Kwami Odoom invites you for a chilled night of storytelling. Combining the Ghanaian folk tales called Anansi stories and stories from his own life, it should be a lot of fun. There’ll be drums, loop pedals, stories and more. He wants you to kick back, relax and let him take you on a journey. It’d be a shame if someone were to ruin it…
Anansi and Other Such Stories is a script in hand rehearsed reading of Kwami Odoom’s debut play, written on Soho Writers Lab. Showing at Soho Theatre on 17th February as part of Soho Rising Festival 2024.
How do you balance the use of drums, loop pedals and speech in your performances?
Drums are a really essential part of West African storytelling. They underscore stories and work in partnership with the storyteller to convey emotion, stakes and rhythm. I knew before I even started writing the piece that drums would have to be a big part of the play. Previously, I’ve accompanied myself by using a loop pedal with prerecorded drum beats but for this performance I’m raising the game by having a drummer on stage live with me. This allows us to work off and play with one another in the storytelling. It creates a really electric and unique performance because each version of it will be slightly different based on any number of things either of us might do.
Obviously we have to make sure that the drums don’t drown out the stories whilst not being just background music but that’s the exciting part of having someone else on stage to play off.
You’re mixing Ghanaian folk tales (Anansi stories) with your own personal anecdotes, how do you manage this blend?
I wasn’t sure when I started adding in my own stories if it would work but (now) I’m really grateful I listened to those notes on the first draft! Anansi stories tap into really human emotions, urges and thoughts. The same mix ups, trickeries, and personal failings that make Anansi stories so fun are the same ones that make any story that I tell from my own life fun. So they work in that sense but I also believe in bringing my full self to performances. In understanding my life and where I’m coming from, the audience gains a deeper understanding of why these stories mean so much to me.
And combining the personal with Anansi stories is a big part of the Anansi tradition. Anansi stories started in what is now Ghana but now exist in countries all over the world such as Jamaica, Suriname and southern USA. New ones have been written, new characters have appeared, they’ve adapted as the circumstances dictated. They’ve been shaped by the people. I like to view this as placing Anansi within a 21st century London context. The stories haven’t changed but the way we understand them will. I think that’s beautiful.
Can you elaborate on how your debut play, developed through the Soho Theatre Writer’s Lab, introduces a fresh perspective or style to the stage?
I think it’s true that you don’t see West African storytelling styles very often in English theatre. It’s an incredibly accessible form and you don’t need to have been exposed to it previously to enjoy it at all. And with the combination of my own stories as well as another, more Western, layer to the play (that I can’t share without spoiling it) I think it’s likely people won’t see a play like this very often anywhere!
It’s a script in hand rehearsed reading format – do you plan to develop the piece further and have another run?
I’m definitely planning to develop the piece further. Currently, alongside the incredible producer Marcus Berdaut (of The Upsetters), we’re looking to do a run of the play at Edinburgh Fringe Festival and then hopefully a full run at a London venue also.