Review: Crown of Blood, Crucible Theatre, Sheffield

This is the world premiere of Crown of Blood, a powerful retelling of Shakespeare’s Macbeth set during the civil wars of 19th-century Yorubaland. General Aderemi, fresh from saving the kingdom from invaders, is promoted to Field Marshal, thus fulfilling the prophecy of the oracle. When the oracle says he will become king, Aderemi and his wife Oyebisi go on a bloody mission to ensure he sits on the throne. 

The driving force of much of the narrative is scheming Oyebisi, excellently played by Kehinde Bankole. She was once a captured princess sold as booty; her husband Aderemi does not come from royal lineage so unless she intervenes, she will never realise her birthright and become a queen. Bankole captures her manipulative character perfectly as she lies, deceives and murders to fulfil her plans.  

Deyemi Okanlawon is equally impressive as Aderemi, a warrior who is content with his position until his wife’s ambition turns him into a ruthless monster that she can no longer control. The transformation from obedient soldier to megalomaniac is convincing and well judged by Okanlawon. 

The play has an authentic sense of time and place. The action is interspersed with African rhythms and chants. Background drums increase the tension. Dance and movement enhance the storytelling. There are no witches here, but Yorubaland gods are regularly present as observers, occasionally intervening to direct the action. They are fully integrated into the culture, and the characters are always mindful of not displeasing them. The excellent costumes, set and lighting add to this distinctive West African setting.  

The adaptation of Macbeth with its themes of ambition, revenge, fate and a tragic hero translate perfectly. Students will be delighted as familiar scenes are cleverly reworked to this new setting. The King Duncan character is Alaafin Iwalagba, played with authority and dignity by Patrice Naiambana. After Aderemi murders him, he attends an investiture ceremony to become Regent. Iwalagba’s ghost silently offers him the titular crown of blood. Oyebisi smooths the situation when Aderemi is shaken by the sight.  

Lengths of red fabric are used symbolically throughout. The play opens with a battle scene and an actor slowly pulls the fabric through the battle ground to become a river of blood. The same fabric circles the shrine of the oracle, Awosika (Tunji Falana) as he relays Oyebisi’s lies to Aderemi. Awosika is subsequently murdered to assure his silence. When Iwalagba is murdered, his throne is lifted from the stage by the red fabric, making it unavailable. It does not descend again until Aderemi is dead. Oyebisi pulls her dead husband to the throne and finally places the crown on his head, fulfilling her own false prophecy. 

The supporting cast members are versatile and talented, many playing multiple roles, including ministers, soldiers and mystics. They also bring welcome comic relief on occasion, just as Shakespeare did. The Court Historian Arokin (Toyin Oshinaike) also acts as narrator and speaks directly to the audience to set the scene and background. Once the story is told and Aderemi is dead, it is suggested that the events are wiped from the record. Arokin refuses, saying that lessons must be learned and Yorubaland must never again let the lies and deceit of one man ‘bend us to his will’. A final message that resonates today and has continual relevance. 

Writer: Oladipo Agboluaje  
Director and Co-composer: Mojisola Kareem 
Set and Costume Designer: Kevin Jenkins 
Movement Director: Ben Wright 
Sound Designer: Rob Hart 
Lighting Designer: Alexandra Stafford 
Co-Composer and Musical Director: Kayefi Osha 
Assistant Director: Mo Korede 
Fight Director: Bethan Clark 

Crown of Blood plays at the Crucible Theatre, Sheffield, until Saturday 7 February before touring to venues across the UK.