Company; Voices of Namibia at the uated from the Poor School in 1994. Theater Bloomsbury and Walk on the Wildside for Angels work includes Restoration, Our Countrys Good at on Bicycles Theatre. Film work includes Visions the Moon, Punch Junkies at the Brixton Show and of An Underdog and Crucifixion Island. Billie Blue at the Oval House. Film credits include Anthony Ofeogbu (Parking Attendant, Prisoner & Three Steps to Heaven, and The Fifth Element MC) was a founder of Four's Company Dance directed by Luc Besson. Theatre, where his work includes Vice and Joy, and Folo Graff (Band Member) served as Cultural On the Good Foot at the Theatre Roya I, Stratford Ambassador with the Sierra Leone National Dance East, he wrote and performed Sax Man. Credits Troupe touring South America. As a freelance include Travesty Theatre's Come on the Good Thing, music and basic African culture teacher, he has Bedside Manner's Long About Midnight and Stig worked in England, Italy, France, Poland, Theatre's Gargling with Jelly at the Theatre Museum. Switzerland and Portugal. Between 1989 and National tours include Black Theatre's Bitter'N Twisted and The Cantervil/e Ghost with Kazzum Denise Orita (Mama Put) was trained at St. Arts Project. Radio credits include Buddy Bolden's Catherine's Drama School in Guilford. She has Blues, Bliss & Tumble, and Hello. In the West End, worked on many shows including Newsrevue and he acted as a warm- up man in Five Guys Named The President's Orgasm at the Canal Cafe in Moe, in Once on this Island at the Royalty, and London; It's a Girl, Nottingham; a tour of A Plague in Billy Budd at the Royal Opera House. He was of Innocence in Canada; 70 Girls 70 at the in Acquisitive Case at the Southwark Playhouse, Vaudeville London and national tour; and the and recently filmed Samson and Delilah for Cotton Club Aldwych London. She was also in Nicholas Roeg. the Scottish premiere of Arthur Miller's The Ride Down Mount Morgan. Her TV work includes Juwon Ogungbe (Band Leader) has worked as Easterners, Crime Limited and Kavanagh QC. Musical Director in several British theaters. He Film work includes Mike Leigh's Secrets and Lies. has also composed and performed music for theater and film. His concert and choral pieces Tunji Oyelana (Minstrel) is a Professor of Music have been performed at South Bank Centre. For and Sound at the University of Ibadan, Nigeria. the 1994-95 Abbey Opera season, he performed Starting out with Wole Soyinka's company The 60's in Mozart's Cos! Fan Tutte, Rossini's L'italiana in Masks, he has acted in numerous Nigerian pro­ Algeri; Verdi's Don Carlos and Massenet's Manon ductions and performed at international festivals. and Werther. Besides working as keyboardist He has served as musical director for Soyinka's and bandleader for various ensembles, he has 1987 Death and the King's Horseman (Lincoln conducted workshops for theater, and coordinated Center) and for virtually all Osofian's plays, youth music programs in London. including Chattering and the Song, Midnight Hotel and Morountodun. He wrote the music for Full of Wale Ogunyemi (Barber) is creative writer at the Dreams and Mammy Water's Wedding, and was. Institute of African Studies at the University Ibadan, musical director for Odu Themes collaboration Nigeria. He has written several plays, including with the Royal Court Young People's Theatre for Langbodo (presented at the Second World Black My Life in the Bush of Ghosts. Arts Festival 1977 in Lagos). He founded his own theater troupe in the 60s, and later joined Mark Pritchard (Lighting) has lit more than 25 Soyinka's The 60's Masks and Orisun Theatre. productions in the West End, at theaters including He has participated in the following productions: the Criterion, Wyndham's; the Old Vic; the The Lion and the Jewel (Leeds Theatre Workshop), Aldwych, the Globe, the Comedy and the Gielgud. The Threepenny Opera (Leeds Civic Theatre), For the Royal Shakespeare Company he has Zwizwe Banzi is Dead (National Theatre, Nigeria), designed Romeo and Juliet and Hamlet. Opera Madmen and Specialists (Eugene O'Neill Theatre, and ballet productions include work for Sadler's Connecticut), A Flash in the Sun (Toyama Theatre Wells Royal Ballet and Stuttgart Ballet, Phoenix Festival, Japan), From Zia With Love (Dionysia Opera, Kent Opera; three seasons for Dublin Opera, Festival, Siena). For Nigerian TV: Caravan of Life, a season at Wexford Opera Festival, Handel's Bello's Way, For Better For Worse and The BrrOken Ottone at Queen Elizabeth Hall and the World Seal and in the films Kongi's Harvest and Bullfrog Premiere of Martyrdom of St. Magnus at Kirkwall. in the Sun. Mark has worked throughout Europe, including productions at the National Theatres of France, Ombo Gogo Ombo (Big Man Shopper & Military Iceland and Ireland (The Abbey); also at the Gate Governor) was trained at the University of Port­ Theatre in Dublin. He has lit many productions Harcourt, Nigeria. Theater credits include Ilou Dee in Denmark including the European premiere of Ti, Before the Deluge, A Toast for Soyinka, Eniyan Sunday in the Park with George; Sweeney Todd Medea, Edika Ikona, Sahara and Footprint. TV and Les Misera bles . credits include The Syndicate, Tele Movie, Village Headmaster, Mal/am Mugu and Checkmate. Film Mic Pool (Sound) is Resident Sound Designer at credits include Eye of Life, Ahon and Ti Oluwa the West Yorksh ire Playhouse where he designed Lo Nile; he is also a musician and puppeteer. the installed production sound systems. During an eighteen year involvement in theatre sound, he has been Resident Sound Designer at the Lyric Niki Turner (Designer) graduated from Central Theatre, Hammersmith, the Royal Court and the St. Martins in 1990 and travelled to South Tyne Theatre Company. He has toured worldwide America and Indonesia researching religious and with Ballet Rambert and supervised the music street festivals. She has designed for a number recording for several television productions of of British theaters, including The Gate Theatre, their work. He has worked regularly with the Battersea Arts Centre and Regency Opera. In National Youth Theatre and designed the sound 1993 she became Associate Designer at the for their production of Murder in the Cathedral Mercury Theatre, Colchester; where she designed at the Moscow Arts Theatre. He recently designed Romeo and Juliet, A View from the Bridge, Shirley The Road for the Royal Exchange in Manchester. Valentine, Grounded, The Aspern Papers and Kid. Since leaving Colchester in May 1994 she Malcolm Scates (Foreigner) trained at LAMDA. has designed for productions including The Theater cred its incl ude The Government Inspector Crucible for Birmingham Old Rep and Salisbury (West Yorkshire Playhouse); Hitler's Childhood, Playhouse, and The Snow Queen and Pilgermann The Venetian Twins and Mirad, A Boy From Bosnia for West Yorkshire Playhouse. (Oxford Stage Company); Measure for Measure and Hamlet (Cheek by Jowl); Boys Stuff (The Everal Walsh (Area Two Four & Governor's ADC) Crucible Theatre, Sheffield); The Importance of trained at Thomas Danby College, Leeds and at Being Earnest and A Taste of Honey (Cheltenham the Academy Drama School, London. Theater Everyman); Up IN' Under (Hull Truck); Noises experience in pieces like Pilgermann, The Off (York Theatre Royal); Slaughterhouse 5 Entertainer, Stags and Hens at the Thomas Danby (Liverpool Everyman); A Slight Case of Murder College. TV credits include Chapeltown Stories (Nottingham Playhouse); Salt of the Earth, Playboy an Prime Suspect V. of the Western World and A Midsummer Night's David Webber (Trader) trained at Rose Bruford Dream (Oldham Coliseum); Twelfth Night and College, London. Theater credits include Taking The Bourgeois Gentleman (Actors Touring Leave for the Royal National Theater, The Company). TV credits include Emmerdale, Into Looking Glass for the Young Vic, Downfall for the Fire, Prime Suspect, Brush Strokes, Medics, Contact Theatre, Manchester; King Lear, The Lion, Bread, The Diary of Rita Patel, Brookside and Smile Orange, The Road, Anthony and Cleopatra Black Hearts in Battersea. for Talawa Theatre; Merchant of Venice at the Abu Sidique (Band Member) came to England in Library Theatre; No One Writes the Colonel for the 1974, and has worked with a variety of UK based Lyric Theatre, Hammersmith; Death and King's bands, and also runs percussion/music workshops Horseman at the Royal Exchange; Remembrance for people of all ages and abilities. He is the founder at the Carib Theatre; The Colored Museum at and leader of the Abana Band which is now play­ Hackney Empire; Hiawatha at the Bristol Old Vic; ing some of the hottest Palm Wine music around and Ragamuffin and Vibes from the Scribes for Europe. He is also a member with the African Double Edge Theatre Company. He has appeared Players Theatre Company, and its Musical Director. in seasons with at Theatre Centre, M6 Theatre, and the Barbican, Plymouth. TV credits include Bisi Toluwase (Band Member) lecturer for the Accused, Prime Suspect, Coronation Street, Music Department at Ibadan Polytechnic, Nigeria. Brittas Empire, Open Eye, Messing Up, God's Trained in Acting, Movement, Speech, Music and Glory, 2 Point 4 Children, and The Bill. Radio Dance at University of Ibadan and Music at the credits include Lunch Hour Rush, Ragamuffin, University of Nigeria, Nsukka. Theater credits Two Kinda Truth and Memories of a Distant Past. include African November Fiesta (Hamburg and Frankfurt); African-American Cultural Week (Fort Worth, Philadelphia and New York); Dionysia Festival (Siena); Expo 92 (Seville). TV credits include Why-Worry, Bello's Way, Parhaps and a series of Playhouse Productions, Ibadan.