‘Ade Isembaye’ comes alive at Ikorodu-Oga Festival 2025

By Segun Aribisala

THE journey of a thousand miles begins, and ends, with a single step. Months of preparation, from auditions to overnight rehearsals culminated in a stellar performance at the Ikorodu Town Hall on Monday, 10 November 2025. The official stage play for the festival, Ade Isembaye, written by Waliu Adeyeye and directed by Oyewole Salami, was presented as part of the 8-day annual Ikorodu-Oga Festival, now celebrating its 34th year.

With the aim of showcasing a stage play for the annual Ikorodu-Oga Festival, the Ikorodu Cultural Arts Troupe (IKOCAT), an initiative of the prestigious Ikorodu-Oga Development Association (IKODASS) under the chairmanship of Alhaji Fatai Kolawole Olayiwola, decided to bring a historical story to life. Led by Mr. T.H. Salami Awolaru, the IKOCAT team set the ball rolling, and their vision and expertise culminated in the play performed at the Town Hall, much to the enjoyment of all present.

Despite a full schedule of activities on the festival’s second day, including traditional performance chants from Ikorodu’s historic festivals (Odun Ikorodu), royal performances, and art exhibitions – the play remained the main attraction. The performance began later than scheduled, as organizers awaited the arrival of the king, who was unable to attend and was instead represented by a palace envoy due to prior commitments.

The play Ade Isembaye (the Traditional Beaded Crown) is a dramatic adaptation of history, depicting how Ikorodu acquired its beaded crown and became a kingdom. It tells the story of Ikorodu’s struggle for royal independence: mocked for lacking a crown, with Oloja Adenaike Alagbe resolving to secure one for his people. Struck down by dark forces, he entrusts the quest to Prince Samuel Oderinde Ladega, who bravely journeys to Ijebu-Ode, overcomes trials, and gains the support of Oba Gbeleguwa. Returning in triumph, Ladega presents the crown, and Adenaike is enthroned as the first Oba Ayangbure of Ikorodu. The play celebrates courage, heritage, and the birth of Ikorodu’s true kingship.

A scene from the play

While opinions differ on how Ikorodu obtained the beaded crown, certain facts are consistent across the various accounts. The event took place in the 1950s during the reign of Oloja (later Oba) Adenaike Alagbe. At the time, relations between Ikorodu and Remo were strained due to a longstanding dispute, which lasted 80 years and was finally resolved during the reign of the current king, HRM Oba (Engr.) Kabiru Adewale Shotobi, Adegorushen V. Historical accounts agree that the ancestral beaded crown (Ade Isembaye) was ultimately acquired from Ijebu.

Though there were minor technical and lighting glitches at the start, caused largely by the initial adjustment to the stage setup, the director’s versatility ensured the performance proceeded smoothly to the audience’s applause. While the venue was not filled to the brim, there was a considerable number, some of whom stood to watch the play.

Deserving of commendation are not only the actors but also the orchestra, whose captivating performance added depth and rhythm to the production, perfectly complementing the emotions on stage. The orchestra brought remarkable richness to the performance: the blend of traditional drums and other instruments underscored each scene with rhythmic precision, heightening moments of tension and release. The music never overwhelmed the dialogue; rather, it moved in harmony with the actors’ emotions, creating a seamless interplay between sound and action. The songs also served as effective scene introductions, cueing the audience to the emotions and situations to follow, while the musicians’ precise control ensured fluid transitions, keeping the play’s energy vibrant from start to finish.

The script was coherent and engaging, with clear and relevant themes rendered primarily in Yoruba, interspersed occasionally with English for emphasis and accessibility. The director interpreted the script effectively, maintaining a balanced pacing that allowed the story to unfold smoothly and kept the audience’s attention throughout.

The play employed a variety of transition techniques to ensure fluidity between scenes. Some transitions involved complete blackouts, often accompanied by songs or drumming from the orchestra, allowing for quick scene changes and dramatic emphasis. On one or two occasions, particularly at the beginning when the flow had yet to be fully established, the set changed in full view of the audience, blending action with stagecraft. Sound and musical cues were also used effectively to bridge scenes, with brief interludes or rhythmic underscoring that maintained pacing and sustained atmosphere. Overall, these transitions helped maintain rhythm, support mood, and reinforce the play’s themes, ensuring the story flowed without awkward pauses.

The actors inhabited their roles convincingly, with gestures, movement, and speech that were both believable and expressive. Strong chemistry among the cast enhanced the overall realism and emotional depth of the performance, with a few standout performances drawing particular attention. Design elements contributed significantly to the production’s success: the set effectively established mood and setting, costumes reflected characters and period accurately, and lighting was thoughtfully employed to guide focus and evoke atmosphere. Sound and music were meaningfully integrated to enrich the scenes, while props served both to enhance realism and convey symbolic meaning.

In conclusion, Ade Isembaye served as a compelling celebration of Ikorodu’s cultural and hisorical heritage, brought vividly to life through a cohesive script, skillful direction, and captivating performances. The actors, supported by a vibrant orchestra, delivered emotionally resonant portrayals, while the thoughtful design elements and seamless scene transitions enhanced the storytelling. Despite minor technical glitches, the production maintained a steady rhythm and kept the audience fully engaged from start to finish. Ultimately, the play succeeded not only as a historical dramatization but also as a tribute to courage, culture, and the enduring spirit of Ikorodu’s community.

* Aribisala, a literary, art and culture archivist and curator, is the Programme Manager at Unchained Vibes Africa (UVA), among other cultural engagements