About the production
Foriwaa is a play written by Efua Sutherland, set in a typical Ghanaian village, shedding light on themes such as the clash between tradition and modernity, gender roles and the empowerment of women, the importance of education and enlightenment, and the role of the younger generation in shaping the future of society.
The plot revolves around Foriwaa, a young educated woman from Kyerefaso, where her mother serves as the queen mother. After turning down multiple marriage proposals, Foriwaa finally decides to settle in her hometown, dedicating herself to transforming Kyerefaso into a more progressive and vibrant community.
The play is rich in proverbs and metaphors, which add a distinct Ghanaian flavor and tone, while other literary devices such as symbolism, imagery, and foreshadowing further enhance its depth and resonance. These elements combine to create a nuanced portrayal of a society in transition, with a focus on individual and communal growth.
In honor of Efua T. Sutherland, the National Theatre, in collaboration with Abibigromma (Legon), staged Foriwaa on 27th September 2024 at the National Theatre. This review focuses on key elements of the production for the first show at 5:00pm including the acting, lighting and sound, costume and makeup, set and props, audience participation, and concludes with an overall rating of the play out of 10
Acting
It’s disheartening to hear people say that acting is for the weak-minded or those with low IQ. In truth, acting is one of the most challenging crafts. Why? Because embodying a character without showing any trace of impersonation is no small feat. The actors in Foriwaa gave it their very best. Labaran, Foriwaa, the Queen Mother, and the Postman had the most lines, and these were quite bulky. When I saw Labaran falter with some of his lines, I understood the challenge. However, as a creative, I wish he hadn’t made it so obvious that he had forgotten his lines—after all, the audience doesn’t know the script by heart. Regardless, he fully grasped who Labaran is and played the role to perfection. He truly sounded like an educated northerner.
Foriwaa also performed excellently. I loved how she delivered her lines with such care—mindful and beautiful to watch. However, I felt she was a bit too old for the role. The Queen Mother stumbled over her lines as well, and it was quite noticeable, but she still portrayed the dignity and authority of her character convincingly. The Postman, however, won my heart. His brisk walk and calm delivery were impressive. He made playing the postman seem effortless, though I’m sure it took a great deal of hard work to achieve that level of ease in performance.Brobi, Atuo, Anipari, the Boy, and Aunty Dorcia didn’t have as many lines as the other cast members, but their presence on stage was undeniable. Anipari, in particular, won my heart. His charisma and the way he embodied the role were breathtaking. Kwame Bonu, whom I’ve seen play Joshua in The Son of Umbele, showed great versatility as the head of the Asafo. He danced and commanded the crowd as expected, but I wanted more. Typically, the head of the Asafo is full of energy and hot-blooded passion.
The Chief Priest was another fascinating character. His height suited the role perfectly, and his dance was not over the top but just right. I especially loved how he called for Sintim. However, while he didn’t exaggerate his lines, he swallowed some of them, which made it difficult to hear certain parts.Sintim’s role provided comic relief, and I’m glad he didn’t over-exaggerate it. He played the part well, keeping the humor natural and well-timed.
Set and Props
The set of any play is another storyteller. It provides the audience with crucial information that may not necessarily be conveyed by the actors. While I loved the set and found it beautifully crafted, with an excellent choice of colors, I don’t think it fully reflected the story of Foriwaa. It felt more suited to a different production rather than capturing the essence of Foriwaa however , the actors made good of the props and handled it so well .
Costume and Makeup
This department did exceptionally well. It was clear they had read and understood the play, as reflected in the thoughtful choice of costumes for each actor. Mr. Labaran’s facial marks and the long sleeves he wore in the latter part were simply fantastic. However, I was unsure about the attire worn by the demonstrators—they resembled colonial masters more than town folks seeking change. On the other hand, the Asafo attire was spot on, and the makeup was equally impressive.
Light and Sound
The lighting department did an excellent job setting the tone for the play. They gradually drew us into the world of the production, and I must say the lighting for the opening scene was beautiful. There was a slight delay in the transition from dawn to morning at one point, but overall, it was well-executed. The sound cues were flawless, perfectly in sync with the action on stage.
Music and Dance
I had hoped for more music and dance. For me, it was a missed opportunity to showcase our rich culture. There’s no better way to express our heritage than through traditional music and dance, and I wished this had been more prominent.
Audience Participation
I was somewhat disappointed with the turnout for the first show. The auditorium wasn’t as full as I would have liked, but the show went on, and the few who attended made it a worthwhile experience. Congratulations to Abibigromma and the National Theatre for delivering this wonderful piece.
I rate the play 7.5/10.
By Miriam Afoley
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