‘Mammy Water’s Wedding’: A Spectacle of Dance, Drama and Artistic Expression

Few productions manage to hold the audience in a state of wonder from curtain rise to final bow, but Bode Sowande’s Mammy Water’s Wedding does exactly that. Under the direction of Sola Fosudo and produced by Olanrewaju Isiaq Akintonde, it emerges as a glowing spectacle of dance and drama, pulsating with rhythm, colour and emotional urgency. 

At its core, the play is already rich. It is a fantastical love story between the human world and the aquatic realm, layered with environmental commentary and mythic resonance. The story of Akinla and the mermaid princess unfolds as both romance and warning. What elevates this staging beyond text is the sheer theatricality of its execution. 

There is also something to be said for the production ambition behind the work. Olanrewaju Isiaq Akintonde’s approach as producer appears to understand that a play of this nature cannot afford to be timid. Mammy Water’s Wedding demands scale, movement, visual imagination and the coordination of several creative elements, and the production embraces those demands rather than retreating from them. From the ensemble to the construction of the aquatic world and the integration of dance, costume, music and performance, there is a clear willingness to give the play the resources and theatrical room it requires. 

That matters because producing spectacle is not simply a question of putting more things on stage. It is about creating the conditions in which those individual elements can function as

parts of the same theatrical experience. Akintonde deserves credit for a production that feels ambitious without becoming careless about the world it is attempting to create. The scale of the work is itself part of its storytelling. 

Fosudo’s direction deserves equal praise. There is a clear understanding of scale and intention. The production leans fully into spectacle without losing story clarity. The set design evokes an underwater kingdom that feels both imaginative and purposeful. Transitions between worlds are fluid and deliberate, reinforcing the themes without slowing the pace. It is theatre that understands both message and medium. 

Then there are the dancers, who are the real stars of the show. Eretan Blessing, Olubumi “Buma” Dare, Ajala Rachael, Odun Ewenla, Olayinka Gabriel and others do not simply accompany the story, they embody it. Their choreography flows like water, fluid and hypnotic, with moments of striking intensity. The underwater sequences stand out as some of the most visually compelling moments in the production. Movement here is storytelling. 

At the centre of it all are Olubumi “Buma” Dare and Eretan Blessing, a pairing that gives the production both spectacle and emotional weight. Buma Dare commands attention with a presence and performance that balance strength with vulnerability. Eretan Blessing brings precision and emotional grounding, creating a strong counterpoint that enriches the storytelling. Together, they form a compelling core.

Still, Buma Dare edges into standout territory. There is an elasticity in her performance that keeps drawing the eye back to her, even in crowded ensemble scenes. 

The actors across the board deliver with conviction. Segun Dada, Salawudeen Kabirat, Akande Adetoun, Ben McAnthony, Babatunde Lawal and others bring their A-game. There is a strong grasp of the tonal balance required for a play that blends folklore, satire and emotional realism. The ensemble work is cohesive, and the chemistry among performers helps sustain the narrative through its more ambitious moments. 

The production is not without its weaknesses. At times, the spectacle threatens to overpower the story. Some scenes feel extended beyond their dramatic necessity, and the pacing dips in a few transitions. There are also moments where choreography competes with dialogue rather than supporting it, which slightly blurs the clarity of certain scenes. 

Even with these issues, Mammy Water’s Wedding remains an impressive achievement. It is a sensory feast that captures both imagination and conscience, and it reinforces the power of Nigerian theatre when it fully embraces its visual and performative strengths. 

There is ambition here at virtually every level, from Akintonde’s production approach to Fosudo’s handling of the stage and the commitment of the ensemble. Importantly, that ambition largely translates into what the audience actually experiences rather than remaining merely an intention behind the production. 

With Olanrewaju Isiaq Akintonde’s ambitious production, Sola Fosudo’s assured direction and the commanding presence of Olubumi “Buma” Dare and Eretan Blessing at its centre, Mammy Water’s Wedding lingers well beyond the final bow.