The Man Booker Prize nominated novel The Fishermen, by Chigozie Obioma seems like the ideal pick for a stage adaptation, this sprawling family tale of brotherly love hits almost Cane and Abel proportions, and is filled with richly described characters that would be any directors dream. Yet, Gbolahan Obisesan’s adaptation, which has already played the Edinburgh Fringe and the Arcola theatre in an earlier run, is a stripped back two-hander, which seems to manage to delve even deeper in to the world originally created by Obioma.
In a small town in Nigeria, two brothers meet again for the first time in eight years, over the course of their short reunion they recount the events which led to their separation. Along with their two other brothers, Ben and Obembe set off on a forbidden fishing trip to a dangerous river, meeting local madman, Abulu, along the way. Abulu’s near incoherent ramblings contain a prophecy that will have devastating consequences for the entire family, tearing it apart in violence and tragedy.
The Fishermen could almost be described as a coming of age story, but ten-year-old Ben is forced to grow up too fast as the shocking events unfold around him. The child like quality of innocence lost is evident in Michael Ajao’s gentle opening lines, which develop in to a fast paced back and forth with co-star Valentine Olukoga. The pair work in rhythm, bouncing off each other with perfect equilibrium as they embody other family members in order to tell their story.
A raised, circular wooden platform helps to create the sense of confinement that sits at the heart of this story. This podium is divided by a series of metal poles which move and sway when touched, they are removable and are often used to symbolise key props, most notably fishing rods. From above, the divided stage must look like a Yin and Yang symbol, allowing Ajao and Olukoga to move in to distinct areas, literally stepping in to their memories.
Amy Mae’s lighting design creates a subtle African setting, but really comes to life in specific scenes, such as when a particularly violent fight is portrayed. Director, Jack McNamara has given the production an exquisite look, the tension and heartbreak felt by these brothers is heightened by the simple elegance of the staging.
There are wonderfully comic moments, the way Ajao and Olukoga portray the brother’s parents is an excellent example of how Obisesan has captured the characteristics of the language, bringing a tremendous authenticity to the play. But it’s also shockingly brutal and acutely emotive, it all blends together well, even if the fast pace sometimes means there isn’t time for the audience to come to grips with one revelation before being whisked along to the next.
The Fishermen is undoubtedly an extraordinarily crafted piece of theatre, Gbolahan Obisesan’s condensed version of Chigozie Obloma’s narrative is stunning in its stark profoundness, while the performances from Michael Ajao and Valentine Olukoga are flawless.
