LAGOS STATE UNIVERSITY

FACULTY OF ARTS

DEPARTMENT OF THEATRE ARTS

AREA OF SPECIALIZATION

DIRECTING

NAME:

OSENI OLUWASHINA OLUWASEYI

MATRIC NUMBER:

190371092

APPROVED PROJECT TOPIC

DIRECTING A MUSICAL : A CASE STUDY OF DIS LOYALJUDAS DIRECTED BY SEGUN ADEFILA

PROJECT SUPERVISOR

PROF. OLUSOLA FOSUDO

 ABSTRACT
This final year project presents a comprehensive case study of the theatrical production Dis Loyal Judas,
directed by the renowned theater artist Segun Adefila. The study delves into the intricate process of
directing a musical, examining the creative choices, challenges, and artistic vision that shaped the
production.

The research utilizes a mixed-methods approach, combining interviews with Segun Adefila, cast, and
crew members, as well as an in-depth analysis of the performance itself. The primary objective is to gain
insight into the directorial strategies employed by Adefila and their impact on the overall artistic
experience.

The findings of this study reveal the multifaceted nature of directing a musical, from script adaptation
and casting to choreography and stage design. It also explores how Adefila's unique directorial style,
rooted in Nigerian theatrical traditions and contemporary influences, contributed to the success of "Dis
Loyal Judas."

Furthermore, the project discusses the production's significance within the broader context of Nigerian
theater, shedding light on the challenges and opportunities faced by contemporary theater directors in
the country. It also highlights the potential for future research in the field of theater studies and the role
of directors in shaping the cultural and artistic landscape.

In conclusion, this case study offers valuable insights for students, scholars, and practitioners of theater,
providing a deeper understanding of the creative and logistical processes involved in directing a musical.
"Dis Loyal Judas" serves as a compelling example of the fusion of traditional and contemporary elements
in Nigerian theater and the transformative power of visionary directors like Segun Adefila.

TABLE OF CONTENTS

Chapter one: Introduction

1.1 Background to the study

 1.2 Statement of the problem

1.3 Purpose of the Study

1.4 Research Methodology

1.5 Significance of the study

1.6 Scope of Study

1.7 Limitation to the Study

1.8 Definition of Terms

Chapter Two: Literature Review

2.1 Definitions and History of Directing

2.2 Essentials of Play Directing

2.3 The role of the Director in a Musical

2.4 Musical Theater as a Genre

2.5 Challenges in Directing a Musical

2.5.1 Artistic and Creative Challenges

2.5.2 Technical and Logistical Challenges

Chapter Three: Case Study

3.1 A brief on Segun Adefila

3.2 About Crown Troupe of Africa

3.3 Synopsis of Dis Loyal Judas

3.4 Performance analysis of Dis Loyal Judas

Chapter Four: Conclusion

 4.1 Findings

4.2 Summary

4.3 Recommendation

4.4 Conclusion

CHAPTER ONE
DIRECTING A MUSICAL
1.1 Background to the Study

Musical theater, as a dynamic and multifaceted art form, has undergone a fascinating evolution over the
years, blending elements of music, drama, and choreography into a unique and captivating narrative
experience. This section delves into the historical and contextual underpinnings that provide the
backdrop for the research on the case study, Dis Loyal Judas directed by the eminent Segun Adefila.

Evolution of Musical Theater:

The roots of musical theater can be traced back to ancient civilizations, where performances interwove
music and drama in religious ceremonies and festivities. However, it wasn't until the 19th and 20th
centuries that musical theater, as we recognize it today, emerged with the convergence of operatic
traditions, vaudeville, and popular entertainment. From the classic Broadway musicals to contemporary
experimental works, the genre has continuously evolved, embracing diverse influences and cultural
expressions.

Nigerian Theater Landscape:

In the context of Nigeria, a country with a rich tapestry of cultural traditions, the theater scene has its
own unique vibrancy. Traditional Nigerian performance arts, deeply rooted in storytelling, rituals, and
communal experiences, have blended seamlessly with Western theatrical conventions. Segun Adefila, a
luminary in this space, has played a pivotal role in bridging these worlds, infusing traditional Nigerian
aesthetics into contemporary theater.

The Significance of Dis Loyal Judas:

The chosen case study, Dis Loyal Judas stands as a testament to the transformative power of musical
theater. This production, under the directorship of Segun Adefila, serves as a microcosm of the broader
evolution of Nigerian theater and the innovative approaches employed by directors to engage with
traditional narratives in a contemporary setting. The background to this study encompasses not only the
history of musical theater globally but also the specific cultural and artistic influences that have shaped
the Nigerian theatrical landscape.

1.2 Statement of the Problem

The world of musical theater is a captivating realm that seamlessly weaves together various artistic
elements, offering a unique form of storytelling. However, within this enchanting domain lies a set of
challenges and complexities that demand scholarly attention. This section articulates the specific issues
and gaps in understanding that prompt the investigation of the case study, Dis Loyal Judas directed by
Segun Adefila.

This study therefore examines Complexities in Directing Musicals, the directorial process in musical
theater involves orchestrating a harmonious blend of music, dance, and drama. While this synergy
results in spectacular performances, it also introduces intricate challenges. Understanding the specific
complexities faced by directors in this multifaceted genre is crucial to unraveling the nuances of their
creative decisions.

While musical theater has been a subject of scholarly exploration, there is a need for a focused and in-
depth analysis of specific productions to unravel the intricacies of the directorial process. This study
aims to address the gap in the literature by honing in on Dis Loyal Judas as a case study, providing
insights into the challenges faced by directors in the context of Nigerian musical theater.

1.3 Purpose of the Study

The purpose of this research is to embark on a comprehensive exploration of the directorial process
within the realm of musical theater, with a specific focus on the case study Dis Loyal Judas directed by
Segun Adefila. The study seeks to fulfill several interconnected objectives aimed at advancing scholarly
understanding and contributing to the broader discourse on theater arts.

At its core, the purpose of this study is to unravel the intricate strategies employed by directors in the
creation and execution of musicals. By closely examining Segun Adefila's approach to directing Dis Loyal
Judas the research aims to shed light on the thought processes, creative decisions, and artistic choices
that shape the directorial vision in the context of Nigerian musical theater.

1.5 Research Methodology

This research employs a qualitative case study design to provide an in-depth and holistic exploration of
the chosen case, Dis Loyal Judas

The primary source of data collection is systematic analysis of recorded performances of Dis Loyal Judas
This involves scrutinizing aspects such as choreography, music, stage design, and overall execution,
providing a comprehensive understanding of the directorial choices and their impact on the artistic
presentation.

1.6 Significance of the Study

This research holds substantial significance within the realms of theater studies, cultural exploration,
and the broader understanding of the directorial process in musical theatre.

The study contributes to the academic discourse on theater studies, particularly in the context of
musical theater and its evolution within the Nigerian landscape. By focusing on a specific case study, this
research adds depth to existing scholarship, offering nuanced insights into the directorial strategies
employed by Segun Adefila.

Nigeria, with its rich cultural tapestry, provides a unique backdrop for this research. The exploration of
Dis Loyal Judas not only contributes to the understanding of musical theater but also serves as a cultural
exploration. The research delves into how traditional Nigerian elements are preserved and reinterpreted
within a contemporary artistic context, contributing to the broader conversation on cultural dynamics in
the performing arts.

1.7 Scope of the Study

This research work will focus on the principles and practice of Directing a musical. A focus of Segun
Adefila's directorial style. From choosing the play to staging it, including all intellectual and physical
aspects.

1.8 Limitations of the Study

A major inhibiting factor during the course of this research is the is inability to lay hands on material that
are germane to purpose of the study, That is, the problem of gathering relevant literature to enhance
accurate information for the research. The limited availability of material makes the research tricky and
slow in attainment.

1.9 Operational Definition of Terms

Directing: For Bell-Gam, it is the auditory or visual interpretation of a play script by the artistic director
(71). Oga refers to it as the art of harmonizing the contributions of the various artistic collaborators in a
theatrical production Directing is an intellectual expression of imaginative and interpretative creativity
by a craftsman and coordinator of all theatrical elements in a production process..

Musical: A musical is a theatrical performance that combines spoken dialogue, acting, and singing, often
accompanied by music and dance to tell a story or convey a theme. A musical is a theatrical
performance that incorporates music, songs, and usually dance into the narrative. Songs advance the
plot and develop characters in musicals. Musical numbers are integrated into the story rather than
added arbitrarily. Musicals evolved from forms like comic opera, operetta, vaudeville, and music hall in
the 19th and early 20th century. Elements of dance and spectable were incorporated over time.
Musicals use the emotional power and spectacle of song, dance, and music to tell fictional or
biographical stories on stage and screen. The music advances the narrative and reveals depth of
characters.

Directorial Process: The systematic and creative approach employed by directors in conceptualizing,
planning, and executing a musical production.

Conceptualization: It is the idea that the director cut across in all the element of a play production, such
idea come as 'ism. For example naturalism, realism, expressionism, etc. For the element that is costume,
set, acting, script to be unison they must be an idea that bind it together, that idea is called directorial
concept.

CHAPTER TWO
LITERATURE REVIEW

2.1 DEFINITION AND HISTORY OF DIRECTING: Directing involves the ability of a director to creatively
and interpretatively unify the efforts of the different theatre collaborators in a production, to create a
unified aesthetic experience; which is a scintillating play interpretation on stage before an audience in a
particular place and time. Robert Wills (1976) conceives directing as the process of transforming a
director’s personal vision into a public performance (3). This implies that the director’s job is to use all
the resources of the theatre at his disposal to create or produce his personal vision or idea, as imbedded
in a script or developed from it, on stage through the manipulation of sounds and pictures before an
audience.

For Bell-Gam (2007). It is the auditory or visual interpretation of a play script by the artistic director
(71). Oga (2007) refers to it as the art of harmonizing the contributions of the various artistic
collaborators in a theatrical production.
Dean and cara (1974) describe play directing as the presentation of a play on the stage for an audience,
interpreted both in terms of dramatic action and dramatic sound and in terms of the emotional and
intellectual concepts of an author's script.

France Hodge (1971) informs us that directing is an activity and it lies in doing. This activity,, however,
Start from the choice of play. It seems easy and safe therefore to assume that the success of any
theatrical endeavour depends on the selection of many things of which the play is the first.

For Effiong Johnson (2003), directing is an intellectually tasking, creative theatrical stage activity, which
involves the management of artistic personnel and creative devices of the theatre towards a deliberate
moulding of a perceived vision into its most sublime form (57).

Bassey Effiong defines play directing as “the uses to which the flora and the fauna of an author’s script
or ideas are recreated artistically and scientifically on stage before an audience” (2). In “The Rhythms of
Play Directing”, Chris Nwamuo describes directing as the blending of the visual and auditory stimuli of a
production into an artistic whole, encompassing the harmonization of acting, costumes, lighting and
scenery as the total artistic expression of a production, with each bearing an artistic relationship as well
as being an artistic unit in itself.

Harold Clurman puts it in “A Different Language” theatre directing is the handling of the diverse
materials of the theatre so that the pasts- actors, stage space, properties, light, background, music, and
even the text itself- become a coherent, meaningful whole (275). Inih Ebong (2001) describes it as:

A behind -the-scene activity between the director and his team to create in
the‘private’seclusion of the theatre, away from the curious and prying eyes of the public,
the three dimensional beauty that is seen on stage in production (27).

Robert Wills (1976) defines directing as the process of transforming personal vision into public
performance (3). This therefore means that the director tries to convert his personal vision into reality
before an audience using the human and material resources of the theatre. Johnson (2003) agrees with
this position when he observes that directing is an intellectually-tasking, creative theatrical stage
activity, which involves the management of artistic personnel and creative devices towards a deliberate
moulding of a perceived vision, into its most sublime form (57).

While directing as an art truly came into prominence during the late nineteenth century, a director in
one form or another existed since the classical Greek era. In ancient Greek theatre, the Didaskalos,
meaning teacher, instructed the performers. Effiong Johnson (2005) observes that Toby Cole and Helen
Chinoy, Mill Barranger, and Edwin Wilson agree with Oscar Brockett that in the theatre of Ancient
Greece (5th Century B.C.), the art of directing, in a way, was carried out by dramatists who were
responsible for selecting the cast, determining actors’ movements, deciding on costumes and scenery,
and catering for the functioning of the production (53).
However, Dean and Carra(1984) seem to hold a contrary view when they state that, in the entire history
of dramatic production, we find the director’s nearest counterpart in the choregus, or trainer of the
chorus, in the Greek drama… As we understand the term today, the choregus was a play director (21)

Buttressing the above assertion Dean and Carra reveal that the functions of the choregus consisted not
only in teaching the techniques of dancing to the individual dancers and in perfecting the
synchronization of movement but also in interpreting the subject matter of the strophe and antistrophe
in terms of positions, movements and rhythm. These functions show that the choragus was more or less
a full fledged director in the strictest modern technical sense. Pickering(1981) in his own account of
directing during the Golden Age of Classical Greek theatre posits that in Aeschylus lifetime authors acted
in their own plays, trained the chorus, wrote the music, choreographed the dancers, and in general
supervised every aspect of the production (153). He adds that in Greek comedy on the other hand, it
was quite common for the author to turn all directorial duties over to someone else. Whatever the
case, it is obvious that no artist with the appellation “director” ever emerged in the Greek theatre. There
is scarcely ample information about directing in the theatre of Ancient Rome. However, it is a popular
assumption among theatre scholars that since Rome borrowed most of its theatrical values from Greece
its directorial processes were inclusive. Wilson observes that at various times in theatre history, the
leading performer or playwright of a company served as a director, though without the title (140).

According to him, this continued even all through the Renaissance Period. From the seventeenth
century through the nineteenth century there was a long line of actor-managers who carried out
functions akin to those of the modern director. He identifies such actor-managers to include Thomas
Betterton (1635-1710), David Garrick (1717-1779), Charles Kemble (1775 - 1854), William Charles
Macready (1793 - 1873), and Henry Irving (1838 - 1905).

The Medieval age employed stage managers called conducteurs de secrets. Shakespeare may have
directed his company at the Globe Theatre during the Elizabethan age and Moliere coached his
company. From 1750 to 1850, the manager/director or actor/manager/director came into prominence.
Forces which helped shape the need for a director at this time are public interest in antiquarianism, the
development of scenery and scene shifting, and the focus on production over play script. In Directing the
Play, Cole and Chinoy further explain this era as a preparation for the director's domain.

As production more and more usurped the power once held by the play itself, they perfected the
implements with which the director would work‐‐the rehearsal, the coordinated acting group and the
external paraphernalia of archaeological sets and authentic costumes and props. Their activities
revealed the creative contribution to be made by a single autocrat in charge of production.

The director as a separate and important entity impacted the theatre world in 1874 when the Duke of
Saxe‐Meiningen toured Europe with his troupe of actors. The tour showed theatre artists the value and
artistic opportunity a director could have. For six years prior to the tour, the Duke of Saxe‐Meiningen
implemented basic directing principles which continue to be used, if modified, today. His principles
included intensive rehearsals, the demand for disciplined and ensemble acting, historically accurate sets
and costumes, extensive use of stage business, the directorial need for vision and total control over all
aspects of the production, and the value of minute detail. Overall, the practices implemented by the
Duke of Saxe‐Meiningen continue today. The director has two basic charges: to implement a unified
vision within the finished production, and to lead others toward its ultimate actualization. To meet these
charges, the director must organize the realization of his or her vision. The director must decide upon
the interpretation to be given the play, work with the playwright (if possible), designers and technicians
in planning the production, cast and rehearse the actors, and coordinate all elements into the finished
production.

According to Pickering, it was in Germany that all the varied aspects of production were assembled
under the guidance of a powerful central director. This assertion is as a result of a production of William
Shakespeare’s Julius Caesar in Berlin on May 1, 1874 by the Meiningen Players as led by George II, the
Duke of Saxe–Meiningen. Cole and Chinoy have described this date as one that has come to have a
special place in the history of theatre directing stating that on that date.

The Duke brought his unknown troupe to Berlin to display the unique accomplishments of a director’s
theatre. (He) utilized all innovations intensive rehearsals, disciplined integrated acting, and historically
accurate sets and costumes – to create realistic stage pictures. But the Duke went significantly beyond
his predecessors in that he attempted a reconciliation between the usually compelling illusions of the
painted set and the moving actor...He interpreted the text through the medium of all the theatrical arts.
He blended the theatrical arts into a symphony of visual and aural minutiae (Johnson, 55).

Whereas many theatre scholars believe the Duke of Saxe-Meiningen is pivotal to the evolution of
modern directing Don Taylor does not seem to acknowledge this. Johnson observes that in Taylor’s two
hundred-and-one page treatise on play directing the name of the Duke is never mentioned, rather he
traces the evolution of the theatre director to the 1920s and 30s ’just at the same time as their
contemporaries in the film world were achieving international fame.

Dean and Carra, Pickering as well as Johnson agree that the monumental input of the Duke had great
influence on such theatre icons as Andre Antoine in his Theatre Libre in Paris, Otto Brahm and Freie
Buhne in Berlin, Constantin Stanislavski in his Moscow Art Theatre, and a host of others.

Today, the freedom of artistic expression which characterizes contemporary theatre practice finds its full
import in the art of directing with its concomitant effect in the multiplicity of directorial styles and
techniques. Hence, Taylor asserts that theatre can be made at the present moment in any way that the
maker likes or can make effective (Johnson , 57).

The bottom-line remains that whatever the technique or style, the overall goal of directing through the
ages has been to achieve artistic unity.

2.2 ESSENTIALS OF PLAY DIRECTING: This are the elements that furnish the means of conveying of
sound or auditory, portion of interpretation and proceed to concentrate in detail on the action or visual
aspect. This means are being referred as the five fundamentals of directing. They are composition,
movement, picturization, rhythm, and pantomimic dramatization. The director must use part of each
fundamental element in every play that he directs. Although every play according to its nature and the
characteristics to be emphasized uses varying degree and combination of the fundamental elements,
every play must contain some use of all of them.

COMPOSITION: Dean and carra (1974) describe composition as the structural, form or design of the
group. It is not however, the meaning of the picture. Composition is capable of expressing the feeling,
quality, and mood of the subject through color, line, mass and form. It does not tell story, it is the
technique, it is not the conception. Composition is the rational arrangement of people in a stage group
through the use of emphasis, stability, sequence and balance, to achieve an instinctively satisfying clarity
and beauty.

Since composition cannot be avoided in the placement of set pieces, furniture, objects and people on
the stage space, both director and the designer should create effective composition that serve the
demands of the situation, rather than haphazard arrangement that prove distractive, contradictory or in
contrast.

August W. Staub assert that

In terms of the visible actor, the director must distribute his actors about the stage in such a
way that, in combination with the setting, they present at all times and aesthetically satisfying. The
stage picture must be arranged with the due consideration to its composition. It should be
balanced in terms of line, mass and proportion, and should create a harmonious effect.

Hodge's definition of composition is director-actor communication and not pictorial design. This concept
presupposes that the only aspect of theatre which really matters is to move an audience through
dramatic action and characters, and therefore that the principal function of directing is to arouse actors
to assume the positions that will be most effective in communicating appropriate imagery to an
audience (27).

Composition is the environmental structure of the stage; the form and design of the set elements and
people on stage. In film this is referred to as ‘mise-en-scene’ (Eregare and Omoera, 2008). Bell-Gam
(2007) defines composition as the rational arrangement of actors or objects on stage through the use of
emphasis, stability, balance and sequence to achieve beauty (84). Oga (2007) describes composition as
the general arrangement of a stage picture using both animate and inanimate objects in order to create
the environment for the dramatic action by the director (93)

PICTURIZATION: It is the arrangement of the total image of the theatre- visual so that it makes a
comment consistent with the dramatic statement of the play script (Staub 95).

To this, Dean and carra (1974). Define Picturization as the visual interpretation of each moment in the
play. It is the placing of characters in a locale that suggests their mental and emotional attitudes toward
one another so that the dramatic nature of the situation will be conveyed to an audience without the
use of dialogue or movement. It is the outer action that, in turn, makes the audience understand, at
times contrary to the dialogue, inner meaning or subtext existing within and between characters. The
visual interpretation of the play should be developed as fully as the auditory.

For Brockett O. (1964). Each moment of a performance may be thought of as a picture capable of
communicating with the audience even apart from the spoken word. If this idea is to be put into
practice, the director must arrange with care the available visual elements at each instance. He must
seek to indicate pictorially the center of attention, the situation, the dominant emotion, and the
character relationships. Furthermore, he must arrange the picture with due regards for esthetic
composition and for the mood, the style, the period, and the type of play.

Oga (2007) asserts that composition is the general arrangement of objects on stage, while picturization
portrays the emotional relationship between objects/characters on stage, and in order to achieve good
picturization, the director must understand the background of the situations, the socio-economic
background of the characters and the setting of the play generally (93).

MOVEMENT: Movement is the third element of directing. It is the stage picture in action. It comprises
the moments of picturization in their ever changing aspects. Although movement exists in the passages
from picture to picture, it must have of itself a definite picturization value. (Dean and carra, 1980).
Generally, movement can be described as the shifting of a part or the whole body (mass) in time and
space. The minutest shifting of a body part, such as blinking or breathing, constitutes movement.
Movement is in two broad categories - locomotor and non-locomotor. While locomotor is the kind of
movement that gets the performer from one spot to another, non-locomotor is that movement of the
body that does not shift the whole body from one place to another. Thus a walk, jump or leap is a
locomotor movement, while the wave of an arm, bending or swaying is non locomotor. These forms of
movement are not usually executed independently or exclusively and they aid the flow and dictate the
rhythm and mood of the play.

Oga (2007) opines that movement may express itself through walking, running or dancing; it is the act of
transiting through space within time, from one stage position to another. Movement is used by actors in
entrances and exits to express the mood of a character, to emphasize a character or characters in
relation to others, to evaluate characters and to suggest sub textual meanings (93). The use of
movement by a director is also captured in the use of blocking (the direction of the movement of an
actor in relation to the stage space by a director).

RHYTHM: Rhythm is the most difficult to analyze and project in writing, even though rhythmic
experience and expression can be appreciated and understood by most. The exercises under rhythmic
pattern and tempo are meant primarily to further this appreciation and sensitivity to rhythmic
experience rather than to give the student an instant technique that can be applied mechanically to the
subtle dynamics of directing.

Rhythm is an experience we receive when a sequence of impressions, auditory or visual, has been
ordered into a recurrence of accented groups. This experience is marked by a willingness to adjust
ourselves emotionally and muscularly so as to conform to the accented groups we see or hear.
Dependent upon the intensity of the impressions our experience is expressed by degrees of emotional
and muscular reaction ranging from pure inner feeling to bodily movement(Dean and carra,1980). Thus
a play is expected to follow a set rhythmic pattern - tempo, time and pace - of the different beats and
scenes in consonance with the dramatic situations contained in them. It is the work of the director to
unearth the visual and auditory rhythm of the production buried in a play text.

Bell-Gam describes it as “the response to accented beats” of the play (84). It deals with the rhythmic
pattern or flow of the play and its connotative value. For example, shorter beats or pulses convey an
element of excitement, sharpness, irritability, while longer beats or pulses give the impression of futility,
composure, dullness. Oga (2007) refers to it as the ordering of sequence of auditory or visual
impressions as perceived by the audience (94). Rhythm deals with the tempo and flow of the dramatic
action. As a principle of directing, rhythm is very important because it establishes mood, the dramatic
genre, dramatic situation and characterization. The dramatic action of tragedy in terms of tempo is
slower than that of comedy. Rhythm can also be captured in the use of songs and music in a play, as well
as in the use of drums and other rhythm-producing instruments, as these help to augment and supply
pace to the dramatic action.

PANTOMIMIC DRAMATIZATION: The importance of pantomimic dramatization in the performance of a

play is evidenced by the psychology fact that most people are visually minded and therefore are more
deeply impressed by what they see than by what they hear. This fifth element of directing is most
valuable in giving a play distinction, warmth, richness, vitality and illusion of life.

Dean and cara (1984) opines that to arrive at a general understanding of the text pantomimic
dramatization. It is best to define the word pantomime. Pantomime is action without words. By action is
meant a sequence of facial expressions, gestures, hand operations and body positions and movements
that, observed from life, is used imaginatively by the actor and the director to tell something about the
elements of character, situation, locale and atmosphere of a play. If these elements are made clear
without the use of dialogue, they are dramatized by pantomime. This process is called "PANTOMIMIC
DRAMATIZATION".

According to Bell-Gam (2007), in pantomimic dramatization, meaning is given to movement, gestures

without words or dialogue by actions (84). For Oga (2007), pantomimic dramatization refers to the
theatrical communication that relies on the use of gestures, facial interplay, body language and
movement generally to the exclusion of dialogue. It combines all the different principles of directing
(94).

2.3 THE ROLE OF THE DIRECTOR IN A MUSICAL: The play director is a metaphor in the theatre. As a
leader in the play production process, he is also paradoxically a messenger, an intermediary, a mediator
and a creator of the highest order. Agust Staub in his book; Creating Theatre: The Art of Theatrical
Direction also sees the director as, “…the master of all arts of the theatre. He is the core artist without
his will, the kinetic, visual and auditory components of the theatre are incapable of proper union, and
will for the most part remain juxtaposed rather than coalesced. Directing is defined as coordinating,
manipulating, synthesizing of all contributions of all aspect of the theatre towards the actualization of a
play emotional, psychological, spiritually and intellectual possibilities.

In the theatre, the play director functions at three different levels that is technical, artistic, and
managerial. Each of these levels of responsibility also has in them, chains of responsibilities. For
example, at the technical level “the director is the person who organizes the production. This involves
scheduling the work process and work with the designer, staging and technical operation of the play.
This is the easiest part of the directorial function.

Whereas at the artistic level, the director concerns himself primarily with artistic responsibilities such as
picturisation, composition, rhythm and tempo and he importantly decides upon the interpretation to be
given the script and the production concept that will shape the staging, casts and actors, rehearses the
actors and integrates all the elements into a finished production.

Directing a musical involves everything directing a pay does – and more. The multilayered texts, logistcal
concerns and elevated performance styles of many musicals create a complex puzzle for the drector to
solve. These complexities, when essential and undeniable, can dstract you from the central thrust of
your job The premse of this book is that your mandate, as drector of a musical, is to guide the crafting of
a body for the spiritof the musical to live in. The word “craft” is deliberate here because this book will
help you develop skills and techniques to realize your ideas through collaboration with designers, actors,
creative collaborators and everyone else you guide in the making of a production, whch is the body that
animates the spirit of your show.(Joe Deer 2014)

The director is a question solver. He must therefore be a walking encyclopedia, a king and a priest, a
master and a dignified messenger. His functions are legions in the play production and he is the most
essential member among other theatre workers yet he may become an member of the audience whose
only time of recognition will be when his performance failed. The director is thus the most unrecognized
senior artist who usually watches cynically as the audience shower praises on his performers during and
after performances. These and many more are some of the metaphors of the play director in a musical.

2.4 MUSICAL THEATRE AS A GENRE: Musical theatre is a dynamic and captivating genre that seamlessly
combines elements of drama, music, dance, and spectacle to create a unique and immersive storytelling
experience. This genre, often referred to as "musicals," has a rich history and has evolved into a versatile
and influential form of entertainment. Unlike classical plays, characters in musicals express themselves
through a combination of spoken dialogue, songs, and often dance. The songs convey characters' inner
thoughts, feelings, and conflicts, adding depth to the narrative.

Musical theatre is a curous animal in the world of live performance. On one hand, it is exactly like a play,
where you create an imaginary world for actors to play out the story. This involves interpretation and
expression of the text, decisons about movement and behavior for each character, and visual
communication of the word of the script through design and composition. Yet, with a these similartes,
there is a great deal of difference in the theatrical world of most contemporary drama and that of
muscal theatre.(Joe Deer 2014)

Musical theatre is a genre that thrives on its ability to engage audiences emotionally, visually, and
musically. With a history steeped in tradition and a constant evolution reflecting contemporary trends,
musical theatre remains a vibrant and influential form of artistic expression. Its fusion of narrative,
music, and spectacle continues to captivate audiences across the globe.

2.5 CHALLENGES IN DIRECTING A MUSICAL: Directing a musical is a complex task that presents unique
challenges requiring artistic vision, organizational skills, and a deep understanding of both theatrical and
musical elements. Directing a musical demands a combination of artistic insight, technical proficiency,
and effective collaboration. Navigating the challenges posed by the integration of music and drama,
casting complexities, choreography, and technical considerations requires directors to be adept
problem-solvers and visionary leaders. Successfully meeting these challenges contributes to the creation
of a compelling and memorable musical theatre experience.

The complexity around orchestrating and interconnecting music, dance, technical elements and
dramatic aspects of musicals presents substantial production challenges compared to non-musical plays.
It takes extensive planning, coordination and rehearsal to make it all come together seamlessly for the
audience. Here are some of the main challenges of staging a musical:

2.5.1 ARTISTIC AND CREATIVE CHALLENGES:

- Merging and Alignment of Music and Drama: One of the central challenges is finding a harmonious
balance between the musical and dramatic elements. Getting the music, singing, and dancing right
requires extensive rehearsal time, skilled performers and choreographers. Things like tempo, harmonies,
cues, etc. must all align perfectly. Ensuring that songs seamlessly advance the narrative without
disrupting the flow of the story requires meticulous planning and creative finesse.

- Casting Challenges: Directors face the challenge of casting performers who not only possess strong
acting and dancing abilities but also have the vocal prowess to deliver the musical numbers effectively.
Striking the right balance in casting is crucial for a successful production. Musicals often feature
demanding vocal ranges and intricate harmonies. Ensuring that the cast can meet these vocal challenges
while maintaining character authenticity is a delicate task which must be approached with utmost
carefulness and well calculated decisions.

- Maintaining Authenticity: When adapting a musical from source material, directors face the challenge
of maintaining the authenticity and spirit of the original while adding their creative interpretation. Many
plays staged as musicals were not written as musicals, they were adapted into Musicals by the Director
and striking the right balance between tradition and innovation requires a nuanced approach.
 2.5.2 TECHNICAL AND LOGISTICAL CHALLENGES:

- Time Constraints: Musicals often have extensive production numbers and intricate scenes, requiring
ample rehearsal time. Directors face the challenge of managing time efficiently to ensure that both the
music and drama receive adequate attention during rehearsals. The director would have to learn how to
train the actors in the dramatic and music aspects of the production and must balance both, not paying
attention to one more than one.

- Budgetary and Technical Limitations: Directors may encounter challenges in realizing their artistic
vision due to budget constraints or technical limitations. Balancing creative aspirations with practical
considerations is a continuous juggling act. This challenge can be faced anywhere in the world but
looking at the Nigerian Theatre context, many of our theatres are not equiped enough and our theatre
shows are not being funded well. That's where the need to adapt artistic choices based on the available
resources, venue constraints, and technical capabilities come in, this requires directors to be flexible and
innovative in problem-solving.

- Sound Balance: Achieving optimal sound balance between live music, vocal performances, and
amplified sound can be challenging. Standard sound and musical instruments and professionals should
be emoloyed for better results. With so much singing and orchestration, sound mixing and amplification
is crucial but tricky in live theater. The sound designer has to balance all vocals and instrumentals so
everything is heard without feedback or imbalances in the theater's acoustics.
 CHAPTER THREE

CASE STUDY

3.1 A brief on Segun Adefila: Segun Adefila is an artist of Nigerian origin. His first encounter with the
arts started from his childhood in his ancient hometown of Omu Aran in Kwara State(North Central
Nigeria) where as a child he danced with masquerades during traditional festivals.

This background has greatly influenced his art as a performance artist with a remarkable awareness of
the potency of the arts as a veritable tool for social rejuvenation.

He had his informal training in theatre with Black Image Theatre Company after which he became a co-
founder and artistic director of the Crown Troupe of Africa with a couple of friends in June 1996. In his
quest for knowledge in the arts of theatre, Segun Adefila studied for a certificate in Drama from the
defunct Centre for Cultural Studies, University of Lagos in 1997 and later obtained his B.A (2.1-Second
Class Upper Division) in Creative Arts from the same institution in 2002.

Figure 1: Segun Adefila aka Omoekùnsunònrorò!

Segun Adefila began to gain recognition as a performer while in school winning awards at both
departmental and professional levels with the Crown Troupe.

Some members of the group were invited by the National Troupe of Nigeria to perform at the maiden
edition of Contacting The World, an international youth theatre festival hosted by Manchester based
Contact Theatre in 2002.

This was to be the group’s first international exposure overseas.(Olaijo 2017)

3.2 ABOUT CROWN TROUPE OF AFRICA: The Crown Troupe of Africa is a total-theatre company
comprising artists whose forte is the creation of new but socially relevant works.The company came to
light and was professionally established on June 1996.

The company comprises artistes who share a common belief in the viability of the Arts as a tool for
social re-engineering, a major motive of our dedication to creating works that are socially relevant,
thought provoking and empowering.

Figure 2: Crown troupe of Africa's logo

Troupe is famous for their ground breaking, unique and innovative rendition of works which are flexible
enough to be performed in conventional and unconventional performance spaces.

Crown Troupe of Africa is among the oldest Theatrical Company presently in Nigeria and the company
has produced many professional Artiste who are also doing great in the field of Arts.(Olaijo 2017)

3.3 SYNOPSIS OF DIS LOYAL JUDAS: In Segun Adefila’s play DIS LOYAL JUDAS, we see the re-enactment
of a Christian story, supposedly foreign, but in a rather localised rendition.

Segun adefila reenacts the story of Jesus Christ and Judas Iscariot but this time in a more traditional way
with contemporary elements instilled in it. The play is about Judas betraying Jesus Christ for a price if 30
billion and later committing suicide.
Thus, we are forced to ask what Adefila preserves: Christianity or tradition (through Christianity?). Or he,
perhaps, attempts to blend both the fates of our past and present towards an uncertain future? Does it
challenge us to write our history or re-enact our African stories or oral traditions into creative pieces
that are closer to us, to make us unsee our traditional religions or stories as diabolical, obsolete, or
strange? Adefila’s Dis Loyal Judas leaves one to ponder about these things without the play losing its
entertaining element.

In Naija Times, Adefila gave a director’s note: “The story of Judas and Jesus offers us a pivotal platform
to further explore the place of choice in destiny. Had Judas chosen differently, would it have altered the
fate of the Saviour?”

The title’s double entendre interrogates the destinies of Jesus Christ and his disciple Judas Iscariot.
Without Judas’ disloyalty—what has today become a rather infamous, unsolvable historical paradox—
would there be Jesus’ death, resurrection, and ascension, all in fulfillment of prophecy? Inversely, Judas’
betrayal was a moral triumph in disloyalty. Because Jesus himself predicted the betrayal by one of his
own. Doesn’t this make Judas loyal, as every other disciple, working for the utmost good of the salvation
ministry? Hence, Adefila’s title, Dis Loyal Judas (“dis loyal Judas,” “this loyal Judas,” “disloyal Judas”),
fulfils these underlying, paradoxical, historical, and controversial twists.(Bestman Micheal 2022)

Figure 3: E flier of DIS LOYAL JUDAS

3.4 PERFORMANCE ANALYSIS OF DIS LOYAL JUDAS: Segun adefila uses Avant garde concept to portray
the old religious story in a new form and uses traditional and yet contemporary elements to embellish
the presentation of the play. Adefila’s directorial vision contemporalises the Passion of Christ story into
the a mixture of traditional and modern African setting thus being evident in the Modern Languages and
slangs, the music, the choreography and even the costuming. Jesus, Judas, the Pharisees, and Disciples
were costumed with earrings, exorbitant glasses, rugged and modern outfits. Going against the norms of
the story setting, drawing the play closer to a more contemporary African society with dressing, gender
roles and a lot more. Still on the symbolism of costume the characters Jesus and Judas, particularly, are
spotted in clothes regarded as this century's fashion; they bling with ornamental rings and earrings,
designer shirts, crazy jeans, and dreads symbolising the fact the portrayal of the Holy one in such
dressing doesn't make him less of who he really his and questions the judgemental majority of the
religious people that if they see Jesus Christ that way, would they still regard him as a Sinner?, it gives
the play a political and symbolic twist: that, if the Messiah had been born in Nigeria, in our time, he
could have been a victim of police brutality seeing that the community refers to people Like that as
“Yahoo boys”.

Figure 4: Picture from Performance of DIS LOYAL JUDAS

In the section of Music and infusion of modern slangs in the play, Segun Adefila used modern,
contemporay and even traditional soundtracks in the play to tell the stories he uses western
instruments such as Keyboard, trumpet e.t.c And also African instruments like the drums (Teun, Ekiri
and molo). He shows symbolism of the music When he incorporates the line “30 billion for the account
o” from a Davido song “If,” Judas sells Jesus, not for the popular 30 pieces of silver, but for 30 billion
naira to a group of Pharisees, Judas and the Pharisees sing the song to rejoice to the success of their
scheme too.

Figure 5: A picture of the Keyboardist and the Trumpeter playing in DIS LOYAL JUDAS
Segun Adefila experimentations include portraying Pontius Pilate as an Oba peculiar to the Yoruba
community. There was also a blend of Yoruba, Pidgin, and English language by the cast.

The choreography of the play was central to the progress of the play’s plot (like the choreography of
Judas Iscariot when he commits suicide by hanging); and the matching soundtracks with scenes at
various parts of the performance.

There use of total theatre is also evident as all the characters sang, danced and acted. There is use of
unified scenery and improvisation too in carrying out the play. The background has the musical
instrumentalists there through out the play. The play is a good example of Experimental theatre and a

Musical.

Figure 6: A picture of the Staging and Choreography in DIS LOYAL JUDAS

CHAPTER FOUR
 CONCLUSION

4.1 FINDINGS: The director faces many challenging situations in the build-up to the performance
because of various reasons. Owing to the fact that there are many limitations and challenges in staging a
Musical, both artistic and Technical. It could be cumbersome for the director starting from the casting,
to the rehearsal period, personal commitment, division of rehearsals for dance choreography, conviction
to the directorial interpretation and concept, financial contribution, time management and other
essentialities in production process. Musical theatre is basically for entertainment, information and
economic purpose. Its director's interest is on perfecting the artistic and the technical elements of
productions. This is, expectedly, the cardinal aim of all the personnel involved. Hence the director must
all time communicate to with the his cast and crew and put everyone in the production on the same
page.

The findings reveal that Segun Adefila's directorial approach is deeply rooted in a distinct artistic vision.
His conceptualization of Dis Loyal Judas involves a fusion of traditional Nigerian elements and
contemporary storytelling techniques, reflecting a commitment to cultural preservation and innovation.

This study also shed light on the challenges faced during the blending of traditional and contemporary
elements. These challenges encompassed script adaptation, choreography, and the harmonization of
diverse artistic styles. Adefila's innovative solutions to these challenges emerged as a recurring theme.

The study also illuminated the broader contributions of Dis Loyal Judas to the landscape of Nigerian
musical theater. Adefila's unique approach was identified as a catalyst for the exploration of cultural
heritage within a contemporary context, influencing subsequent productions in the region.

Musical theatre directors face immense challenges coordinating the various moving parts like music,
dance, acting, design, etc. into a cohesive production. Findings suggest the ability to unify creative
elements and collaborators stems from a director's leadership approach and communication strategies.
Successful directors balance a singular artistic vision with flexibility to take in feedback.

Additionally, directors who comprehensively understand a work's structure, beats, scenes, and numbers
can better caliborate transitions and pacing to give musicals dramatic momentum. Directors overseeing
transitions face the challenge of maintaining stylistic cohesion amid shifts in tone or tempos. Careful
modulation of transitions ties together dramatic highs and lows.

4.2 SUMMARY: The aim of this study has been to evaluate the principle and practise of directing in a
musical theatre through the study of DIS LOYAL JUDAS as directed by Sola Fosudo.

Chapter two focused on the examination of the term directing as well as a review of some directing
essentials. Directing is defined as coordinating, manipulating, synthesizing of all contributions of all
aspect of the theatre towards the actualization of a play emotional, psychological, spiritually and
intellectual possibilities. From the statement above, the researcher believes that, the entire process
requires skill at organization and also an aesthetic sensibility, which are qualities the director must have
in abundance in order to be able to carry out the expected responsibilities. In modern theatre, (Wilson
and Goldfarb, 35) posit that; the director is indispensable, though his role was not always so
comprehensive in the periods before now. The director of any play production oversees the overall
artistic functions in a manner, which will result in an exact theatrical effect. In carrying out this function,
he works in various ways and from various points of view. It is worth noting that the director’s work on a
production is one of the last elements of which the audience becomes aware as other elements such as
scenery, costume, light, props, and performers are immediately visible to them. The director’s work
though consists of interpreting and blending these elements; his behind the scenes status makes him
largely unknown to the audience as compared with the other elements mentioned above. Except for the
playwright, the director is the first person to become involved in the creative process of a production,
and the choices he or she makes at every stage along the way have a great deal to do with determining
whether the ultimate experience will be satisfactory for the spectators or not. (Dean, 23); sees the
director as different things and person to different people especially the actor who carries the main part
of his vision and picture. Ultimately, theatre needs four basic elements: actor, play, venue, and
audience. But for theatre to actualize its potential, a person would need to impose his or her point of
view that would penetrate all aspects of the production. That person is the director. A director is needed
for any situation, whether it's a staged reading to a congregation, a reader's theatre performance at
reunion, or a full theatre production. A director is not only in charge of all aspects of production, as an
artist he or she has a vision that ties all performance elements together. (Redgrave, iv) is of the opinion
that a director has to work with other human beings whose sense of dedication, in the main, is not even
comparable with that of a dancer or a singer. She further opines that ‘the art of directing is also an art of
compromise, of diplomacy. This is so because the director has to strive ceaselessly for perfection and
simultaneously, know when and how to compromise. This could for the sole sake of helping the actor’s
confidence or the audiences understanding of the performance. The director is the artistic individual
that is concerned with the artistic interpretation of a script through the body and voice of the actors and
dancers with the collaboration and support of other crew members who are also directors of their own
fields themselves. The director seeks the heart of a play that is, the reason for its creation. The search is
always for the original design. What was the author trying to say? Why was it necessary for him to write
the play? Why was it written at this moment of time? What relevance has it to life today? (Roose- Evans
9); says that “He ponders on all these, gets his answers and improves on them with his own creativity.
To decide upon interpretation, the director must analyze the script to discover the play's structure and
meanings. Without understanding, the director cannot make choices. He or she seeks to know what the
play is about and to understand each character in terms of both the script and the demands that
character places upon the actor. The director must be able to envision the play's atmosphere or mood
and know how to actualize in terms of design and theatrical space. The director must also be able to see
the play in terms of both physical and verbal action. He gives the play a suitable interpretation, devices
his approach to the play as well as his vision in relation to the visual aspect of the play. This paper
further delves into the meaning of musical theatre using Segun Adefila's direction of "Dis Loyal Judas" as
a case study. The objectives included exploring Adefila's artistic vision, understanding the challenges
faced in blending traditional and contemporary elements, and assessing the broader contributions to
Nigerian musical theatre.

A theatre director or stage director is a practitioner in the theatre field who oversees and orchestrates
the mounting of a theatre production (a play, an opera, a musical, or a devised piece of work) by
unifying various endeavours and aspects of production. The researcher did a summary of DIS LOYAL
JUDAS and examined Segun Adefila's approach to the production. This study is relevant because it
examines and documents the Practice and Principles of Directing a Musical through the stage
interpretation of DIS LOYAL JUDAS. The survey has enabled findings, conclusion and recommendations
to be made.

4.3 RECOMMENDATION: In view of the already stated findings made and challenges encountered in the
course of this study, this researcher makes the following recommendations, that:

1. Theatre Directors interested in staging musicals should seek funding from sponsors or patrons to
provide adequate facilities and equipments that would make staging a musical easier for the team.
There should be increased funding support for original productions that prioritize cultural innovation
and artistic experimentation. This could be facilitated through partnerships with cultural organizations,
government grants, and private sponsors who value the contribution of Musicals and culturally
significant productions to the theatre. This will help enhance the quality of productions and make the
pre-production processes less stressful.

2. Directors of a musical should be well trained and equipped to anchor the workings of the Musical, its
contents and outputs. The person appointed should have good directing skills and also have deeper
knowledge about directing or better still appoint a director that study or has knowledge of music to a
certain point.

3. In the musical theatre process, the support and cooperation of all members of cast and crew is highly
needed to help the creative and concentration level of the director, every member of cast and crew
should be disciplined, committed and also give their allegiance and support to the director in order to
have a smooth and uninterrupted production process. This will enhance speed, effectiveness, efficiency,
and the overall success of the production.

4. Given the intricate challenges identified in directing a musical, there is a need for targeted training
programs for directors, with a specific focus on musical theatre. These programs could encompass a
comprehensive curriculum covering aspects such as integrating music and drama, casting complexities,
and managing the creative and technical aspects unique to musical productions.

4.4 CONCLUSION: In conclusion, the study has delved into the intricate and world of musical theatre
direction. It has not only provided insights into Adefila's directorial process but has also contributed to
broader discussions on cultural representation, innovation, and the dynamic interplay between tradition
and contemporary expression in the realm of musical theatre.The challenges encountered in blending
cultural elements emerged not as impediments but as catalysts for innovation. Adefila's solutions to
these challenges exemplify the resilience and creativity required in the directorial process. The study
encourages a perspective that views challenges not merely as obstacles but as opportunities for pushing
artistic boundaries.

This study serves as a testament to the transformative power of theatre and its capacity to reflect,
challenge, and celebrate cultural narratives. As the curtain falls on this exploration, the findings and
recommendations stand as a beacon for future research, inspiring continued dialogue, creativity, and
appreciation for the rich tapestry of musical theatre on both a local and global stage.

REFERENCES

Dean, A. Fundamentals of Play Directing 4th ed. New York, USA: Holt, Rinehart and Winston. Inc. 1984.
Print.

Roose-Evans, J . Directing a Play. New York, U.S.A: Theatre Arts Books. 1968. Print.

Francis, Hodge. Play Directing: Analysis, communication and Style. London: Prentice-Hall International
Inc. 1970. Print.

Johnson, Effiong. The Art of Interpretative Directing. Lagos: Concept Publications Limited, 2005. Print.
Oga, Emmanuel C. “Theatre Directing: An Introductory Statement”. Henry L. Bell – Gam Ed. Theatre in
Theory and Practice for Beginners. Port Harcourt: University of Port Harcourt Press, 2007. Print.

Wilson, Edwin. The Theatre Experience 9th ed. New York: McGraw-Hill, 2004. Print.

Nwamuo, Chris. “The Rhythms of Play Directing”. Nigerian Theatre Journal Nos 1 & 2, ed. Sonny Oti:
(SONTA), 1983. Print.

Effiong, Bassey.”The Theatre Director and the Operational Dynamics of the Theatre: The Nigerian
Experience”. Six Plays: With Notes for the Beginner Director, ed. Edisna Oko- Offoboche. Calabar: The
Cross River State Newspapers Corporation, 1999. Print.

Brockett, O. Theatre: An Introduction. York, USA: Holt, Rinehart and Winston, Inc. 1964. Print.

Pickering, Jerry V. Theatre: A Contemporary Introduction, 3rd Ed. New York :West Publishing
Company, 1981. Print.

Johnson, E. The art of interpretative directing. Visions towards a Mission: Lagos: Concept Publication
Limited. (2003). Print.

Wills, Robert. Director In a Changing Theatre. California: Mayfield Publishing Company. (1976). Print.

Ebong, I. Introduction to Johnson. E. Johnson, Play production processes. Lagos: Concept Publication
Limited. (2001). Print.

Deer, Joe. Directing in musical theatre: an essential guide. Routledge, 2014.