Bandele's play is an adaptation of the novel by Aphra Behn. It is faithful to the plot of the original, emphasising the 'African' events, which form the essential core of the play, and the slave trade in particular. Part one: Africa. In Act One, young prince Oroonoko proves his worth as a warrior and leader. Act Two depicts the plots afoot in the court of Coromantien where a senile and impotent king pursues his dreams of physical seduction, encouraged by a cunning and deceitful adviser. This adviser is the king's middle man in the slave trade and makes his fortune selling prisoners of war to an English slave trader. In Act Three, Imoinda mutilates the sovereign to death. Part Two: Surinam. In Act One, Oroonoko is sold to the Governor's representative. He proves his loyalty by helping the planters to defend themselves against the Amerindians. He is reunited with Imoinda and swears to love and be faithful to her. Act Two is devoted to the slaves' revolt led by Oroonoko. Act Three follows the death of the two heroes.

Written in an almost Elizabethan style where history, comedy, buffoonery and tragedy mingle together, the play is an excellent adaptation of a story told in 1688 by Aphra Behn (1640-1689). The story is based on real events that took place in Africa and in Surinam towards the end of the decade 1650-59. ìOroonoko or the Royal Slave, a True Historyî is a striking read, due to its realism, passion and topicality. It is a veiled denunciation, well ahead of its time, of slavery and racism. Within this context, Aphra Behn presents characters from three backgrounds: Africa, Europe, and America. Oroonoko, a young warrior, sells his prisoners to an English slave trader who betrays his trust and seizes the young prince and his retinue, and sells them along with the slaves. All of these aspects were incorporated by the Yoruba Nigerian writer Biyi Bandele, in his adaptation of the story performed at The Other Place in Stratford, on 28 April 1999, with a musical and choreographic accompaniment (percussion, tomtoms and African song, Yoruba and other). The play deals with seventeenth century events, but remains poignant today due to its topicality and the way it awakens echoes in our consciences. Without referring to more or less recent West Indian and African writing, this story and the African and European characters brought to life in it, make a passionate example of a conflict which has not yet been entirely exorcised from both black and white mentalities. Biyi Bandele gives a spirited pace to short scenes subtly presenting the psychology of colonisers and colonised. He acknowledges Aphra Behn's lack of racial prejudice. As early as 1688, she showed that civilization and all its flaws, was not exclusive to Europeans.