Fela who? On Broadway?

Those are basic questions that “Fela!” faces when it opens on Monday. The show has moved from a widely praised Off Broadway production, last year at 37 Arts, to the larger and more mainstream realm of the Broadway musical — from 299 seats to 1,050. Amid theaters filled with more recognizable fare — movie adaptations, revivals, jukebox musicals — “Fela!” seems downright quixotic. Although the music that Fela invented, Afrobeat, and the central events of “Fela!” are familiar to Africans, in the United States Fela (as Kuti is usually called) is largely unknown except by African-music devotees and fans of political music.

“We have an uphill battle,” said Stephen Hendel, the producer who started the project, “because we don’t have a recognized star, and Fela is an international artist and musician who’s outside the mainstream of American culture.”

The goal “Fela!” has set for itself is to be true to his music and his impact while reaching a Broadway musical audience. It is, inevitably, a translation, but one governed more by respect and ambition than by show-business routine. “Fela!” juggles the conflicting demands of Mr. Jones’s own artistic leanings — in a celebrated career that has often pondered history, race and sexuality — and the commercial imperatives of Broadway, where theatergoers’ idea of African music might begin and end with “The Lion King.”

There’s also the legacy of Fela himself, well documented in recordings and films from the 1970s until his death in 1997, that is cherished by fans for whom he was already a musical and cultural hero. “There are people who, when they heard we were going to make a musical about him, were very upset,” Mr. Jones recalled. “Because Fela’s underground, and Broadway’s mainstream.”

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