AKEEM LASISI recalls how dramatist and producer, Samuel Akinpelu, aka Alabi Yellow, who passed away on Sunday, acted into limelight in a TV drama era that can be described as golden
Those were the ‘good old days’ of television drama. One evening, viewers would have a date with Moses Olaiya, aka Baba Sala, who would treat them to either a short comedy or an expanded comic feast like the one he titled ‘Tokunbo’. In the very interesting piece, Baba Sala is on a visit to his friend (Adisa) in the US. He is supposed to be on holiday but he ends up messing up his host’s life as he finds it difficult to adapt to the western culture – foregrounding the way an Oshuofia does in ‘Oshuofia in London’ or AY in his ’30 Days’ abroad series.
On another night, Yemi Elebuibon would entertain viewers with ‘Ifa Olokun’, a series that dramatised the life and times of Orunmila the Ifa deity and god of wisdom. Lere Paimo, alias Eda Onile Ola, also had his day, with Dento (Ahmed Oduola, also deceased) and other members of his (Eda’s) group. So also was the Jesters International, comprising the terrible trio of Jacob (late), Papalolo and Aderupoko. The drama offerings that ruled the waves then, also including ‘Village Headmaster’ and latter-day Jimoh Aliu’s crack epics such as ‘ Arelu’ and ‘Yanponyanrin’, gave gripping treats that made the TV experience worth the while for the old and the young. Only too few people had TV sets then, making the homes of those who had a daily pilgrimage or cinema of sort. Yet, everyone enjoyed the TV theatre.
That was the era Alabi Yellow acted his way into limelight. As a member of the Oyin Adejobi Theatre Group, he, along with natural dramatists such as Kareem Adepoju (Baba Wande), Grace Oyin Adejobi (Iya Osogbo) and John Adewole (Tafa Oloyede), played prominent roles in ‘Kootu Asipa’, Adejobi’s crime-and-court series that served edutainment with relish. Then, like their other contemporaries such as Ishola Ogunsola (Isho Pepper) and Funmilayo Ranco (both late), they took plays round schools. It was through this that many students got to meet them as there were limited red-carpet avenues and social media that served the same purpose nowadays.
One of the plays that, however, sold Alabi Yellow out as a super actor, in this writer’s estimation, is ‘Akobi Oloogbe’, where he played the greedy hero who reaped too bountifully where he did not sow. In Akobi Oloogbe (First Born of the Deceased), an influential man, with an impressive volume of wealth, dies. His first son is not in town. Only God knows how Alabi Yellow gets to know. He then disguises as the heir and inflicts himself on the mourning family.
He reels out draconian rules in terms of how the property will be shared – if at all he is prepared to share anything with anyone. But since nothing lasts forever, it is at the climax of the robbery he is out to perpetuate that the real heir returns, thus putting the rampaging goon to shame and judgement.
Based on the way Alabi Yellow interpreted that role, it is safe to give him the appellate of a born actor. He grew larger than his slender frame and proved that you need not have a wrestler’s physique to play an oppressor in a play or film.
That was Alabi Yellow, whom many would remember for the other roles he played in other works. It is a pity that he too has gone, gone like other great talents such as Isho Pepper, Jacob, Baba Mero, Dagunro, Oyin Adejobi, Larinde Akinleye, Laide Adewale, Toun Oni, , Moladun, Arakangudu, Bukky Ajayi and others.
When he got sick some months ago, stakeholders had thought healing had permanently come when evangelist and philanthropist, Ester Ajayi, gave him a financial lifeline. Unfortunately, death has proved too stubborn, sending another great actor into the ancestral troupe. All his colleagues could do now is pay tributes to him – and they, including younger ones such as Saidi Balogun and Kunle Afolayan, have started doing so. For Afolayan, a son of one of the prime rulers of the screen in the good old era (Adeyemi Afolayan), had actually given Alabi Yellow an enduring and symbolic tribute when he featured him (the deceased) in his latest film, ‘Mokaliki’. Afolayan feels fulfilled he did so before the man departed.
