Will Atiomo - Once Upon a Time in Sokoto Interview

“There are powers that bind the world together, softer than spirits yet stronger than stone, that tie the river to the tree, the tree to rain clouds, rain clouds to the land, and people to each other.”

Set against the historical backdrop of events that forged modern Nigeria, Inua Ellams’ Alfred Fagon Award-winning play, Once Upon a Time in Sokoto, tells an epic, sweeping story of an unlikely friendship between an enslaved woman and her former master. Produced by Fuel in association with Touring Together, this gripping family drama explores how shared humanity, faith, and culture can bridge deep divides in the face of common enemies.

Adeola Yemitan and Will Atiomo in Once Upon a Time in Sokoto. Photo by Tristram Kenton.

We spoke with actor Will Atiomo, who steps into the role of Yusef in this powerful new production. 

What drew you to Once Upon a Time in Sokoto and the role of Yusef? 
It was unlike anything I’d ever read before. Inua has constructed a play that is completely epic in scope, yet intensely intimate and moving. In addition to that it was an opportunity to tell a period of Nigerian history that I wasn’t familiar with. It’s been a real privilege to be a part of. 

Yusef is described as a character who sees and understands the incoming threats advancing from the south and tries to make others realize the danger. How did you approach embodying his urgency, perspective, and sense of responsibility in the play?
We worked a lot in the rehearsal room on trying to understand where his fear comes from; what he might have seen down south that makes him desperate to prevent the same thing happening to his home. A lot of that came from discussions around British military rule, but also understanding his role as a translator and the unique level of trust he would have been granted by colonial forces.

In addition to playing Yusef, your role in this production involves narration duties and taking on multiple other characters across genders. How do you manage the quick transitions between these distinct roles and narrative voices on stage? 
It’s a challenge! At first it was difficult trying to distinguish all of the various characters, but Roy creates such an open environment where you feel free to experiment and find different things. As well as that Inua's writing is very instructive - eventually your body is able to settle into the tone of what each narrative beat is.

The play highlights forces "softer than spirits yet stronger than stone" that connect people, nature, and the land. How do these themes shape the way you portray Yusef's relationships with other characters amidst differences in faith and heritage?
The play speaks to how, despite the characters supposed differences, they are bound by a collective sense of duty. A need to confront an existential force that threatens their land and very lives. Yusufu is insistent on ensuring that this objective remains clear to those around him, and overwhelms any internal squabbling they may have.

Inua Ellams is renowned for his poetic and evocative language. What was it like engaging with his script, and how does his poetic rhythm influence your vocal and physical delivery as Yusef?
Inua is a masterful writer and we were fortunate to have him in the room for a lot of the rehearsal process. We were really encouraged to lean into the language, and discover what our own personal connection to it was. For Yusufu, Inua created a sense of deep urgency in his speech alongside a sort of poeticism, which I tried my best to capture.

How did director Roy Alexander Weise guide the cast in bringing this historical period drama to life while maintaining its relevance for modern UK audiences? 
Roy was brilliant in immersing us in Hausa culture. We spoke at length about everything from historical context and environment to dialect and physicality. In terms of maintaining its relevance, they say the universal comes from the specific; the deeper we went into exploring the culture, the more we discovered how certain events resonated with us today.

Will Atiomo, Adeola Yemitan and Antonia Layiwola in Once Upon a Time in Sokoto. Photo by Tristram Kenton

The production relies heavily on the core cast working closely together to build this world. What has the collaborative process been like working alongside fellow cast members Adeola Yemitan, Antonia Layiwola, and Bayo Gbadamosi? 
It’s been fantastic. Every cast member is so deeply talented and generous, with each of us learning and feeding off what we all bring. Over the past few months we’ve formed a real bond and supported each other both on and off stage.

Once Upon a Time in Sokoto is set against the backdrop of events leading to the creation of Nigeria. How much historical research did you do prior to rehearsals, and how did understanding that era inform your performance? 
It was really important to ground ourselves in the events taking place at the time. 

Being of Yoruba and Esan heritage myself, I had a decent grasp of Nigeria’s  southern history, however was not familiar with events taking place in the North. It was useful for me to understand how these different timelines connected, and how the play’s history intersected with my own. 

As a production bringing a rich historical story to venues across the UK via Touring Together and Fuel, why do you feel it is crucial for contemporary audiences to see stories like this on stage? 
While set over a century ago, the events of the play remain deeply relevant to understanding how we as a society operate today. The Touring together initiative has ensured that history isn’t reserved for London audiences, as can often be the case. Performing this show across the UK means that audiences, particularly Nigerian audiences, can better understand themselves and their context in the world.

What do you hope audiences take away from Yusef's journey and the broader narrative of friendship, resilience, and unity in Once Upon a Time in Sokoto?
I hope audiences leave feeling enlightened and empowered. This play speaks to the importance of looking beyond our differences and fighting for a common good. 

Hopefully audiences leave feeling inspired and curious as to how they can manifest this in their own lives.

Once Upon a Time in Sokoto tours;

Nottingham Playhouse  29 – 31 October 2026 
Warwick Arts Centre  5-7 November 2026
Leeds Playhouse   11 -14 November 2026
Brighton Dome  17 – 21 November 2026
Bristol Old Vic  2-13 February 2027
Theatre by the Lake, Keswick 24 – 27 March 2027 – tickets on sale 3 November
Lyric Hammersmith, London 13 April – 8 May 2027

Will Atiomo and Antonia Layiwola in Once Upon a Time in Sokoto. Photo by Tristram Kenton