Review of Eziwho Azunwo's Play, "Asuwebi"

Title: Asuwebi 

Genre: Drama 

Author: Eziwho Emenike Azunwo 

Year of Publication: 2025 

Publisher: Covenant Daystar Publishers, Port Harcourt. Nigeria 

Pagination: (Number of pages) 61 pages 

Reviewer: Ikenna-Obi Nneka Chigozie 

Institution: Rivers State University, Port Harcourt, Department of Theatre and Film Studies 

Abstract  

This study explores Eziwho Emenike Azunwo’s Aswuebi: A Play (2025) as both a satirical and feminist intervention in contemporary Nigerian drama, exposing the entanglement of bureaucracy and patriarchy. At its core, the play stages a workplace conflict where female employees are forced to comply with an oppressive dress code banning braids, false eyelashes, and makeup, with resignation as the penalty for disobedience. This institutional assault on women’s autonomy finds a parallel in the domestic sphere, where Mrs. Rita Ogele must contend with the controlling behaviour of her husband, Dr. Ogele. Together, these narratives highlight the double oppression Nigerian women endure in professional and private life. Through satire, humour, and symbolic elements such as the chorus of drummers, Azunwo critiques the trivial priorities of governance and the pervasive weight of patriarchy while simultaneously affirming women’s resilience and solidarity. By analyzing the play’s structure, characters, and central themes, this paper situates Aswuebi within the broader tradition of Nigerian feminist and satirical theatre, as exemplified by writers like Soyinka, Rotimi, and Onwueme. Ultimately, the paper argues that Aswuebi dramatizes survival as a paradox—where women preserve themselves through laughter and compliance, but at the cost of their agency and dignity. 

Keywords: satire, feminism, bureaucracy, patriarchy, Nigerian theatre 

Synopsis  

Nigerian theatre has long served as a dynamic cultural and political platform for questioning social realities, uncovering contradictions, and dramatizing the daily struggles of ordinary people. From Wole Soyinka’s biting satires, which expose the excesses of political elites, to Ola Rotimi’s populist dramaturgy and Tess Onwueme’s feminist interventions, playwrights in Nigeria have consistently used the stage as a mirror of society. Within this tradition, satire holds a central place. As Adeoti (2010) notes, satire in Nigerian drama functions not merely as entertainment but as a “critical weapon for exposing the absurdities of power and governance” (p. 88). 

The portrayal of women in Nigerian theatre has equally undergone a significant transformation. Earlier dramatic works often relegated women to domestic or passive roles, reinforcing male- centred narratives. With the emergence of feminist voices such as Tess Onwueme and Zulu Sofola, however, the stage became a site for expressing women’s agency, struggles, and resistance. Nwahunanya (2011) underscores this shift, observing that “the Nigerian stage has increasingly become a site for mapping the intersections of patriarchy, culture, and institutional violence against women” (p. 65). It is within this evolving feminist consciousness that Eziwho Emenike Azunwo’s Aswuebi: A Play (2025) must be located. Set in a bustling government ministry, Aswuebi dramatizes a conflict arising from a new dress code that forbids female employees from wearing braids, false eyelashes, nails, or any form of “improper dressing,” with resignation as the alternative to compliance. While appearing trivial on the surface, the law becomes a metaphor for broader issues of power, identity, gender, and survival. Parallel to this workplace struggle, the domestic subplot portrays Mrs. Rita Ogele’s troubled marriage to Dr. Ogele, a domineering husband who ridicules her appearance and leverages the policy to exert financial control. In this way, the play highlights the double burden placed upon Nigerian women subjugated both by state institutions and patriarchal authority within the home. 

Azunwo’s satire emerges through exaggerated characters, humorous banter, and ironic resolutions. The women’s enforced conformity to the dress code results in comically modest appearances, likened to “Christian mothers” and “Mummy G.O.” (Azunwo, 2025, p. 55). These images provoke laughter but also underscore the absurdity of bureaucratic interference in personal identity. The irony deepens when compliance with the oppressive policy is rewarded with promotions, a conclusion that exposes the contradictions of Nigerian governance, where loyalty and obedience outweigh individuality and justice. 

Stylistically, Azunwo blends humour, satire, and symbolism to critique the triviality of certain governmental priorities. The presence of The Drummers as a chorus is particularly significant. In his Author’s Note, Azunwo (2025) explains: “They embody rhythm, tradition, and continuity, reminding us that women, like the drumbeat, have always been central to the survival of the community” (p. 6). This device connects the struggles of the women in the play with broader historical narratives of endurance, resilience, and collective memory in African societies. 

Thematically, Aswuebi interrogates four central issues: (1) the persistence of patriarchy in both public and domestic domains; (2) the politics of female identity and self-expression; (3) the paradox of obedience versus resistance within bureaucratic systems; and (4) solidarity, humour, and laughter as women’s survival strategies. By exploring these, Azunwo situates Aswuebi within the growing body of feminist Nigerian drama that challenges entrenched gender inequalities. 

This paper therefore examines Aswuebi: A Play as a feminist satire of patriarchy and bureaucracy in Nigeria. It addresses two key questions: (1) How does Azunwo employ satire to critique bureaucratic absurdities and gender control? and (2) In what ways does the play dramatize female resilience, solidarity, and survival under oppression? To answer these questions, the paper undertakes a detailed plot analysis, investigates characterization, and interrogates thematic concerns, situating Aswuebi within the broader tradition of Nigerian satirical and feminist drama. 

Author’s Bio 

Dr. Eziwho Emenike Azunwo 

Playwright | Scholar | Educator | Academic Leader 

Dr. Eziwho Emenike Azunwo, fondly known as Academic Rabbi, is a distinguished Nigerian playwright, accomplished scholar, and seasoned educator, currently serving a third tenure as the Acting Head of the Department of Theatre and Film Studies at Rivers State University, Port Harcourt, Nigeria. Renowned for his intellectual rigour, creative excellence, and transformative leadership, 

Dr. Azunwo has made outstanding contributions to the fields of drama, theatre, film studies, and applied research within Nigeria and internationally. He is a product of State School One Ndele, St. Andrews State One, Diobu and Baptist High School, Borikiri, where he served as Deputy Senior Prefect. He earned a Doctor of Philosophy (PhD) in Applied Theatre from Nnamdi Azikiwe University, Awka, preceded by a Master’s degree in Playwriting and a Bachelor of Arts in Theatre Arts from the University of Port Harcourt. His research interests span playwriting, gender studies, dramatic theory and criticism, and contemporary African drama. 

Dr. Azunwo has authored over 103 original plays, including Gbuji, The Last Don, Stained, The Same Jesus, 1978, Suffering in Paradise, Ele Gbaka, Oroma Hotels, Concealment, Azimelo Gbene, and Shan Inna, among others—many of which have received critical acclaim for their cultural relevance, spiritual insight, and innovative storytelling. He has published over 50 scholarly articles in reputable international journals, including a widely recognized piece on women empowerment and domestic violence in Nigerian video films, listed among the top 700 global scholarly articles of 2018 by Fan Studies et Culture Populaire in France. 

A prolific academic and institution builder, Dr. Azunwo founded both the RSU Journal of Theatre and Film Studies and the Elegbakna Journal of Theatre and Film Studies, pioneering new spaces for Nigerian scholarly expression. He spearheaded the groundbreaking Sekiology Conference, recognized as the largest Theatre and Film Studies conference in Nigeria’s history, and led hybrid playwriting workshops that have empowered students and professionals across the nation. 

In his current administrative capacity, Dr. Azunwo has led sweeping reforms in the department, including acquisition of essential academic tools, the establishment of a department website, and the mentorship of students to First Class distinction. He played a central role in graduating the department’s first postgraduate students, producing widely celebrated productions such as Yester-Gone, Stained, and The Last Don. 

 Dr Azunwo is the Editor-in-Chief RSU Journal of Theatre and Film Studies and Elegbakna Journal of Theatre and Film Studies. 

Dr. Azunwo is a devout Christian who integrates his faith with his vocation, using theatre as a medium for spiritual and societal transformation. He is deeply involved in community service and has served in various university committees, including roles such as SERVICOM Officer, University-Wide Examination Committee Member, and Coordinator for Community Service at multiple institutions. His early service included roles with Shell Petroleum Development Company as a student mentor and Youth Corps Liaison Officer in Kebbi State, where he also initiated state-level academic and tourism projects. 

He holds memberships in professional bodies including the Society of Nigeria Theatre Artistes (SONTA), National Association of Nigerian Theatre Arts Practitioners (NANTAP), Association of Nigerian Authors (ANA), and Academic Staff Union of Universities (ASUU). He is also a proud alumnus of CRABITES Alumni Association and a member of Boys Brigade Nigeria. 

His recognitions are: 

NLNG University Scholarship Award (2002–2006) 

Best Philosophy Student, University of Port Harcourt (2002) 

Most Vibrant Scholar Award, Department of Theatre Arts, UniPort (2005/2006) 

Award of Recognition for Contributions to Departmental Sustainability by Port Harcourt Comedy Club (2023) 

Commendation Letter from the Management of Rivers State University (2024) 

Recipient of Society of Nigeria Theatre Artists (SONTA) Lifetime Achievement Award 2025. 

Dr. Azunwo's legacy is defined by excellence, mentorship, innovation, and a relentless commitment to advancing Nigerian theatre and scholarship (E.E. Azunwo, Personal Communication, September 20, 2025). 

Plot Analysis Scene One 

The play opens in Honourable Edom’s office, establishing the central power dynamics that shape the drama. Mrs. Rita Ogele enters to deliver official files, beginning with polite small talk. Very quickly, the tone shifts when Edom suddenly asks: “How much does it take to look this beautiful?” (Azunwo, 2025, p. 11). The question, inappropriate in a professional setting, foreshadows the central conflict of appearance and authority. 

Rita responds cautiously, attempting to redirect the conversation: “I only came here to do my job” (p. 12). Her insistence underscores the play’s early tension between professionalism and patriarchal entitlement. Yet, Edom presses on, masking impropriety as curiosity: “Curiosity can lead a man anywhere” (p. 12). 

The exchange builds unease until Edom announces he wants all female staff summoned: “Please tell the female staff I wish to see all of them in two days” (p. 15). His closing aside to the audience lays bare his satirical role: “Women… Once beauty becomes their pride, little tricks are mistaken for desire. Let’s see where this leads” (p. 16). 

Scene One establishes the play’s dual strategy: comedy laced with menace. By trivializing female beauty while simultaneously policing it, Edom’s words set up the absurdity of the law to follow. As Adeoti (2010) notes, Nigerian satire thrives on “dramatizing the everyday abuse of authority to reveal systemic contradictions” (p. 92). This first encounter exemplifies that. 

Scene Two  

Scene Two shifts to the communal office of the female staff, where humor dominates the atmosphere. The women banter about men’s infidelity, with Mrs. Agu declaring: “Man wey go cheat… go cheat. Na man nature” (Azunwo, 2025, p. 17). Mrs. Rose defends her husband, while Mrs. Walter interjects cynically: “You dey trust man?” (p. 17). The conversation, filled with laughter, mirrors real workplace chatter while symbolically foreshadowing broader themes of mistrust and survival. 

The tone changes when Rita enters, visibly shaken from her meeting with Edom. She recounts: “Instead of work matter, na admiration start” (p. 21). Mrs. Agu trivializes this, joking: “The man don enter your heart” (p. 23). Rita retorts sharply: “That kain joke dey expensive” (p. 23), exposing how humour both masks and reveals gendered vulnerabilities. 

Rita also informs her colleagues of Edom’s vague “new development” (p. 23). The women speculate perhaps promotion, perhaps policy. Mrs. Agu insists: “With faith, energy go align… Sisters, let’s trust God for miracle” (pp. 24–25). Here, Azunwo satirizes religious optimism in the face of bureaucratic oppression. 

The entrance of a jewellery seller reinforces the irony: the women delight in ornaments and beauty products (pp. 27–28) just as Edom prepares to outlaw them. This dramatic irony sets the audience ahead of the characters, deepening the satirical effect. 

Scene Two foregrounds female solidarity, humour, and irony. As Nwahunanya (2011) argues, “gossip and banter in Nigerian plays often conceal sharp critiques of systemic oppression” (p. 77). The women’s laughter, while comic, foreshadows their looming loss of autonomy. 

Scene Three 

The third scene moves into the domestic space, focusing on Rita’s relationship with her husband, Dr. Ogele. It opens with light-hearted marital banter, Rita addressing him playfully as “My lord… King of the land” (Azunwo, 2025, p. 29). However, the humour soon reveals deep patriarchal undertones. Ogele dismisses her affection as disturbance: “Why can’t you allow me to rest?” (p. 30). 

The banter turns darker when Rita reveals she bought jewellery on credit amounting to 250,000 naira. Ogele reacts sharply: “Wow—two hundred and fifty thousand? … So what’s my role here?” (p. 37). His sarcasm escalates into derision when she asks for support, culminating in his mock-catwalk: “Maybe we’ll switch roles, ok? You be the husband; I’ll be the wife” (p. 38). 

This scene highlights the economic and emotional pressures faced by women. Rita’s desire for beauty, partly to fulfill social expectations as a wife, collides with her husband’s domineering attitude. The comedy is laced with aggression, underscoring the theme of domestic patriarchy. 

Importantly, Scene Three mirrors Scene One. Just as Edom trivializes Rita’s professionalism, Ogele trivializes her domestic role. Both men reduce her dignity to appearances and finances. This parallel dramatizes the double burden of women, oppressed both at work and at home. 

Scene Four 

The central conflict reaches its height in Scene Four when Edom formally announces the new dress code. He begins with scolding: “None of you working in a government institution like this ever listen to news or read papers?” (Azunwo, 2025, p. 45). His tone shifts to authoritarian when he declares: “Female staff are restricted from keeping long braids, fixing eyelashes, and other practices of improper dressing… effective from next week” (p. 46). 

The women react with shock. Mrs. Agu protests: “But Honourable, why? Why shouldn’t we make ourselves look beautiful and decent?” (p. 46). Edom replies coldly: “You have a choice: go home and continue with those things… or abide by the new law and keep your job” (p. 47). This ultimatum crystallizes the play’s central theme — survival versus dignity. 

Mrs. Agu laments that she had expected a promotion announcement: “Honestly, I was thinking this was a promotion meeting” (p. 47). Edom’s ironic response “Maybe promotion will follow once you all abide by the law… who knows” (p. 47) reveals the absurdity of rewarding obedience to trivial regulations. 

This scene is pivotal: satire exposes how governance can prioritize trivial policies over substantive issues like welfare or justice. As Osofisan (2001) argues, Nigerian satire thrives on highlighting “misplaced governmental priorities as a mirror of political absurdity” (p. 55). Edom embodies this misplaced authority, turning hairstyles into matters of law. 

Scene Five 

Scene Five returns to the domestic space, showing how state policy filters into private life. Rita begins undoing her hair, lamenting the burden of the new rule. Her husband confronts her with anger: “Isn’t this the same hair you made me pay 40k for… the hair you made just five days ago?” (Azunwo, 2025, p. 51). 

Rather than sympathize, Ogele seizes the opportunity for control, demanding repayment: “You are to refund 80% of the 40k I paid… please, don’t provoke me” (p. 51). Rita pleads that the government imposed the rule, but Ogele insists: “That’s not my business… I need that money in my account before 10pm” (p. 54). His threat to involve lawyers “Do you want us to get legal with this? I will have my lawyer serve you my charges” (p. 53) — reveals the extremity of domestic patriarchy. 

This scene dramatizes how institutional oppression exacerbates domestic oppression. Rita is trapped between her employer’s restrictions and her husband’s financial control. Her lament “Honestly, their condition is… if we don’t abide by the new policy, we have to resign… and you know I can’t allow only you to struggle for the family” (p. 53) — captures the impossible choices Nigerian women often face. 

Scene Six  

The final scene combines satire and irony in its resolution. The women arrive at the office in exaggeratedly modest outfits: Rita in a long gown, Mrs. Agu dressed like “Mummy G.O.,” and Mrs. Walter as an “Alhaja” (Azunwo, 2025, pp. 55–58). Their appearance provokes laughter among themselves, but also reflects the humiliating absurdity of compliance. “Government work go humble you!” Mrs. Rose declares (p. 56). 

Despite their resentment, the women have chosen compliance over resignation. Mrs. Agu articulates their rationale: “Me, resigning no be problem… but the shame of begging my husband for small money? I no fit. I’d rather comply and keep my pride” (p. 60). This line captures the paradox of female survival dignity is redefined as the ability to provide for oneself, even at the cost of autonomy. 

Edom enters with satisfaction: “I can see we are all in our numbers, and I want to say thank you for complying with the new law” (p. 60). The irony peaks when he announces promotions: “There is a promotion notice. Congratulations to everyone!” (p. 60). What the women hoped for in Scene Two finally arrives, but only as a reward for submission. 

The play ends with drumming, song, and dance, masking the tragic irony beneath the comic surface. As Adeoti (2010) explains, satire often ends not with resolution but with exposure, “leaving the audience laughing yet disturbed” (p. 94). Scene Six does precisely this, rewarding obedience while reminding us that systemic oppression remains intact. 

Characterization 

Azunwo’s characters in Aswuebi are not mere individuals but embodiments of social types, dramatizing the contradictions of Nigerian society. Their dialogue, actions, and symbolic roles reveal the gendered struggles of survival in both domestic and institutional contexts. 

Mrs. Rita Ogele 

Rita is the protagonist of the play and the moral centre of its conflicts. She embodies the struggles of the modern Nigerian working woman who must navigate both professional and domestic oppression. At work, she is subjected to Edom’s veiled advances and later the humiliating dress code. At home, she is dominated by Dr. Ogele, whose authoritarian demands reduce her to financial dependence. When forced to undo her expensive hair, Rita pleads: “Honestly, their condition is… if we don’t abide by the new policy, we have to resign… and you know I can’t allow only you to struggle for the family” (Azunwo, 2025, p. 53). This line captures her internal conflict: survival for her family necessitates submission to systemic oppression. Rita is not portrayed as heroic resistance but as pragmatic endurance. 

Dr. Ogele  

Rita’s husband is one of the most striking embodiments of patriarchy in the play. He oscillates between comic exaggeration and cruel domination. His sarcasm “Maybe we’ll switch roles, ok? You be the husband; I’ll be the wife” (p. 38) exposes his disdain for his wife’s financial independence. Later, his demand that Rita refund 80% of the money spent on her hair (“You are to refund 80% of the 40k I paid… before 10pm”, p. 54) highlights his authoritarian approach to marriage. Dr. Ogele dramatizes the domestic face of patriarchy, reinforcing the play’s thematic concern with women’s double oppression at work and at home. 

Honourable Edom 

Edom, the government official, represents institutionalized patriarchy. His initial probing question “How much does it take to look this beautiful?” (p. 11) masks impropriety as curiosity. Later, he embodies authoritarian bureaucracy by reducing women’s jobs to compliance with arbitrary laws: “You have a choice: go home and continue with those things… or abide by the new law and keep your job” (p. 47). Edom is both comic and menacing, satirizing governmental obsession with trivial regulations while ignoring substantive issues of welfare and justice. 

Mrs. Agu 

Mrs. Agu, popularly called “Mummy G.O.,” is the comic relief of the play. Her reliance on humour and religion embodies resilience through laughter. She insists: “With faith, energy go align… Sisters, let’s trust God for miracle” (pp. 24–25). Her exaggerated appearance in Scene Six, dressed like a church matriarch, provokes laughter but also exposes the humiliating extremes of compliance (pp. 55–56). Through her, Azunwo highlights humour as a survival strategy. 

Mrs. Rose, Mrs. Praise, and Mrs. Walter 

These characters embody the range of female responses to oppression. Rose and Praise provide witty banter, reflecting the everyday chatter of women in the workplace. Walter initially voices resistance “I don’t think any government policy can stress my life… I go leave the work for una” (p. 49)—but ultimately complies like the others. Their collective laughter and solidarity dramatize the paradox of resistance and conformity in female survival. 

The Drummers 

A unique feature of the play is The Drummers, who serve as a chorus linking tradition, rhythm, and communal commentary. In the Author’s Note, Azunwo (2025) explains: “They embody rhythm, tradition, and continuity, reminding us that women, like the drumbeat, have always been central to the survival of the community” (p. 6). The drummers symbolize resilience and underscore the performative dimension of survival in the play.  

Thematic Concerns 

Patriarchy in Public and Private Spaces 

The play dramatizes patriarchy as a dual oppression: in the workplace through Edom’s authoritarian dress code, and in the home through Dr. Ogele’s domineering financial control. Both men reduce women’s dignity to compliance. Edom insists: “After retirement, you can return to your stylish mode” (p. 47), while Ogele demands money back for undone hair (p. 51). Together, they illustrate the continuum of patriarchal control in Nigerian society. 

Identity and Self-Expression 

Hairstyles, makeup, and dressing are not trivial but central to female identity. Rita’s lament— “But I needed to look good as your wife” (p. 52) underscores beauty as cultural and relational expression. By criminalizing these, the state undermines women’s autonomy. Nwahunanya (2011) notes that Nigerian drama increasingly foregrounds “the struggle of women to assert identity against patriarchal erasure” (p. 65). Aswuebi fits squarely within this trend. 

Female Solidarity and Humour as Resistance 

The women’s laughter in Scene Two and their banter throughout the play exemplify solidarity. Even in humiliation, Mrs. Rose jokes: “Government work go humble you!” (p. 56). As Onwueme (2004) argues, humour in women’s drama often functions as “a subversive strategy, enabling survival within oppressive structures” (p. 27). Laughter becomes both release and resistance. 

Obedience versus Resistance in Bureaucracy 

The ultimatum—resign or comply—forces the women into obedience. Ironically, compliance brings promotion: “There is a promotion notice. Congratulations to everyone!” (p. 60). This paradox satirizes Nigerian bureaucracy where obedience, not merit, is rewarded. Adeoti (2010) describes such satire as “exposing contradictions that are normalized within governance” (p. 94). 

Institutional Absurdity and Satire 

By turning hairstyles into matters of law, the play exposes the absurd priorities of governance. Edom’s regulation satirizes how trivial issues can overshadow real challenges like poverty or corruption. Osofisan (2001) explains that satire thrives by “highlighting misplaced governmental priorities as a mirror of political absurdity” (p. 55). Aswuebi embodies this principle, using comedy to critique systemic dysfunction. 

Conclusion 

Aswuebi: A Play is a powerful addition to the canon of Nigerian satirical and feminist drama. Through its comic exaggerations, sharp dialogue, and symbolic use of drummers, it dramatizes the absurdities of bureaucratic control while exposing the persistent weight of patriarchy. By focusing on the lived realities of women like Mrs. Rita Ogele, Azunwo highlights the double burden of oppression in both workplace and home. 

The play’s resolution, where compliance leads to promotion, leaves audiences laughing yet unsettled, reflecting what Adeoti (2010) identifies as the dual effect of satire “entertainment that unsettles by revealing uncomfortable truths” (p. 94). In this sense, Aswuebi contributes not just to theatre but to broader feminist discourse, challenging institutions and audiences to rethink the politics of female identity and dignity in contemporary Nigeria. 

References 

Adeoti, G. (2010). Nigerian theatre and politics: A critical study. Ibadan: Caltop Publications. Azunwo, E. E. (2025). Aswuebi: A play. Port Harcourt: Covenant Daystar Publishers. 

Kolawole, M. E. M. (1997). Womanism and African consciousness. Trenton, NJ: Africa World Press. 

Onwueme, T. (2004). The relevance of drama as a tool for social change in Nigeria. Journal of Black Studies, 35(1), 18–36. 

Osofisan, F. (2001). Insidious treasons: Drama in a postcolonial state. Ibadan: Opon Ifa Readers.