In ÒÒDAYÈ (The Cradle), Kayode Bamgbose, popularly known as Kaybams, steps into a charged theatrical space that celebrates an important cultural memory in Yoruba land. Staged at CAST, Waterdale, Doncaster, the production unfolds as a cultural drama rooted in history, spirituality, philosophy and tradition. Within its world of chants, drum language, ritual movement, poetic dialogue and folk songs, Kaybams’ role as Òpìtàn gives the performance one of its most commanding dramatic anchors.

His charismatic entrance unfurls with the urgency of a custodian arriving with a message. Ushered in by a rain of indigenous drum rhythms, he straddles onto the stage as women lie almost lifeless on the ground, spiking the scene with suspense and ceremony. When he booms into the microphone, “Greetings to the owners of this land. I have travelled over many lands across many oceans to tell you a tale,” his voice cuts through the atmosphere with authority.

The dialogue points to the larger burden of the play. His words about crossing lands and oceans evoke the movement of people, memory and heritage across geography. When he later declares, “Religion and fashion. But we remain unchanged. Our culture remains,” the scene sharpens ÒÒDAYÈ’s meditation on identity and continuity. Through his delivery, it becomes a cultural statement, one where a people remain unhinged about their devotion to authenticity, to heritage

Kaybams’ strength lies in how he treats the stage as both actor and drummer. His body responds to the percussive atmosphere with the instincts of a performer who chews up rhythm as a dramatic lingo for breakfast. His stage blocking is accurate, his movements are deliberate, and his posture gives the scene a firm theatrical centre. Even before the full context of the dialogue unfolds, his presence helps the audience understand that Òpìtàn is fully convinced about the message he heralds.

Production-wise, the drum rhythms around him deepen that effect. They signal his arrival, heighten the tension and give the moment a ritual pulse. In Yoruba performance traditions, the drum often carries message, warning, celebration and memory, and Kaybams explores that expressive power. In his display, rhythm becomes part of the storytelling structure, giving the scene a feeling of ancestral commentary.

Generally, the play finds its pulse in the sense of embodiment it dispenses. Kaybams appears fully aware of the sacredness of the heritage ÒÒDAYÈ is trying to preserve. His voice, movement and rhythm work together to give the production emotional or cathartic depth. In this scene, he offers a strong performance that is both grounded and ceremonial, giving ÒÒDAYÈ a strong dramatic lifewire through the force of his presence.

Born Kayode Bamgbose, Kaybams is a drummer, percussionist and actor based in the United Kingdom. His practice draws from African rhythm, theatre and cultural storytelling, with a body of work that spans stage productions, multidisciplinary performances and migrant cultural events. Through his performances, he explores the intersections of music, movement and indigenous knowledge, building a distinctive artistic language that connects African heritage with contemporary performance spaces in the UK.