Art of Time Ensemble, in association with Kofflerarts and The Royal Conservatory / Sankofa: The Soldier’s Tale Retold, composed by Igor Stravinsky, new libretto by Titilope Sonuga, directed by Tawiah M’Carthy, conducted by Andrew Burashko, Harbourfront Centre Theatre, closes Oct. 27. Tickets here.
Sankofa: The Soldier’s Tale Retold is, purely and simply, a masterpiece, and what a triumphant finale for Art of Time Ensemble’s concert series.
Sadly, after 25 glorious years of imaginative programming that fused music with theatre, dance, film and literature, artistic director Andrew Burashko and Art of Time are bidding farewell.
The New Libretto
The inspired choice for this last concert is a reimagining of Igor Stravinsky’s 1918 L’Histoire du soldat, a theatrical piece that embraces music, narration and dance. The French libretto, by Swiss writer Charles Ferdinand Ramuz, was based on the Russian folktale, The Runaway Soldier and the Devil. In that parable, the Soldier trades his violin to the Devil for vast riches.
For Burashko, Stravinsky’s remarkable score needed a richer and more meaningful storyline.
In his lengthy (but always interesting) introduction to the evening, Burashko explained how Canadian rapper Shad’s concept album, A Short Story About War, led to the idea of Black Soldiers in a White army. This, in turn, led him to Nigerian-born, Edmonton-based poet, Titilope Sonuga, to write the new libretto.
Sonuga’s instructions were that she pay homage to the original structure of the work, that the libretto should dovetail exactly with the music, and that the text be in rhyming couplets.
Sonuga also took the opportunity to include a little known historical fact — namely, the weaponless No.2 Construction Battalion, which was the only part of the Canadian army composed entirely of Black Soldiers serving in World War One.
In fact, what Sonuga has come up with is so astonishing in relation to the music, so brilliant in its conceit, that one would think it is the original libretto.
In crafting her text, Sonuga has retained elements of Ramuz in form, but turned other aspects on their ear.
As in the 1918 version, there is the Devil (Diego Matamoros), the Soldier (Olaoluwa Fayokun) and the Narrator (Ordena Stephens-Thompson). Where Ramuz’s Soldier is coming home on leave, Sonuga’s Soldier, wanting to do his patriotic duty, is going to enlist. Ramuz’s antihero sells his violin to the Devil, while Sonuga has her Devil give a violin to the Soldier. The Devil’s trickery, however, remains the same.
The most important new element is the introduction of the symbol of the Sankofa bird, a word in the Twi language of Ghana which means to go back and retrieve what was forgotten. In this way, the Soldier keeps in touch with his roots and his ancestors. Ramuz’s Soldier had his St. Joseph medal, while this Soldier has his Sankofa one.
Sonuga uses her poetic text to describe the racism the Soldier endures from officers who don’t want him in a White man’s army, while detailing his fight to finally join that army, albeit in a construction battalion.
Linked to that, however, is the almost erasure of the Black man’s existence by not recognizing his contribution to the war. By reaching back — by Sankofa — Sonuga is paying tribute to what was forgotten, by giving it a voice in her text. She brings attention to the prejudice that Blacks faced in Canada, but at the same time, glories in the enduring resilience of the human spirit, as embodied in the Soldier.
The Production
Tawiah M’Carthy is becoming one of this country’s most important theatre artists, and his outstanding direction of Sankofa is an integral part of the magic of the performance, particularly the movement of his actors through clever entrances and exits, and the inventive use of the two staircases.
In working with lighting designer Kevin Lamotte, the use of silhouettes and shadows add a haunting air of mystery to the work. There is also exquisite detailing in both the stage action, and the physicality of the actors.
Needless to say, the cast is, in a word, spectacular, and M’Carthy has drawn on their strengths, which are mighty. Their character portrayals are non pareil.
As hard as it is to believe, Matamoros, who has only given great performances in his career, actually surpasses himself in Sankofa. In each of the Devil’s guises, be it the sly old woman or the bigoted officer, he commands the stage. The way he can manipulate his voice and body to evoke character shows a master at work. Even in his silent movement, Matamoros is ever present.
Manitoba-born Fayokun is a graduate of the National Theatre School who is starting to build an impressive career on both stage and screen. There is something very alive about his stage presence, and his Soldier draws the eye with his innate energy and emotional expression. Fayokun is also a graceful mover, and he executes Pulga Muchochoma’s evocative choreography that mirrors both the movement of the homecoming ship and the Soldier’s angst-ridden turmoil, to the manner born.
Stephens-Thompson is one of Toronto’s treasured actors, and her role as the Narrator is the glue of the performance. Her authoritative voice commands, directs, and when needed, drips with irony. Clad in designer Des’ree Gray’s gorgeous African-inspired costume, she prowls the stage, carefully watching the action, because she knows she has an important story to tell. Her Narrator is never on the sidelines.
The Music
Finally, we are back to the music, and Stravinsky’s eccentric and captivating score.
In all, there are 16 narrative and instrumental sections, and Burashko uses the original orchestration for seven musicians, (violin, double bass, percussion, trombone, trumpet, clarinet and bassoon). They are, happily, excellent players because Stravinsky makes heavy demands on them, be it staccato bursts, runs and riffs, melancholy threnody or chaotic clashes. That Burashko and his ensemble wear World War One uniforms, courtesy of the Shaw Festival, is a clever idea.
The brass and woodwinds dominate the sound, so the music is mostly sharp and pointed, modernist in its dissonance, but ever inventive, with the music either commenting on the text, or initiating action.
Stravinsky uses many musical forms that were swirling around Paris at the turn of the last century, including tango, waltz and ragtime, along with traditional marches and pastorales. The composer also quotes Martin Luther’s great hymn, Ein feste Burg.
Burashko has made a notable addition to the score, but I believe the forward-thinking Stravinsky would have approved. The recorded African drumming of Waleed Abdulhamid, which both begins and ends the show, and makes small appearances throughout, reminds us of the heritage of the Soldier, and the long tradition that he brings with him. It is a very clever idea. John Gzowski is credited with the sound, and he has also added in special touches like the murmur of many voices when the Soldier comes to enlist.
As conductor, Burashko keeps a steady hand, and allows the score to unfold as it should, telling its own story. Stravinsky is truly speaking through him.
Final Thoughts
Sometimes the stars align as they should, everything is in its place, and all’s right with the world. That is what this production of Sankofa is — perfection.
From the impressive interpretation of the music, and the dazzling acting and direction, to Sonuga’s brilliant libretto, and the seamless way all the elements blend together, Sankofa: The Soldier’s Tale Retold is a Canadian treasure. Let’s hope the production travels so others may see its glories.
Thank you Andrew and Art of Time for this magnificent parting gift.
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