Live and in person at the Harbourfront Centre Theatre, produced by Art of Time Ensemble in association with Kofflerarts and the Royal Conservatory, Glenn Gould School. Toronto, Ont. Playing Oct. 24-27, 2024.
Music by Igor Stravinsky
Libretto by Titilope Sonuga
Conducted by Andrew Burashko
Directed by Tawiah M’Carthy
Costumes by Des’ree Gray
Sound by John Gzowski
Lighting by Kevin Lamotte
Choreography by Pulga Muchochoma
Cast: Olaoluwa Fayokun
Diego Matamoros
Ordena Stephens-Thompson
Moving, meticulously presented, revelatory in its sweep.
Andrew Burashko, the gifted artistic director of Art of Time Ensemble, has long been interested in L’Histoire du soldat, the 1918 piece with music by Igor Stravinsky and the libretto by Charles Ferdinand Ramuz. Stravinsky and Ramuz conceived the piece together, based on the Russian tale The Runaway Soldier and the Devil. In it a soldier does a deal with the devil in which the soldier trades his beloved violin for the promise of riches.
Andrew Burashko wanted to reimagine the piece with the soldier being a Black man in which racism, isolation, and discrimination play a huge part, reflecting our present fractured, angry world and so Sankofa: The Soldier’s Tale Retold was created.
From the website: “Sankofa: The Soldier’s Tale Retold reimagines Igor Stravinsky’s L’Histoire du Soldat in a new libretto by poet Titilope Sonuga. Through the journey of a fictional soldier attempting to enlist in WWI, this Soldier’s Tale is set against the historical context of the No. 2 Construction Battalion — the only Canadian battalion composed of Black soldiers to serve in the First World War. In a psychological battle with the devil on the road to enlisting, the soldier embodies the battalion’s resilience and enduring struggle against racism, discrimination, and historical erasure. Sankofa is an invitation to honour a difficult history while moving toward a more promising future. Like the symbol of the Sankofa bird from which this story draws its name, this work is an act of remembrance.”
Context, comment, background.
Until 1916 Canadian Black men who wanted to fight to defend Canada were not allowed to enlist to fight in WWI. Matters changed in 1916 when the 2nd Construction Battalion was created and Black men could join. But this was a labour battalion, not a fighting battalion. I found that so telling about the racism then.
From Wikipedia: Construction Battalion
“An all-Black infantry battalion was not an option. There were not enough Black men in Canada to man such a battalion and provide reinforcements in the face of heavy casualty rates at the front. Further, the British War Office refused to allow any Black units into combat on the Western Front (they feared that Black infantry units might use their training and experience against British authorities in the colonies). In April 1916, the chief of the general staff at Militia Headquarters found a solution. He proposed that a Black labour battalion be formed, labour being in very short supply and critical to support campaigns. The British approved the idea in May.”
Poet Titilope Sonuga has written a beautiful, moving and bracing libretto to tell the story of this Black Soldier, beautifully played by Olaoluwa Fayokun, who leaves his mother to fight for his country. He is met with opposition all the way, from his own doubts to meeting the Devil in many guises who dupes him at every turn. Diego Matamoros plays the Devil with smooth cunning and easy manipulation. Ordena Stephens-Thompson plays the Narrator and Yaa. She has a regal bearing as the Narrator and is therefore commanding, and as Yaa, the Soldier’s Mother, she is humble, full of advice when he leaves and frets about his safety.
The production is directed with assurance and depth by Tawiah M’Carthy. The message is so important and M’Carthy serves the piece with sensitivity and respect.
The last word (and the first as well) goes to Art of Time Ensemble Artistic Director Andrew Burashko. Over the last 25 years he has guided his ensemble with brilliance, intellectual curiosity and rigor. He has created programmes that cross genres of music with dance, literature, drama and variations in performance. He has introduced audiences to long forgotten composers and creators and revived/refreshed/reimagined their work. Sankofa: The Soldier’s Tale Retold is a work he has wanted to do for four years. It is a fitting cap to ending 25 years of bracing, invigorating work through the Art of Time Ensemble. I’ll miss learning from these concerts. However, I have a feeling he’s not finished providing thought provoking work to his loyal audiences. A final “bravo” and thank you.
The Art of Time Ensemble presented in association with Kofflerarts and The Royal Conservatory’s Glenn Gould School.
The short run of four performances closed on Oct. 27, 2024.