Actor Morenike Onajobi tells us about Tartuffe (Remixed)
Take a French comedy masterpiece in verse, reimagine it in a contemporary Nigerian–Jamaican setting and add a collaboration between Mark Rylance and Intermission Youth (IY): what have you got? It’s Tartuffe (Remixed), written and directed by the amazing Darren Raymond and being staged at the Marylebone Theatre this autumn. This surprising mashup is brilliant fun (read our review here), so we called up actor Morenike Onajobi to see if she could tell us more about her part in the show.
Photo: Yellowbelly Studios
Hi Morenike. Thanks very much for stopping by to talk about Tartuffe (Remixed). Firstly, what can you say about the plot and how this production differs from Molière’s original classic?
The play is set in London and tells Molière’s story from the perspective of a westbound Nigerian-Jamaican family. There are many similarities to the original, particularly the religious element but Oga‘s grief as Pastor Blake’s hook and the cultural mashup rely on themes that are really prevalent in our diverse society today.
Who is the character you play and what’s their part in the story?
I play Kemi, Adana’s BFF turned family friend. She is the voice of reason, has very little patience and is not afraid to say how she feels. Kemi’s character is based on Dorine from the original Molière play. She’s one of the first people to see through Pastor Blake and really tries to restore order to anyone she thinks has ‘lost their mind’. She’s funny, sharp and clever.
The play is written in rhyming couplets. Do you find this difficult, or has your previous acting experience equipped you for the challenge?
I’ve really enjoyed the rhyming couplets. I haven’t done many theatre productions and this is my professional debut so I don’t have many other experiences to draw on for comparison, but the iambic rhyming couplets remind me of my Yoruba culture. It’s a very rhythmic language and there are some tribes where the language unintentionally rhymes as they speak. Speaking very honestly, the rhyming couplets made it easier for me to learn lines.
Photo: Mark Senior
Mark Rylance plays the title role but he’s additionally connected here through his championing of Intermission Youth, where Darren Raymond is Artistic Director. Can you tell us about that organisation and how you are also involved with it?
I graduated from IY in 2012 after playing Titania in A Midsummer Night’s Dream. I went to university and have worked corporate jobs since. Even though I didn’t decide to go down the creative route, IY continued to support me and helped me find an internship through their network. They continued to provide a creative outlet through their various programmes and the pastoral care they do, so my life felt balanced.
Intermission is a charity that uses the arts to nurture and grow potential and transform the lives of young people from age 11 onwards. They have been doing this for almost 20 years – not just growing talent in young artists, but promoting a strong sense of self-worth, confidence and opportunity.
Many of the cast are outstanding Black British actors with a connection to IY, having developed their skills there. How does it feel now, literally performing with them as a family?
As a graduate of IY I would say it’s been a dream performing with the company. Whether it’s with other graduates, our patron turned Trustee, people who may not have come through the programme or have an active role but are somehow connected to the charity, we have brought the values of IY to the centre of it all and enriched it by learning from other people’s professional experience and perspectives. Intermission Youth has always been a safe pair of hands: no judgment for being unsure or for asking questions. Everyone is rooting for each other to win as a company.
What audiences do you hope will see the show and what might they take away from it?
I hope we see a varied audience – people from different cultural and religious backgrounds, across a wide range of ages and life experiences. We poured a lot into the story during rehearsals, exploring how this play can be authentic within the Nigerian-Jamaican culture and how this would be represented, but I think the story is relatable no matter who you are. Everyone has either heard of or directly come across a Pastor Blake at some point in their lives, so seeing people respond with laughs, gasps and horror lets us know we are telling the story properly.
Communication is the key takeaway for me from this play. Pastor Blake identifies then isolates the head of the home. The family really try to get through to Oga but he only expresses his grief to the Pastor. But there is always someone who cares about you, so be open with your feelings or ask for help when you need it.
Thanks very much to Morenike for taking time to tell us all about this exciting new production.
Tartuffe (Remixed) plays at Marylebone Theatre until Saturday 24 October.
