Diversionary Theatre's production of Temi Wilkey's 2020 play follows an LGBTQ couple facing traditional Nigerian parents — and an intervention from their ancestors suspended in the cosmos.
The High Table" refers to a Nigerian wedding tradition where the newlyweds and their families, such as their parents, are seated at a table that's typically on a stage or raised platform, so it's slightly elevated or higher than the rest of the tables.In this circumstance we're looking at an ancestral intervention, because in the traditional African context, the ancestors are actually part and parcel of your spiritual connection to the cosmos.
Andréa, can you tell us a little bit about how the ancestors are involved with your character? And what is Tara's relationship with them?The ancestors are summoned as I bring my fiancée over and they are trying to divine and understand and hear things, but they also complain that they can't hear as well as they used to, they can't hear Earth or"Aiye" as it is referred to on the show as well as they used to because it used to be that the descendants used to call...
In addition to this cultural, this ancestral context, I imagine that LGBTQ+ love is sometimes hard to reconcile by an older generation with traditional values. Niyi, can you tell us about how that unfolds in the play — particularly with the way it's handled across generations, with the father's generation for example.Yeah with the father's generation — the father's generation is one that's essentially been colonized.
And the younger generation, they're still drawn to their culture. These characters still celebrate their culture despite the elders rejecting them, and they still love their families and those elders. Andréa, can you talk a little bit about that and how these characters find balance?When it when it comes to any kind of cultural journey, it starts by realizing your disconnection, and I think that ends up happening specifically for Tara in the play because of something that happened.
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