Tosin Adeyemi exudes finesse in ‘Ẹbọ’, one-act play

In an enchanting one-act play held on July 10 and 12, 2026, in Lagos, Tosin Adeyemi, played the role of Simi Adeyinka-Cole, exuding class and depth. It was her first time doing a one-act play. The enthralled audience was very much handy in the call and response aspects when the actor needed them. This is what makes Ẹbọ an absorbing experience.

Written and directed by Bimbo Olorunmola and presented by B-Rated Productions, it was a triplicate show held on Friday by 5pm and twice on Sunday 5pm and 7pm, at the American Guest Quarters (GQ), 16, Oyinkan Abayomi Drive, Ikoyi, Lagos.

Ẹbọ (The Offering)portrays a litany of internal conflicts of a woman named Simi Adeyinka-Cole. In her prime, Simi pours out her mind through a compelling monologue and phone calls. Using the call and response technique, she invites the audience to participate in the ensuing ruminations. No doubts, watching Ẹbọ prompts the question: “when a friend’s achievement stirs deep introspection or envy in you and perhaps, motivates you to take decisions on certain things, is this what is called witchcraft?

Simi Adeyinka-Cole’s loyalty with Kemi, her childhood friend of 23 years comes under scrutiny when she finds out that, on the eve of Kemi’s wedding, she has been assigned Table 11. This is the major conflict the play revolves around. Simi, subsequently, delves into immersive contemplation, questioning what might be responsible for being pushed to the fringes. Why is she given the back seat at a supposedly best friend’s wedding where she should ordinarily be one of the key players? It’s through this self-analysis that the loyalty of Simi is tested and her mixed feelings towards her friend Kemi are brought to the front burners. The layers of human nature, as reflected through the lens of a chronic spinster, are carefully peeled off. Depth, class, intensity and delicateness of friendship, are what make Ẹbọ (The offering) relatable to the audience.

Simi talks emotionally about three types of Nigerian men. Reflecting deeply on her past relationships, she recalls cherished moments and expresses desire for true and committed love. Thus, Simi becomes the subject of her pastor’s Sunday sermons. However, when she is assigned Table 11 at the wedding, by her friends– Kemi and aunty Ngozi, who know she needs a man to spice up her chequered life, Simi’s interpretation of the gesture is unexpected. Suffering from the pain of losing a beloved friend to another person, Simi, nevertheless, decides to be at the wedding but insists: “The question is not whether I am going to the wedding but which version of me goes through that door.”

Bimbo Manuel, a Nollywood actor, was part of the audience. The film veteran conceded that the play was well-executed and brilliantly performed. “I liked that it was very organic and the use of other media (the music and phone messages) made that more real.” Manuel said.

“This is one of the boldest exploration of the psychology of the modern urban Nigerian young woman, her struggles, identity and the inner battles of conforming pitched against feminism.” Manuel further observed.

Amanda Oruh, an award-winning actress, producer and host, said that she learnt a lot while watching Tosin Adeyemi on stage. Oruh added that she was particularly fascinated by how the actor was able to transition seamlessly in telling the story, in bringing the audience into her world.

“I could tell when she was feeling irritated, disappointed, and angry. When she was actually grieving her friendship.” Oruh said. Furthermore, the 2026 Special Jury Award at Sundance winner revealed the particular part of the play that she loves the most. “It is how the actor was able to tell a relatable story. Friendships are very unique. It’s you intentionally choosing to love this person, to be there for them, to grow with them, cry with them and now, this person that you have known for 23 years is getting married. Let’s be honest, it is not witchcraft. There is a part of you that feels like you are going to lose this person,” she concluded.

Those who couldn’t see Ẹbọ in July do have a second chance to experience the impressive play. It’s better to be seen than be told. In Abuja, the play has been scheduled for 8th and 9th August, 2026. Thereafter, it goes on an international tour in the UK.