The Hiss…graphic representation of a decaying nation

Don Delillo, the American award-winning author, might have had the Nigerian nation in mind when he said: “We can’t get outside the aura. We’re part of the aura. We’re here, we’re now.” This dictum, which sums up the general sentiment of the Nigerian people, was recently brought before theatre lovers by Livetheatreonsunday, in a play, The Hiss.

Set in Lagos, the play captures the encounter between a commercial motorcyclist (Okada man) and a lady, as they pump through the streets.

The play, a duet, uses irony, ridicule and sarcasm to tell the many woes that have been holding Nigeria, as a nation, from standing tall among comity of nations.

The play opens with Alero (Diana Agbede), who has just finished her weekend shopping and is waiting for a bike to take her to Ikoyi, where she lives with her parents. Bike becomes her only means of getting home, owing to the recurring fuel scarcity, which has rendered the five different vehicles parked in their garage unusable. She flags down a bike and negotiates the fare.

Judging the lady from her looks, the bike rider, John Owen, (Gideon Oluwamonure) inflates the fare thrice the normal, making the Alero to cry out in protest. As a result of the scarcity, she grumblingly accepts the high fare of N1,000. The journey begins and the duet engages in conversation that x-rays the country.

Directed by Ajibola Fasola with Olushola Adenugba as executive director, the play written by John Pepper Clark-Bekeredemo hilariously showcases how Nigeria, blessed with different natural and resources, is languishing in poverty, as a result of improper management. Not making excuses for the leadership, the play condemns the ruled, who in their docility accepts every government, seeing them as the making of God. Using this avenue to awaken the people of their civic duties and obligations, the plays urges the people to interrogate their leaders, hold them accountable for their actions, which will thus lead to a better polity.

Using the bike and its two occupants as an allegory of a nation and its people on a journey, the play highlights how the ship of the nation needs to be with tact and good statesmanship, especially as it involves people of diverse ethnic and religious background.

Alero, who happens to be a student of a university in Ghana, wonders why things work well in smaller countries like Ghana and Benin Republic, while the reverse is the case with Nigeria that is richer and bigger than both countries combined. Responding to her worries, Owen observes that Nigeria is a jungle, where laws do not work and everyone is on his/her own; providing his/her own amenities, while those elected to serve the people squander the country’s riches, yet none is able to challenge the status quo.

Depicting the Okada man as not being a push around, as he is not only interest in making money, but is also romantic and versed in the topical issues, Owen discloses how he sometimes enjoys the curves of his lady passengers even as he showcases a mastery of the politics of the city.

Each time the conversation gets deeper, a hiss interjects it, making Owen to pull to a stop to warn Alero and each time he does this, Alero accuses him of having a hidden agenda. It is on one of the stoppages that trouble ensues and Owen brings out a gun, while Alero runs for dear life. This again shows that the Okadaman could never to be trusted; as he could metamorphose from being a lover, good discussant, a guide to a criminal.

However, both later meet and a chord of friendship struck, when Alero discovers that Owen, a graduate of Geology, comes from her place of origin, Warri, and in Lagos to ride okada to keep body and soul together.

The hiss, which comes from the snail in Alero’s shopping bag, is another symbol that shows that the Nigerian situation is disappointing and laughable. And taking the title of the play from this metaphor shows the playwright has given up hope on the Nigerian project. This, however, is a contradiction to the role Owen, who so much believes in the country, is playing in the play. This is seen in his response to Alero wishing she had stayed in Ghana, which according to her is more peaceful and the economy stable.

Though, a duet, the characters showcase a mastery of language, using popular relevant street argot to make the play to be as relevant to current situation as ever. Their mien, body gestures and costume suit the storyline, which is a plus on the director and the executive director for fishing out such characters, which presentations are nothing, but in the superlative.

And coming to presentation, the Livetheatreonsunday needs commendation for its creativity at bringing The Hiss, which many theatre groups had termed a difficult play to stage based on the nature of the terrain described in the play.

Presenting the play, the executive producer placed a large viewing screen that showed the okadaman, John Owen, and his passenger, Alero, meander the potholes of Lagos streets and highways to Ikoyi. As the screen shows this, the duet sits on a stationary bike delivering their lines. The large screen with its bright, bold and imposing images give the impression that the acts were on the move. The audience could feel the plum and recklessness of the rider, as could be seen and heard with the screaming that follows each neck-breaking maneuvers.

The storyline gives a graphic presentation of the happenings in Nigeria, not putting the blames on the leaders or the led. It, rather urged everyone to be up and doing to uphold the Nigerian project.

Despite, the hilarious ways it paints the nation’s plethora of problems, it however, ends in suspense, leaving the audience to wonder what becomes of the new relationship that suddenly developed between Owen and Alero.