Pelumi Folajimi’s King Adekunle Unfolds the Tragedy of Post-Independence Leadership

Yinka Olatunbosun

Sophocles’ classic play Oedipus Rex has a profound place in history. Inspiring many adaptations in literature and cinema, the adaptations of this Greek tragedy attest to how it remains a culturally identifiable and adaptable work. From musical comedies to sombre operas, and from films to stage plays, this work continues to inspire many generations of creatives. One of them is the Nigerian playwright and scholar, Pelumi Folajimi whose latest play, King Adekunle (2025) published by Pan–African University Press, 2025 is built on the dramatic structure long erected by Sophocles. Folajimi set the eponymous character, King Adekunle, as a model for leadership and commitment in African governance and politics.

To be sure, leading playwrights such as Ola Rotimi and Wole Soyinka have adapted Greek tragedy to address Yoruba myth and traditions with works like The Gods are Not to Blame and The Bacchae of Euripides respectively. The production of King Adekunle brings Folajimi into conversation with Soyinka and Rotimi whose career, in playwrighting, have largely been influenced by the Greek tragedy. Other writers like J. P. Clark and Femi Osofisan have, likewise, tapped from Greek drama. Still, Folajimi brings a fresh perspective to the African adaptation of Greek drama by setting the Oedipus-epitome character to address the African encounter with Trans–Atlantic slave trade and colonialism. Using King Adekunle, Folajimi raises eyebrows on the politics of post–independence Africa. The playwright’s introduction of Duduyemi and Albino into the narrative accentuates its socio-political relevance as the dialogue unfolds make references to racial discrimination, colourism and identity.

Using English language as his vehicle of cultural transplant, Folajimi, in King Adekunle, dramatises Yoruba myth and culture. While highlighting the theme of predestination, King Adekunle- like Oedipus- is doomed for destruction, despite his exalted position as the king of a great nation, Aregbe land; ‘‘He will make his grandmother pregnant, marry his daughter and make his granddaughter pregnant,’’ says Baba Fagbemi, the priest and Babalawo declared about the new-born prince called Adekunle. In many African worldviews, individual destinies are connected to the community, ancestors and the natural world. Instead of building an iron-clad case for tragic inevitability, Folajimi juxtaposed fate and free will. Hence, the priest does not leave the royal house hopeless. He warns that the doom of King Adekunle can be appeased and transmogrified through rituals. His sacred advice, to the royal house, is that they should perform rituals to the gods and, with the favor of Ori, Prince Adekunle’s doom may be averted. Instead of making the right rites, however, the royal family seek human solution to a divine problem by making Yeyeoba, Adekunle’s paternal grandmother and only grandmother Adekunle knows, flee into exile in hope that she and the young prince might never set eyes on each other, for the rest of their lives. Yeyeoba, led by divine intuition, returns to the palace when it is too late to stop Adekunle from fulfilling his doom. It is discovered, eventually, that both Omolewa and Eyiwunmi, King Adekunle’s wives and queens, are King Adekunle’s daughter and granddaughter, respectively. Iya Funke, through whom King Adekunle had Omolewa, is Adekunle’s maternal grandmother. On realising this truth, King Adekunle becomes a new Oedipus who gouges out the sockets of his two eyes and walks away from his great city; walking into exile.

Though King Adekunle’s story is tragic, the playwright- through his central character- celebrates the virtue of great leadership. Even in his travails, the King remains committed to true leadership. He solves problems and overcomes crises. He seeks the peace and greatness of his people. He fights for his people to obtain justice and freedom. He is a people–driven monarch. When Ogunponle and Sangojimi, on one hand, and Duduyemi and Albino, on the other hand, are in crises and they approach King Adekunle. The monarch gives an example that is in similitude with the wisdom and virtues we see in the biblical King Solomon at Jerusalem. King Adekunle exemplifies virtues of wisdom and insight to resolve the problems and crises of the people.

The play King Adekunle holds a powerful political statement. In the wake of bad governance in Nigeria and Africa at large, a playwright’s intervention in finding solutions is noteworthy. The solution lies in leadership. Africa needs a committed and people–driven leadership, like the example set by King Adekunle whose leadership roles are celebrated by Chris Dunton who writes the Foreword to Folajimi’s King Adekunle. Africa needs leadership roles that are committed to the ultimate fortune and overall wellbeing of the people. This is a model which Folajimi sets in King Adekunle.