Follow Us on Google
By Henry Akubuiro
Realising a play on stage is a plawwright’s greatest joy. It breathes life into his imagination and adds layers of meaning to the original script. As actions unfold on stage, it creates an immersive experience for the audience, while the messages sink in.
From a revered stool of royalty not often associated with the creative enterprise but leadership, Chidubem Iweka, the Eze Iweka III of Obosi Kingdom, has emerged as a formidable, contemporary Nigerian literary voice, creating masterpieces that have captured the imagination of the literati. A novelist, playwright and poet, his most popular works include So Bright a Darkness, The Ancient Curse, and August Inmates.
August Inmates, (Krafbooks, 2015) was greeted with hurrahs shortly after it was published. Three years later, it made the longlist for the Nigeria Prize for Literature, Nigeria’s highest literary award. At the core of its thematic preoccupation is power politics, corruption, and the dispensation of justice.
The plot tees of with the hounding of political heavyweights by a new military junta, from ministers, big police officers, and business moguls, alongside an upright journalist and a bandit. This cotorie is detained in connection with the misuse of power while in office and enriching themselves, to the detriment of common good.
The playwright allows the embattled characters to discuss among themselves, revealing what they did that triggered their present predicament, loss of freedom and power. Despite being in captivity, the greedy politicians show little sign of guilt and turning a new leaf. Rather, they are contemplating how to bribe their way out of incarceration and deal with those behind their ordeal.
Iweka’s play has been staged a number of times, but the most significant recent performances were done by theatre arts departments in two respected Nigerian universities – the University of Nigeria, Nsukka, and the University of Port Harcourt. These performances, held in 2023 and in 2026, were the initiatives of the students themselves. This, no doubt, has betockened the stageability and adaptability of the play. Lest we forget, not every play can be staged. Some are cumbersome to be realised on stage while others simply lack the ingredients required to execute a theatrical production.
The 2023 performance at the Arts Theatre, University of Nigeria, Nsukka, held on February 10 and 11, was a project by Adeola Aina, then a master’s student in the institution, now an independent director and filmmaker. In the performance, the role of Okoli was played interchangeably by Simon Ugwu and
Victor Emenike, while Adebayo was played by Dozie Arinze and Kelechi Nwajei.
Other characters were acted by the following thespians – Alhaji Gambo by Thaddeus Okoronkwo, Arcnie Kane by Chinedu Eziuku, Ojemba Ntubati by Emmanuel Odunwankpa, Obi Okoli by Jude. N. Thaddeus, and Guards by Ideke Ugwuoke and Sunday Agbo. Tochukwu Oguayor acted as Captain; Oyinye Emezue as Major.
Kelechi Nwajei and Simon Ugwu as Steward, and Wendy Ugwuanyi as Lady. Spoken word roles were taken up by Jude. N. Thaddeus and Chika Ugorji, while Chineme Okeke served as the Voice.
Adeola Aina served as Director, Richard Umezinwa as Technical Director, Oyindamola Adesunloye as Production Manager, and Ifeoma Anyadike as Stage Manager. The costume was handled by Chidera Obasi and Amazing Grace Okonkwo, makeup by Justice Ibeh, Property handled by Kosisochukwu Mbanu. The production crew also included John Nwachukwu, and Oyindamola Adesunloye was in charge of Ensemble/sound, and Judith Ezeoke in charge of House and Business. Publicity/design was handled by Paulinus Onwumere and
Divine Obioma, while the Cinematographer was Exquisite Visuals and Bishop Images. The set designer included Emmanuel Ogbonna and Chijioke Ugwuoke. Freshman Tamarauketemene handled lighting design and Gift Asibita the Box Office.
The director noted, “The production showcases the beautiful heritage of our country, Nigeria, and its richness in the opening glee. There is a swift turn of events as the celebration is de-emphasised following a coup d’état to illuminate topical issues like corruption, misuse of power, black on black apartheid, and police brutality.”
The director used eclecticism as a directorial approach in the performance. Through the ensemble of spoken words, music, and projected videos, the directorial concept elicited critical thinking in the minds of the audience, a hunger and action for change, presenting a futuristic Nigeria, by taking advantage of the topical issues in the nation and infusing it into the play.
Recalling how she took to the play, Aina said: “Being overwhelmed by #Endsars# and l#Lekki Memorial protest#happenings, I picked up this play to read, and it immediately filled my soul. In my mind’s eye, these wicked politicians can be dealt with. This play speaks to the universe. There was no better time than speaking for the right thing. There was no better time than showing the world this beautiful piece. There was no better time than dreaming and acting for a better country. There was no better time for social ‘Artivism’ than NOW! We played with words, music, dance, action, and we knotted them into a beautiful ensemble.”
Recently, it was the turn of the students of the University of Port Harcourt to interpret Iweka’s August Inmates on stage. The character of Chief VIP Okoli was acted by by Ikechukwu Uchechukwu, Obi Akoli by Okoro Miriam Joseph,
Alhaji Gambo by John Cletus Adebayo and Tamuno-Oribim Oruobu, Ojemba Ntubari by Osinachi Samson Ugochukwu, Archie Kane by Chijioke Melody Obiebere, Steward by Okoji Joy Adaeze, Lady by Alexander lydia Chidimma, and Major acted by Opubo Daminabo.
The drama was directed by Julieth Aniefiok and supervised by Alaibi Nnana Joseph, both of the theatre arts department. The central directorial concept of the production, said the director, “is to communicate to the audience that corruption may appear attractive and rewarding at first, but there will always come a time when corrupt individuals are forced to face the consequences of their actions, especially when responsible and disciplined leadership emerges.
“The production, thus, seeks to reflect the realities of society, where individuals in positions of authority often abuse power for personal gain, believing that their actions will never be questioned. However, history and social experience have repeatedly shown that corruption eventually leads to exposure, accountability, and punishment.”
Also, “The play serves as a moral and social commentary, reminding the audience that unethical behavior may seem profitable in the short term but carries long-term consequences. By highlighting the downfall of corrupt individuals, the production encourages viewers to reflect on the importance of integrity, transparency, and responsible leadership in society.”
In the directorial approach, the director adopted the representational approach to theatre production, focusing on the portrayal of life as realistically as possible on stage so that the audience can easily recognise familiar situations and behaviors from everyday life.
“In this approach, actors do not merely perform exaggerated theatrical actions; instead, they behave naturally and convincingly, as real people would in similar situations. The goal is to make the audience feel as though they are watching real events unfold rather than simply observing a staged performance,” said the director.
Each performer was encouraged to develop believable character traits, gestures, speech patterns, and reactions that mirror real-life personalities. Through this process, the characters became more authentic and relatable, enabling the audience to connect emotionally with the story.
The stage setting, costumes, props, and lighting were also designed to support the representational style. Everyday environments and realistic stage arrangements were used to recreate the atmosphere of real social and political spaces. This helped reinforce the idea that the events in the play could occur in any society where corruption and abuse of power exist.
Additionally, dialogue delivery was kept natural and conversational to enhance realism. Actors were directed to avoid artificial movements or exaggerated expressions, instead focusing on believable interactions that reflect genuine human behaviour.
By adopting the representational approach, the director ensured that the performance mirrored real-life activities on stage, making the story more engaging, convincing, and meaningful to the audience. This method succeeded in strengthening the overall message of the production by allowing viewers to see their own society reflected in the characters and events presented during the performance.
In this mind-blowing performance, there was a deliberate emphasis on emotional realism while symbolic undertones were maintained. Blocking was used effectively to show power dynamics, for characters in authority often occupy elevated or central positions, while others are pushed to the margins, visually reinforcing their status.
The pacing of the play was another strength of this production. Moments of high tension were balanced with reflective pauses, allowing the audience to absorb the gravity of the narrative. The director also ensured that each character’s arc was clear, making the ensemble feel cohesive rather than fragmented.
The cast delivered compelling performances, each actor bringing depth and individuality to their roles. In fact. Chief VIP Okoli (Ikechukwu Uchechukwu – Mc Dash) commanded the stage with authority, portraying a character that was both powerful and morally ambiguous. His performance anchored the narrative.
Obi Akoli (Okoro Miriam Joseph) provided emotional balance, embodying vulnerability and strength in equal measure, while Alhaji Gambo (John Cletus) added complexity with a nuanced portrayal that blended charisma with underlying tension.
Besides, Adebayo (Tamuno-Oribim Oruobu) and Ojemba Ntubari (Osinachi Samson Ugochukwu) contributed significantly to the thematic development, representing different responses to systemic pressure.Archie Kane (Chijioke Melody Obiebere) introduced unpredictability, keeping the audience on edge. Supporting roles, like Steward (Okoji Joy Adaeze), Lady (Alexander Lydia Chidimma), and Major (Opubo Daminabo), enriched the narrative, ensuring no moment felt empty or unnecessary.
The ensemble work deserves commendations. Interactions felt organic, and the chemistry among cast members strengthened the believability of the story. The set design played a crucial role in establishing both location and mood. It reflects a confined environment —suggestive of a detention space or controlled setting —while remaining flexible enough to accommodate shifts in scene and tone.
Minimalistic yet symbolic, the set avoided clutter, allowing actors to dominate the space. Strategic use of levels and barriers enhanced the sense of restriction and hierarchy. The environment felt lived-in, reinforcing the realism of the narratives. Costuming was actively used to define character identity, social status, and cultural context. Traditional and contemporary elements were blended to reflect the play’s setting and themes. Also, the interplay of light and shadow reinforced the themes of secrecy, control, and internal conflict. It also helped guide the audience’s attention, ensuring that key moments were not missed.
August Inmates stands out as a thought-provoking and well-executed stage production. Through strong writing, intentional direction, and a committed cast, the play successfully brought its themes to life. The integration of costume, lighting, and set design not only established the play’s locale and time but also deepened its emotional and symbolic impact. This production challenged its audience to think critically about power, freedom, and the structures that shape human experience.
Needless to say, in 2023, Iweka’s unpublished fiction manuscript was longlisted for the James Currey Prize for Literature out of 80 submissions from across the African continent. The Ancient Curse won the ANA/Ken Saro-wiwa Prize for Prose in 2008. His latest, 12-year work, a 400-page African history book, entitled Oakland…Many Miles…, is due to be published by the mid 2026. The author was the Chairman and Co-editor of Olobo Press, publishers of Nigerian Mirror Newspapers for many years.
