Reimagining William Shakespeare’s The Trials of Brother Jero as an Opera

Yinka Olatunbosun

A new stage was set for Wole Soyinka’s classic play The Trials of Brother Jero when it was transformed into a full‑scale opera in Lagos on May 16 at the National Theatre, Iganmu. The production marked a significant milestone in the evolution of Nigerian performing arts, turning the playwright’s beachside satire into a grand orchestral experience.

Produced by the Vesta Orchestra and Opera Foundation under the leadership of Rosalyn Aninyei, the adaptation sought to elevate African storytelling by merging it with the structural depth of European classical tradition.

Rather than presenting a conventional musical, the production employed a libretto written by Kehinde Oretimehin and a score composed by Seun Owoaje. Its most striking feature was its distinctive soundscape: instead of adhering strictly to European classical patterns, the music embraced an “ethno‑African” sensibility, rich in percussion and familiar rhythms that preserved the cultural authenticity of the story.

In a departure from the original play, the characters did not speak their lines. Instead, the entire narrative—including the cynical manoeuvres of the manipulative “Prophet” Jero—was delivered entirely through song. A 50‑piece orchestra and a 25‑member chorus provided a lush, cinematic backdrop to the familiar tale of religious hypocrisy and material desire.

While the format was new, the essence of Soyinka’s satire remained intact. The production preserved the original scenes and character dynamics, ensuring that its critique of commercialised faith remained as biting as when the play first appeared in the 1960s. By placing Brother Jero on an operatic stage, the Vesta Orchestra sought to demonstrate that Nigerian literature can be continually reinterpreted, finding new resonance with contemporary audiences while bridging historical storytelling and modern high art.

In a conversation with Rosalyn Aninyei, she revealed that the choice of the play was driven by a desire to move audiences from the familiar into the unfamiliar.

“This is a timeless story,” she said. “I grew up going to the National Arts Theatre with my mother and siblings to watch various plays and, even then, as a music student, I wanted to hear more instruments and more music in these productions. Later, while repeatedly attending the opera in Vienna as an adult, it occurred to me that there would be people in Nigeria like me who enjoy the drama, spectacle, and music of opera.”

That vision led to the founding of the Vesta Orchestra and Opera Foundation in 2016. As the organisation marks its tenth anniversary, Aninyei says more operatic productions are on the horizon.

Known for her eye for talent, she decided to experiment with Soyinka’s work.

“In opera, you do not always hear every word being sung,” she explained. “We also could not adapt the entire book into a libretto because the number of songs would have been excessive. So we had to decide which scenes to summarise and which to perform in full. There have been criticisms about one or two scenes missing some dialogue, but overall, I believe the story was performed coherently and without major gaps.”

She described the show as a continuous musical flow, blending recitatives and arias in every scene. For her, it was essential to create social commentary that was also entertaining. Unsurprisingly, many of those who registered interest in the performance came from academic communities within and beyond Lagos. Funding, however, proved far more difficult.

“This was my first time directing, and I chose an opera,” she recounted. “Potential sponsors did not understand what I was proposing, since the art form is still relatively unfamiliar here. Funding was therefore a major challenge. Now that we have a successful example, I hope returning to them will produce a more positive response the second time around.”

In her view, government support remains essential, particularly in providing affordable performance spaces. Despite the establishment of several theatres in Lagos, many creatives still struggle to access these purpose‑built venues for productions. Meanwhile, the cost of using the National Theatre remains beyond the reach of many Nigerian theatre companies.

Looking beyond these challenges, Aninyei promised that more musical and operatic projects are on the way.

“It definitely is for the Vesta Orchestra,” she said. “We will continue telling Nigerian stories through musical and operatic works. There is a global hunger for African stories, and we must be the ones to tell them.”

Aninyei is a violinist who has lived and worked in Vienna, Austria, for over a decade. She studied violin at the Vienna Conservatorium School of Music and Essentials in Orchestra Management at the Juilliard School in New York. She is also a member of the League of American Orchestras.