By Yinka Kareem
The Play Asiri Ilu Egba (The Secret of Egba Land)
Asiri Ilu Egba (The Secret of Egba Land) is a collaboration between Crescent University and the Ogun State Chapter of the Theatre Arts and Motion Pictures Practitioners Association of Nigeria (TAMPAN); the play was presented as the convocation play during the 17th Convocation celebration of the Crescent University. It focuses on the secret behind the growth and development of the Egba nation starting from 1830, when Sodeke, followed by Lunloye and Agbo, led the Egba to Oko Adagba before Lara led a section of the Owu to join them in 1834, till the present day, 2025.
In the play, some Yoruba towns like Ijebu, Oyo, Ibadan; and even a foreign nation like Dahomey are bent on knowing the secret of the Egba people who are trail blazers in every human field. Although, non of those searching for the secret find it; the narrator in the play (Lukmon Adeniji) later reveals the secret of the Egba at the end of the play. As an historical play, the play present various events which occurred in the past before the Egba became part of Nigeria and when they became part of Nigeria as an aftermath of the Ijemo Massacre of 1914. The presentation of past events in the play is expected because in the words of Bridget Delaney “Plays that are performed from certain eras bring light to what was happening at those times.” (https://www.puckermob.com/moblog/11-important-lessons-that-theatre-teaches-us/)
As a result, the play highlights several significant historical moments, including Henry Townsend’s (Adeleke Adeutu) 1843 visit to Sodeke (Idowu Adeniji); the 1838 efforts of freed Egba slaves in Sierra Leone under James Coker’s (Isikilu Shitu) leadership; the 1849 gifting of a stained glass window to Ogunbona Agboketoyinbo (Gbenga Oladunni), along with the presentation of two Bibles, one in Arabic and one in English, and a steel corn mill to Sagbua (Dare Agbejo); and the printing of Iwe Iroyin in 1848 at the Ake Printing Press by Townsend’s assistant, James Ede (Yinka Kareem).
Two food-related scenes also feature prominently in the historical play. The first appears in the prologue during a lively party, where Sakara musician Abeeden Yusuf Olatunji entertains guests, including a visibly intoxicated Chief Arigbabu (played by Monsuru Ijayegbemi). The second scene unfolds during the dramatization of the 1903 protest by some Egba women, who opposed European merchants’ refusal to pay customs tolls to the Egba United Government. This moment includes the serving and eating of a traditional Egba snack known as Beju, also called Cassada, which has since faded from common memory. In the scene, Sister Rose (Kofoworola Adebowale) requests Iya Onibeju (Yemisi Adenekan) to provide Beju to the protesting women, prompting Iya Onibeju to instruct her girls to distribute the snack, which is consumed during the stage performance.
Staging Food: A Common Practice Across Cultures
The use of food in theatrical productions is a widespread convention. Leonard Jacobs highlights its significance, stating that “Food is indeed a theatrical staple. It’s in musicals, from that “Carousel” clambake to that “Coffee Break” in “How to Succeed in Business Without Really Trying.” It’s in plays, from that character in Albert Innaurato’s “Gemini”…Food is a theatrical device, a metaphor, a universal human item.” (https://www.backstage.com/magazine/article/ cooking-productions-incredible-edible-18208/) When food is incorporated into a performance, it may be represented through actual edible items or stage props. However, if actors are expected to consume it during the performance, genuine food must be used.
Using real food on stage for consumption by actors presents several logistical and safety challenges. Ensuring the health and well-being of performers is crucial, so potential allergies must be carefully considered, and food preparation must meet hygienic and safe standards. To minimize food waste after performances, a combination of real and imitation food can be employed. It’s also important to account for the time required to prepare the food to prevent delays or disruptions. The task of sourcing and preparing the food should be entrusted to a qualified professional to avoid serving anything unpleasant. For creative purposes, real food may be modified to suit stage requirements, and care must be taken to ensure that eating during scenes does not interfere with stage movement or line delivery. When real food is prepared on stage in full view of the audience, strict safety protocols must also be followed.
Distinct Styles for Distinct Dramas
Although Asiri Ilu Egba incorporates real food like some stage productions, it doesn’t center on culinary themes; rather, its use of food serves a distinct cultural purpose. In Fat Ham, James Ijames presents characters eating barbecue in the modern American South, where the cuisine is widely recognized and deeply rooted. In contrast, Yinka Kareem in Asiri Ilu Egba features Beju, a once-popular Egba delicacy from 1902 Abeokuta, which is largely unfamiliar to contemporary audiences, even among the cast, 80% of whom, despite being Egba, had never tasted or seen it. Unlike in Fat Ham, where food reinforces identity and relationships, Beju in Asiri Ilu Egba is used as a tool to revive and reconnect with Egba culinary heritage.
In a staging of Waitress, a musical with lyrics by Sara Bareilles and a book by Jessie Nelson, the director crafted an immersive atmosphere by ensuring the scent of apple pie filled the theater. As Zachary Stewart describes, “Thirty minutes before the theater opens, an apple pie goes into a convection oven in the lobby, sending the scent wafting over the house.” (https://www.theatermania.com/ /news/when-broadway-actors-sit-down-for-an-onstage-meal-who-makes-the-food_81150/) In contrast, Asiri Ilu Egba focused on visually and sonically presenting Beju, emphasizing its cultural significance rather than engaging the audience through aroma.
In the auditory portrayal of Beju during the performance, Sister Rose (Kofoworola Adebowale) referred to the protest leader (Yemisi Adenekan) as “Iya Onibeju,” signaling to the audience that, historically, some Egba women in Abeokuta were known as Beju sellers; the makers and vendors of the traditional snack. Today, however, Beju is no longer sold by any woman in Abeokuta or across Egba Land. The visual presentation unfolded when Sister Rose asked if their leader would be serving Beju as usual to the protesting women. In response, Iya Onibeju directed her girls to distribute the snack, which the women began eating while the dialogue continued, marking a symbolic revival of the long-lost Egba delicacy on stage at the Bola Ajibola Auditorium, Crescent University.
The Challenges faced in the Stage Revival
Productions that incorporate real food or a combination of edible items and props often present unique challenges for the crew, which vary depending on the play. A notable example is the 2023 staging of Sweeney Todd ( music and lyrics by Stephen Sondheim and book by Hugh Wheeler) where props master Denise Grillo partnered with Jerard Studio to create pies for the show. Culinary experts were brought in to ensure the pies met both taste and structural requirements as dictated by the script. Commenting on this, Amelia Schwartz observed that “The incredible amount of thought [including time] that goes into the way food is prepared on the Sweeney Todd stage makes sense, given that the ethically questionable meat pies are what catapults the story into action.”(https://www.foodandwine.com/food-in-broadway-plays-sweeney-todd-fat-ham-sancocho-7497733)
In the case of Asiri Ilu Egba, the situation was quite unique. One food scene in the play does not showcase a dish that is currently popular in Abeokuta; it attempts to resurrect a long-forgotten Egba delicacy. As a result, it was difficult to get a culinary expert to help recreate the snack. Even many elderly women who had eaten Beju back in the late 1960s no longer remembered how to make it. Although I shared the Beju recipe with a few Egba women, the version they made, though edible, was clearly different from the one I used to buy and eat, from Iya Onibeju right in front of Majokolasan’s residence opposite the Ogboni House of Oke Ijeun, in Abeokuta around 1968.
Another hurdle we encountered was the late arrival of the Beju snacks, which only became available a few hours before the performance. Nevertheless, the actors consumed the Beju on stage, unaware that it was not an authentic representation of the original. The audience witnessed a theatrical revival of Beju, but they had no idea that we had struggled to recreate this long-forgotten Egba treat, one that many of them had never seen or tasted before.
Beyond the Stage Revival of Beju
During the convocation play, Beju, a traditional Egba delicacy, was brought back to life on stage. As the playwright and director, my desire was to serve the Egba delicacy to the audience afterward, helping to reintroduce it beyond the performance. But that didn’t happen. Why? Beju has become so deeply eroded from the collective cultural memory of the Egba people that, despite my earnest and sustained efforts, locating individuals capable of preparing a genuinely authentic rendition proved exceedingly difficult, thereby hindering efforts to meaningfully preserve and promote this aspect of Egba culinary heritage.
Historically, Beju, a delicacy made from grated cassava, coconut slices, and sugar, is grouped with traditional Egba foods such as Ofada rice (a type of brown rice)and Lafun (cassava flour). Ofada rice was introduced to the Egba region by missionaries in the 1870s. Cassava and its culinary applications were brought to the Egba by the Saro (returnees from Sierra Leone) beginning in 1838, and later by the Aguda or Amaro (Afro-Brazilian and Cuban returnees). Their influence led to the creation and popularization of Lafun and Beju among the Egba people. Beju is also known locally as “Cassada,” a name adopted from the Saro’s term for the cassava snack in Sierra Leone. Meanwhile, the Aguda referred to it in Brazil as “Bolo de aipim,” but in Egba land, it became known simply as Beju or Cassada. If Ofada rice and Lafun continue to hold their place in Egba cuisine, then Beju deserves the same preservation, it is a cherished culinary tradition and a vital part of Egba’s heritage.
Asiri Ilu Egba, a theatrical work written and directed by Yinka Kareem, principally investigates the foundational elements underpinning the success of the Egba people, elements which the narrator, Lukmon Adeniji, attributes to the dual pillars of education and moral rectitude. Concurrently, the play subtly engages in a cultural reclamation effort by reintroducing a once-forgotten traditional Egba delicacy, into contemporary discourse, Beju.
Yinka Kareem, a playwright and stage director, writes from Abeokuta, Ogun State.
