Tawiah M’Carthy is an innovative artist known for exploring uncharted territories in his work. His latest directorial project, Sankofa: The Soldier’s Tale Retold, showcases this talent by reimagining Igor Stravinsky’s 1918 theatrical piece L’Histoire du Soldat, enhanced with a new libretto by poet Titilope Sonuga. This adaptation is not merely a retelling but a powerful reclamation of neglected histories, emphasizing themes of resilience, struggle, and hope.

Set against the backdrop of the No. 2 Construction Battalion—Canada’s only battalion of Black soldiers during the First World War—this production follows a fictional soldier’s journey to enlist. The soldier’s internal conflict with the Devil symbolizes the battalion’s broader fight against racism and historical erasure. The world premiere features Diego Matamoros as the Devil, Olaoluwa Fayokun as the Soldier, and Ordena Stephens-Thompson as the Narrator, accompanied by a seven-piece ensemble from The Glenn Gould School performing Stravinsky’s score under the musical direction of Andrew Burashko.

M’Carthy embraced the intricate challenges of directing this production, which balances complex musical elements with profound thematic depth. His journey began with an unexpected email from Burashko, recommended by Mumbi Tindyebwa Otu, artistic director of Obsidian Theatre. Initially unfamiliar with The Soldier’s Tale, M’Carthy conducted research and found the piece difficult to categorize—describing it as “an opera without singing.” However, Sonuga’s libretto sparked his interest, helping him see how he could serve the piece and expand his artistic skills.

A central motif in this production is the Sankofa bird, a West African symbol representing the importance of returning to one’s roots to move forward. The performance intricately weaves together Sonuga’s poetry and Stravinsky’s original music, resonating deeply with M’Carthy’s own life experiences. Born in Ghana and later studying acting in Canada, he reflects on his past efforts to fit into a new culture: “Sankofa has become a guiding principle for me. If your roots are intact, no one can shake you.” This notion of reclaiming erased histories is pivotal, particularly for Black audiences, as he emphasizes that “our history books often exclude us,” highlighting the need for a deeper exploration of Black contributions to history.

Fayokun’s portrayal of the Soldier emphasizes the physicality of the performance, focusing on the experiences of Black bodies in predominantly white institutions. M’Carthy highlights the Eurocentric nature of the music, which traditionally has not included Black narratives. The production aims to confront the realities of a world that seeks to erase Black existence, reinforcing the importance of self-identity.

The collaborative effort in creating Sankofa has been immensely fulfilling for M’Carthy, who views it as a shared experience that enhances everyone’s skills. His initial unfamiliarity with classical music has evolved into a greater appreciation for Stravinsky’s work through ongoing discussions with Burashko.

M’Carthy’s extensive background as a playwright, actor, and director has prepared him for this endeavor. He gained recognition for his one-man show Obaaberima, which explored his experiences growing up gay in Ghana. His diverse body of work includes acclaimed productions such as Black Boys and Topdog/Underdog, along with honors like the Pauline McGibbon Award.

Sankofa: The Soldier’s Tale Retold is a significant addition to M’Carthy’s portfolio, resonating with contemporary struggles. He emphasizes that the issues faced by the No. 2 Construction Battalion are still relevant today. By recontextualizing a historically Eurocentric work, the production aims to include voices that have long been marginalized. Ultimately, Sankofa stands as a powerful affirmation of heritage and a hopeful vision for the future, underscoring the importance of recognizing past sacrifices and achievements for future generations.