Yomi Sode - COAT

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First published in 2018 by Oberon Books Ltd

521 Caledonian Road, London N7 9RH

Tel: +44 (0) 20 7607 3637 / Fax: +44 (0) 20 7607 3629

e-mail:

www.oberonbooks.com

Copyright Yomi ode, 2018

Yomi ode is hereby identified as author of this work in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted his moral rights.

All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before commencement of rehearsal to Yomi ode (). No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the authors prior written consent.

You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

A catalogue record for this book is available from the British Library.

PB ISBN: 9781786825711

E ISBN: 9781786825728

Cover image by Yomi ode

Inside images and design by Victor Francowski, Juliet Nagillah, Abu Yillah, CreativeJunkie

Printed and bound by 4EDGE Limited, Hockley, Essex, UK.

eBook conversion by Lapiz Digital Services, India.

Visit www.oberonbooks.com to read more about all our books and to buy them. You will also find features, author interviews and news of any author events, and you can sign up for e-newsletters so that youre always first to hear about our new releases.

Printed on FSC accredited paper

To Mum, Uncle D, Dewole, Bami & Daniel

CONTENTS

AUTHORS NOTE

Writing COAT was hard.

On one side, theres the writer who is digging as deep as possible to find the core of the story. On the other, a son who is mindful of how much trauma is rehashed when speaking to his mother about the past.

I spoke to Mum roughly after 1AM on the morning of the shows Roundhouse debut in June 2017. I was scared, but I also wanted her to be prepared. She was cool; so cool that when she attended the run-through I got told off for getting her walk wrong.

Its interesting how we can have dinner with the same faces for x amount of years and know little about them, like me and Mum.

I refrain from telling her anything happening outside of leaving home because shell worry. She doesnt tell me stories of the past or her troubles at home because Ill worry. Essentially, protection was the reasoning behind our secrecy. I wanted people to leave the show, call those close to them and go beyond the how are yous . Probe deeper.

Identity, displacement, acceptance. I could go on but Ill leave you to pick the other bits out. Navigating between cultures is this constant pendulum swinging left to right with no stillness, and COAT follows Junior/Yomi through an interesting journey of self-discovery. I know I am not alone, and thats what makes COAT so powerful.

Two things are guaranteed: one, a group ready to talk through everything after the show, forgetting we have to exit the space; two, nosy folks asking, All of that in the show, is it all true?.

I wrote COAT for a generation who feel they dont belong, wont fit in, cant be understood. I implore them to take time and not throw their culture away so fast.

I wrote COAT for the elders. Reminding them that words do sting, a lot. Lower self-esteem. Cause resentment even if the intentions are good.

I wrote COAT because people really do slip through the net and we can be better friends and family members if we spot the signs early and act on them.

Nothing pleased me more than folks walking into the theatre and the aroma of the obe hitting them immediately. My aim was to change the approach to solo shows by incorporating elements of performance and sensory nuances that meant it couldnt be boxed as just a spoken word show. Its so much more. Pots were burnt, fingers cut; I even lost weight (purposely) in the process of getting this just right. I am thankful that we done just that.

Yomi ode

May 2018

ACKNOWLEDGEMENTS

Supported by Arts Council England

Written and performed by Yomi ode

Directed by Thierry Lawson

Text Direction by Carl Ford

Movement by John Berkavitch and Sia Gbamoi

Produced by Natalie Fiawoo

Commissioned by Apples and Snakes

Additional Script Development by Rob Young

Original Music by Lanre Njoku

Stage Manager Sophie 'Solo' London

Lighting Design Neill Brinkwitth

Set Design Ruth Stringer

Sound Specialist Ellie Isherwood

With support from Roundhouse, Southbank Centre and Black Cultural Archives.

Originally developed as part of the Nimble Fish and Nick Makoha collaborative programme RE:Play with mentoring by Lemn Sissay and Polarbear.

With thanks to

Suzanne Alleyne & Lisa Mead
for that initial and most crucial meeting

Malika Booker
for reminding me to dig deeper
and search for the story

Natalie Fiawoo
for her patience and sleepless nights in getting this
to where it needed to be thank you!

Dipo Agboluaje for being unapologetically Nigerian
throughout our discussions

Thanking the attendees .
We made history with COAT !

June 8th 2017
Tickets were released in March
and sold out in twenty-two hours

October 2nd 2017
Tickets sold out in six hours

October 3rd 2017
Tickets were released in September
and sold out in ten hours

April 26th 28th 2018
Tickets were released in January
and all three dates sold out in three days

CHARACTERS

All characters played by Yomi ode.

JUNIOR (age 910) / YOMI (age 11+)

MUM
(Speaks with a Nigerian accent)

DAD
(Speaks with a Nigerian accent)

UNCLE
(Speaks with a Nigerian accent)

ROB

HOME

YOMI enters the kitchen, turns the volume up on the radio and starts singing along to the song. He picks up the pot, places it on the hot plate and then turns it on. He soon gets distracted and starts to dance. Checking the time, he snaps out of distraction, turns the volume down on the radio. Turning to his workstation he begins to talk to himself .

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