This is our review from Royal & Derngate Northampton. It looks a brilliant play. We encourage you to see it at Nottingham Playhouse 29-31 October.

A lesser-known history of patriarchy, faith, war, and slavery in Nigeria is brought to the Royal and Derngate, forming an eye-opening experience in the play Once Upon A Time in Sokoto.

Written by Nigerian British playwright Inua Ellams and produced by Fuel as part of Touring Together, Once Upon a Time in Sokoto tells the story of an unlikely friendship between a master and a slave: Muslim-Futani woman Zinari and enslaved Nafisa. The Sokoto Caliphate was an Islamic state that existed from 1804 until 1903, when it was conquered by the British. The play begins six decades after its founding.

Walking into the theatre, I have my doubts about the show as someone who has little knowledge of Nigeria’s history. Will I be able to follow along? Am I going to get confused? Alas, that is absolutely not the case. Through creative storytelling and moments of fourth-wall breaking, I find myself immersed in the play’s world. I didn’t need to know the history beforehand because the characters became my way into it.

In the first act, we largely follow Zinari (Antonia Layiwola) and Hadiru (Bayo Gbadamosi) as they form a ‘business’ together as wife and husband. Zinari is a feisty young woman who is not afraid to stand up for what she believes and demand what she wants. Hadiru begins obedient to Zinari and is usually taken aback by her confidence. With these characteristics, the actors inject the story with unexpected comedy, which has the theatre cackling and howling many times.

In the second act, we focus more on Zinari and Nafisa’s (Adeola Yemitan) relationship. Nafisa is also a feisty young woman who has her own opinions, which tend to clash with Zinari’s, creating occasionally some more comedic moments, but also tension and worry. The ability to make the crowd laugh before suddenly pulling the rug from underneath them makes the darker moments even more powerful. Yet, whilst having different faiths and positions of power, they bond as equals: women victims of the patriarchy, which Hadiru represents at times, and as victims of war and oppression from British forces. Together, these actors produce something beautiful and simultaneously tragic.

Will Atiomo additionally contributes a compelling portrayal as Yusef, a man who wants to help stop the suffering he knows is about to be brought out by war. His relationship with Nafisa is deeply moving, as two people who feel they can relate and understand each other on many different levels. All four actors work together brilliantly to establish a piece that hits the audience hard. And my gosh, do they all have a lot of lines learnt!

Credit must also be given to the whole crew for successfully designing and directing such a striking play. Set designer Amelia Jane Hankin uses the set so inventively with pieces that can move around and form different places, such as the curtained cylinder which centres the stage. Costume designer Jessica Cabassa fantastically creates cultural outfits of the time. And fight director Sam Lyon-Behan effectively utilises quick, snappy movements which flow nicely within the fight scenes.

Ultimately, not only does Inua bring Sokoto’s history to life, but he also reminds people that even today, women are still fighting for their rights and freedom, and that war can have deadly outcomes.

Once Upon a Time in Sokoto will be running at the Royal and Derngate from 28^th September to 10^th October 2026, so get your tickets now. I came away understanding more – and wanting to know even more.

Photos credit: Tristam Kenton