There’s an intrinsic melancholy that exists for married couple Abasiama and Ukpong. Set in the late 1970s, the two have come to America with a dream: to get an education and return home to Nigeria in Mfoniso Udofia’s rich and moving narrative “Sojourners” (at The Huntington Theatre through Dec. 1). The duo had four agreed-upon goals: get married, have a baby, go to America for an education and come home. Over time, their vision bifurcated, pushing them to navigate this foreign land differently than they’d hoped. While a very pregnant Abasiama studies biology and works at a gas station, her husband delights in newfound freedoms without the watchful eyes of their parents.
Ukpong, dynamic and dashing, is desperate for so many things. He’s eager for his wife, whom he calls his “soft soft,” to look at him as she once did at home, as her “fine fine,” to freely revel in the independence the U.S. appears to provide, and he wants, at least it seems, to stay in this new land. But Abasiama, hardened some by his need to disappear and explore, is undeterred. She wants to stick to the plan.
The story of Abasiama (an excellent Abigail C. Onwunali) and the wistful Ukpong (portrayed wonderfully by Nomè SiDone) is the first in Udofia’s nine-play Ufot Family Cycle, which will be produced in order over two years, that chronicles this family across three generations. Udofia, who has written for the stage and TV (“Lessons in Chemistry,” “Let the Right One In” and “Pachinko”), was partially inspired to create these plays by the late August Wilson’s American Century Cycle. Udofia’s series — which will include five staged premieres — aims to highlight stories of Africans and African Americans that feel true to her experience and delve into the themes of immigration, friendship, loss, identity and love.
Under the apt direction of Dawn M. Simmons, “Sojourners” is a compelling depiction of a family chasing a dream and the toll it takes to achieve it. Rounding out the cast is Asha Basha Duniani, who plays the street-smart Moxie. Onwunali’s Abasiama makes an unlikely friend in the woman when they meet at the Fiesta gas station where Abasiama works. The talented Joshua Olumide plays Disciple, a serious man who goes after what he wants. Listening to Disciple and Abasiama converse in their native Ibibio language sounds and feels like poetry. He has the same sojourner dream and asks her to tell him tales from home. But mostly, Abasiama learns of her own strength and determination and makes a decision that impacts her lineage for generations.
Abasiama and Ukpong’s kitchen, with its era-appropriate mustard yellow appliances, is framed by what looks like metal fibers that open and close like claws. The clever structure — a smart, moving set by designer Jason Ardizzone-West — seems to nod to the stories and memories that tether the characters to their home, and foreshadows the couple’s shifting pathways as they discern what’s important to them. Sarita Fellows’ costuming also clearly depicts both Ukpong’s and Abasiama’s dispositions: he is always clad in American-style pants and shirts while she dons the vibrant colors and patterns of Nigeria. The music of Prince and the Revolution and Marvin Gaye — sound designed by Rob Milburn and Michael Bodeen — reinforce the junction that Abasiama and Ukpong face. Not to mention, she craves traditional Nigerian food while he enjoys Guinness and the tang and snap of dill pickles (which Abasiama learns she likes).
A revolution of sorts does occur in this cogent tale where dreams, disappointment and discovery mix. The connections created change the lives of the characters and set them on new paths. Udofia’s “Sojourners,” with its cliffhanger ending, expertly sets the stage for the next eight narratives where curious audiences will learn if Abasiama will achieve that sojourner notion of leaving, learning and finally returning home.
The Huntington Theatre’s production of “Sojourners” runs through Dec. 1.