Review of Eziwho Emenike Azunwo’s The TurnOver

Book Title: The Turn Over 

Author: Eziwho Emenike Azunwo

Genre: Drama / Play 

Reviewer: Adetunji Mary Abosede 

Publisher: Covenant Daystar publisher 

Pagination (number of pages) 85 pages

Year of Publication: 2025

Institution: Rivers state University, Port Harcourt

Department of Theatre and Film studies.

Introduction

Eziwho Emenike Azunwo’s The Turn Over is not merely a dramatic text but a socio-ethical commentary on the condition of widows in traditional African societies, particularly within Nigeria. The play functions as a literary intervention, giving voice to women whose suffering is often rendered invisible by cultural norms and patriarchal structures. Azunwo, who signs as an “Academic Rabbi,” positions the work as both an artistic creation and a moral inquiry, framing it in the preface as “a burden, an ache that refuses silence.” This review will analyze the play’s thematic complexity, character construction, linguistic style, and socio-political relevance, arguing that The Turn Over serves as a powerful narrative of resistance and reclamation.

Contextual Background of The Turn Over

The TurnOver is a contemporary Nigerian play written by Eziwho Emenike Azunwo and published in 2025 by Covenant Daystar Publishers. The play is situated within the socio-cultural realities of Nigerian society, particularly in relation to widowhood, gendered power relations, and the moral contradictions embedded in traditional family structures. Written in dramatic form, the play engages deeply with issues that remain persistently relevant in many African communities, where cultural expectations often collide with human dignity and individual survival.

The playwright situates the narrative within a traditional community setting, a choice that allows for the exploration of indigenous belief systems, communal authority, and patriarchal norms that shape interpersonal relationships. In this environment, widowhood is not merely a personal loss but a social condition that exposes women to vulnerability, exploitation, and moral scrutiny. Through this cultural lens, The Turn Over reflects the lived experiences of many Nigerian widows who must renegotiate identity, autonomy, and survival following the death of a spouse.

The period in which the play emerges is also significant. Contemporary Nigerian society continues to grapple with economic hardship, rising poverty levels, and limited institutional support for vulnerable populations, particularly women. These realities form the socio-economic backdrop against which Ego’s struggles unfold. The pressure of debt, informal trading, and dependency on extended family members reflects the everyday survival mechanisms employed by many women within the informal economy. By grounding the narrative in these familiar experiences, Azunwo ensures that the play resonates with a broad Nigerian audience.

Culturally, the play engages with traditional expectations surrounding family obligation, inheritance, and male authority. The character of Obi, Ego’s late husband’s brother, embodies the traditional male figure who assumes control under the guise of responsibility. His actions reflect a cultural system in which power is often legitimized by kinship, yet exercised without compassion. This contextual framing exposes how cultural traditions, when stripped of ethical accountability, can become tools of domination rather than support.

In contrast to this oppressive structure, The Turn Over also reflects the emergence of communal and institutional interventions aimed at women’s empowerment. The inclusion of women leaders and empowerment programs situates the play within a modern Nigerian context where grassroots initiatives and female solidarity increasingly challenge entrenched patriarchal norms. This shift reflects broader societal efforts toward gender equity and social inclusion, thereby positioning the play at the intersection of tradition and progressive change.

Overall, the contextual background of The Turn Over reveals a dramatic work rooted in Nigerian socio-cultural realities while addressing universal themes of loss, resilience, and moral responsibility. The play emerges not merely as a fictional narrative but as a social commentary that interrogates how cultural systems respond to vulnerability, and whether compassion or exploitation ultimately defines communal life.

Plot Analysis of The Turn Over

The plot of The Turn Over is structured as a linear dramatic progression that traces the emotional, economic, and moral journey of Ego, a young widow navigating life after the death of her husband. Azunwo adopts a cause-and-effect narrative pattern in which each incident logically arises from Ego’s vulnerable position within a patriarchal and economically strained society. The simplicity of the plot structure allows the playwright to focus attention on character interaction, ethical tension, and social critique rather than on complex subplots.

The play opens with a tense and symbolically charged encounter between Ego and her late husband’s brother, Obi. This opening scene establishes the central conflict of the drama: Ego’s dependence on Obi for survival and Obi’s manipulation of that dependence. From the outset, the audience is exposed to Obi’s domineering personality, his use of proverbs to assert authority, and his subtle moral intimidation of Ego. This introductory phase of the plot sets the emotional tone of the play and foregrounds the power imbalance that drives the narrative forward.

As the plot develops, Ego’s struggles intensify through a series of confrontations that expose her precarious existence. Her encounter with Mrs. Agu, the creditor, marks a significant escalation of conflict. Mrs. Agu’s aggressive demand for repayment introduces economic pressure as a dramatic force, highlighting how poverty compounds Ego’s vulnerability. This scene deepens the audience’s understanding of Ego’s desperation and reinforces the theme of social cruelty toward the economically powerless. The plot here functions cumulatively, as each challenge narrows Ego’s options and heightens dramatic tension.

A critical turning point occurs when Obi offers to assist Ego financially but attaches immoral conditions to his support. This moment represents the moral climax of the play’s rising action. The offer forces Ego into an ethical dilemma between survival and self-respect. Rather than presenting the choice through overt violence, Azunwo employs psychological coercion, which makes the conflict more disturbing and realistic. Ego’s refusal to submit to Obi’s demands marks a decisive moment in the plot, signaling her internal resistance even in the face of material deprivation.

The plot shifts direction with the introduction of Nneoma and Mrs. Ruth, whose roles introduce a contrasting narrative force based on empathy, communal responsibility, and female solidarity. Through these characters, the play temporarily moves away from individual suffering toward collective intervention. The women empowerment initiative becomes the narrative mechanism through which hope enters the plot. This intervention is not accidental but carefully prepared through earlier dialogue that emphasizes communal structures and women-led support systems.

The resolution of the plot occurs when Ego’s circumstances are transformed through legitimate empowerment rather than exploitative assistance. Her improved economic status and renewed confidence signify a reversal of fortune that justifies the play’s title, The Turn Over. This resolution is not merely material but symbolic, as Ego regains control over her life and dignity. Obi’s loss of influence over Ego in the final scenes underscores the moral resolution of the play, where power rooted in exploitation is rendered ineffective.

Structurally, the plot avoids excessive melodrama and instead relies on realistic dialogue, everyday situations, and gradual transformation. Azunwo’s use of a straightforward plot allows the social message of the play to remain accessible while maintaining emotional depth. The narrative arc from oppression through resistance to empowerment reflects a deliberate artistic choice aimed at social consciousness rather than mere entertainment.

In summary, the plot of The Turn Over is carefully constructed to mirror real-life struggles faced by widows within patriarchal societies. Through a sequence of interconnected events, the play presents survival not as passive endurance but as an active moral struggle. The plot’s strength lies in its realism, thematic coherence, and its ability to transform personal suffering into a broader commentary on justice, dignity, and social responsibility.

Thematic Exploration

Widowhood and Social Vulnerability

One of the dominant themes in The Turn Over is widowhood and the vulnerability it produces within patriarchal societies. The death of Ego’s husband marks not only an emotional loss but the beginning of social and economic marginalization. Widowhood in the play is portrayed as a condition that strips women of security, autonomy, and social protection. Ego’s struggles reflect how widows are often subjected to suspicion, dependency, and exploitation rather than support.

This theme is powerfully illustrated in Ego’s early interaction with Obi. Her request for help is met not with compassion, but with interrogation and humiliation:

OBI: (Pause and stares at her) Good what?

EGO: (Thinks) I said, good evening....

OBI: (Sits up) Oh... good evening?

EGO: Nna... it’s a greeting...

OBI: (Cuts her short) Are you trying to school or teach me the meaning of expression? (pp. 13-14)

The denial of even basic courtesy underscores her diminished status as a widow. Later, when Ego explains her struggle, Obi’s response reveals how her vulnerability is framed as a personal failing rather than a systemic injustice:

OBI: You chose that for yourself?

EGO: How, Nna!

OBI: Are you not supposed to be my responsibility after my brother’s death? (p. 25)

This exchange exposes the paradox of widowhood: while tradition designates her as his responsibility, that responsibility becomes a tool of control rather than genuine care.

The play critiques cultural attitudes that perceive widows as burdens or objects of control rather than individuals deserving dignity. Ego’s experience reveals that survival as a widow requires constant negotiation with oppressive social forces. Through this theme, Azunwo exposes the emotional and structural violence embedded in societal responses to widowhood.

Patriarchy and Abuse of Power

Patriarchy and the misuse of authority form a central thematic concern in the play. Obi’s character embodies a system in which male authority is culturally legitimized but morally unchecked. His control over Ego is justified through kinship and tradition, yet his actions reveal how power can be weaponized against the vulnerable.

The play illustrates that patriarchy operates not only through physical dominance but also through psychological manipulation and economic coercion. Obi’s conditional assistance demonstrates how authority can transform care into control. By presenting Obi as an “institutional figure” rather than a mere individual antagonist, the play critiques a broader system of male dominance that thrives on inequality.

Obi’s conditional assistance demonstrates how authority can transform care into control. His proposition in Scene One is particularly telling:

OBI: I want to be repaid in kind... (Looks at her and pours the gin down his mouth)

EGO: (Shocked) Nna!

OBI: (Gets up) I had a long day... if you want the money urgently, meet me inside... or if you need a little time to reconsider my offer... go home and think it through... (Pause) if you make this satisfying, I can invest more in the business... (p. 27)

Poverty and Economic Survival

Economic hardship is a recurring theme that shapes the choices and conflicts within the play. Ego’s informal trading, debt to Mrs. Agu, and daily struggle to provide for her children highlight the precarious nature of survival for economically marginalized women. Poverty in The Turn Over is portrayed as both a material condition and a social force that erodes dignity and increases vulnerability.

The play reveals how financial desperation narrows moral choices, forcing individuals into compromising situations. However, Azunwo avoids romanticizing poverty; instead, he presents it as a systemic failure that demands collective intervention rather than individual endurance.

Exploitation and Compassion

A key moral theme in the play is the contrast between exploitation and compassion. Obi’s assistance represents exploitative support that demands submission in exchange for survival. In contrast, Nneoma and Mrs. Ruth offer compassionate intervention rooted in empathy and empowerment.

This thematic opposition underscores the play’s ethical message: true assistance must preserve dignity and autonomy. The play condemns aid that humiliates or dehumanizes, while celebrating support systems that enable self-reliance and growth. Through this contrast, The Turn Over advocates for a humane approach to social responsibility.

Solidarity and Empowerment

The theme of female solidarity is powerfully articulated through the roles of Nneoma and Mrs. Ruth. Their collective effort to empower widows and indigent women reflects a progressive vision of community-based intervention. Rather than portraying women as rivals for limited resources, the play emphasizes cooperation, mentorship, and shared resilience.

Female empowerment in the play is not depicted as antagonistic to men but as a corrective response to systemic neglect. By enabling Ego to rebuild her life through legitimate means, the play affirms the transformative potential of women-led initiatives.

Moral Integrity and Personal Dignity

Moral integrity emerges as a defining theme through Ego’s refusal to compromise her self-worth despite severe hardship. Her resistance to Obi’s immoral demands illustrates the belief that dignity should not be sacrificed for survival. The play suggests that moral strength, though costly in the short term, ultimately leads to redemption and transformation.

This theme reinforces the idea that personal integrity is a form of resistance against oppressive systems. Ego’s eventual success validates the ethical stance she maintains throughout the play.

Transformation and Hope

Finally, transformation and hope serve as the thematic resolution of The Turn Over. The title itself symbolizes a reversal of fortune and a shift from suffering to renewal. Ego’s journey demonstrates that change is possible when resilience is met with opportunity and compassion.

The play closes on an optimistic note, not by denying hardship but by affirming the possibility of social and personal renewal. This hopeful conclusion aligns with the play’s broader moral vision that justice, though delayed, remains attainable.

Character Analysis

Ego is constructed as both an individual and a collective voice. She embodies the quiet resilience of countless widows, yet her psychological depth prevents her from becoming a mere symbol. Her moments of vulnerability such as breaking down before Mrs. Agu are balanced with defiant agency, as seen when she pushes Obi away and later returns his money. This duality makes her a compelling study in dignified resistance.

Obi, meanwhile, is more than a villain. He is a product of a system that equates masculinity with control and tradition with authority. His confusion and defeat in the final scene, where Ego’s transformed status destabilizes his worldview, suggest the possibility of ideological rupture. Characters like Nneoma and Mrs. Ruth serve as foils, representing an alternative model of female-led community support that is empowering rather than exploitative.

Nneoma, on another hand, serves as a moral counterweight to Obi’s oppressive authority. As a women leader in the community, she embodies empathy, wisdom, and collective responsibility. Her characterization highlights the power of female solidarity and grassroots leadership in addressing social injustice.

Unlike Obi, Nneoma’s authority is rooted in service rather than domination. She listens, advises, and acts without expecting personal gain. Her intervention in Ego’s life demonstrates how communal structures, when guided by compassion, can become instruments of empowerment. Nneoma represents an alternative model of leadership one that values inclusion, dignity, and shared progress.

Mrs. Ruth represents external intervention and structured empowerment. Her role extends beyond individual charity, symbolizing organized efforts toward women’s economic independence. Through her character, the play acknowledges the importance of institutional and non-governmental initiatives in addressing systemic inequality.

Mrs. Ruth’s presence expands the scope of the play from personal struggle to societal reform. She embodies hope and progress, reinforcing the idea that sustainable change requires organized support systems rather than isolated acts of kindness.

Mrs. Agu functions as an antagonistic minor character whose primary role is to externalize economic oppression. Her aggressive demand for repayment reflects the harsh realities of informal lending systems where empathy is often absent. Though not entirely villainous, Mrs. Agu’s characterization underscores how poverty can erode compassion and intensify social cruelty.

Uche and Paul: Ego’s children, Uche and Paul, serve as emotional motivators within the play. Their innocence heightens the stakes of Ego’s struggle and reinforces the moral urgency of her choices. They represent the future that Ego fights to protect, thereby humanizing her sacrifices and reinforcing the generational implications of social neglect.

Stylistic and Dramatic Technique

Azunwo’s use of language is culturally rooted yet theatrically versatile. The dialogue blends Nigerian Pidgin with proverbial expressions, grounding the play in its sociolinguistic context. For instance, Obi’s statement, “When the cow no longer feels satisfied with eating grasses… the river should be the next place it has to be taken to,” operates on both literal and metaphorical levels, reflecting his manipulative logic.

The structural use of drummers as a choral element is particularly effective. They provide emotional rhythm, mark transitions, and evoke a collective cultural presence, almost like a communal witness to Ego’s suffering and triumph. The staging is sparse but suggestive, allowing the characters’ interactions to dominate the theatrical space. Scenes such as Ego’s kneeling plea to Mrs. Agu (Scene Two) and the empowering meeting with Nneoma (Scene Five) are staged with raw emotional clarity, emphasizing the play’s oscillation between despair and hope.

Dramatic Techniques in The Turn Over

Eziwho Emenike Azunwo employs a diverse array of dramatic techniques in The Turn Over, enhancing narrative progression, emotional resonance, and thematic depth. Drawing inspiration from African dramatic traditions as well as contemporary realist theatre, these techniques enable the play to effectively communicate its social commentary while sustaining its theatrical dynamism.

Employment of Dialogue and Language Dialogue functions as one of the central dramatic tools in the play. Azunwo employs plain, conversational language that reflects the natural rhythms of Nigerian speech. Through the strategic incorporation of indigenous proverbs, idiomatic language, and rhetorical flourishes particularly in Obi's dialogue the playwright achieves multiple objectives. These elements enrich cultural authenticity, define character identity, and serve as instruments of authority. Obi’s frequent reliance on proverbs illustrates his effort to assert dominance and validate his power through traditional wisdom. In contrast, Ego’s dialogue is characterized by restraint and subtle emotional undertones. Her speeches often convey hesitation, deference, and suppressed feelings, reflecting her precarious vulnerability. As the narrative unfolds, however, Ego’s language becomes progressively assertive, symbolizing her personal and psychological growth. This contrast in linguistic styles serves as a deliberate dramaturgical strategy to underline the shifting power dynamics and illuminate character evolution.

Character Contrast as a Dramatic Mechanism Azunwo adeptly utilizes character contrast to emphasize moral and ideological divergences. Central to this strategy is the opposition between Obi and Nneoma, who epitomize conflicting visions of authority: Obi embodies oppressive control, while Nneoma represents empathetic leadership. This dichotomy heightens the play’s ethical conflict and subtly encourages audience reflection without resorting to overt moralizing. Similarly, the juxtaposition of Mrs. Agu’s stern demeanor with Mrs. Ruth’s generous disposition reinforces the thematic interplay between exploitation and compassion.

Integration of Music and Drumming Music and drumming occupy a critical role in establishing the emotional cadence of the play. The drummers transcend their function as mere background performers by acting as narrative agents—commenting on events, heightening moments of tension, marking transitions, and accentuating poignant scenes. This technique reflects the influences of African storytelling traditions, where music serves as an integral expressive medium. The deliberate use of rhythmic drumming during key moments such as conflict, introspection, or resolution invigorates the narrative, maintaining its momentum while further engaging the audience.

Symbolism as a Narrative Layer Throughout The Turn Over, Azunwo employs symbolism to evoke deeper meanings. The title itself encapsulates themes of transformation, renewal, and reversal. This is mirrored in Ego’s journey from economic hardship to self-empowerment. Furthermore, objects such as household goods, money, and domestic spaces acquire symbolic significance. These items collectively reflect broader themes of control, survival, and autonomy. The physical transformation of Ego’s living space in the final scenes visually dramatizes her personal evolution and social emancipation. 

Stage Directions and Physicality The playwright’s stage directions are both precise and purposeful, functioning to underscore relational power structures through spatial positioning and movement. For example, Obi’s seated position while Ego stands highlights his dominance, juxtaposed with her initial subservience. Similarly, Ego’s recurrent kneeling gestures dramatize her vulnerability early in the narrative. However, her eventual assumption of an upright posture conveys agency and empowerment in later scenes. Such non-verbal cues complement the verbal narrative, enriching the play’s dramatic texture.

Societal Relevance of The Turn Over

The Turn Over is a socially engaged dramatic work that speaks directly to enduring issues within Nigerian society and, by extension, many African communities. Through its realistic portrayal of widowhood, economic hardship, and gendered power relations, the play functions as a mirror that reflects societal failures while also proposing ethical alternatives rooted in compassion and collective responsibility.

One of the most significant ways in which the play asserts its societal relevance is through its portrayal of widowhood as a social condition rather than a private tragedy. Ego’s experiences reveal how widows are often abandoned to navigate life without adequate familial or institutional support. The play exposes the cultural silence surrounding the suffering of widows and challenges the normalization of their hardship. By dramatizing Ego’s daily struggles, Azunwo invites society to reassess how widows are treated and to question traditions that prioritize control over care.

The play is also deeply relevant in its critique of patriarchal authority and the abuse of power within extended family structures. Obi’s behavior reflects a broader societal pattern in which male dominance is reinforced by cultural expectations and economic dependency. His character highlights how tradition can be manipulated to justify exploitation under the guise of responsibility. This portrayal resonates strongly within societies where customary practices remain influential, making the play a timely intervention in discussions about gender justice and ethical leadership.

Economic hardship, another major concern in contemporary Nigerian society, is realistically represented in the play. Ego’s engagement in petty trading, her indebtedness, and her confrontation with aggressive creditors reflect the lived realities of many individuals operating within the informal economy. The play exposes how poverty increases vulnerability and erodes social empathy, as seen in Mrs. Agu’s harsh treatment of Ego. By foregrounding these economic realities, The Turn Over underscores the need for structural solutions rather than individual endurance.

A particularly progressive aspect of the play’s societal relevance lies in its emphasis on women-led empowerment and community intervention. Through characters such as Nneoma and Mrs. Ruth, the play highlights the growing role of grassroots initiatives and female leadership in addressing social inequalities. These characters symbolize hope and progress, suggesting that societal change is possible when communities prioritize empathy, inclusion, and empowerment. This representation aligns with contemporary efforts in Nigeria to promote women’s economic participation and social welfare.

Furthermore, the play engages with moral responsibility as a societal value. It challenges individuals and institutions to reconsider the ethical implications of their actions, especially when dealing with vulnerable members of society. The Turn Over argues that assistance devoid of compassion becomes another form of violence, and that true social responsibility must preserve dignity and autonomy.

In its totality, The Turn Over transcends its dramatic form to function as a social critique and moral discourse. The play is relevant not only as a literary text but also as a cultural document that captures the tensions between tradition and modernity, authority and empathy, survival and dignity. By foregrounding the struggles of widows and advocating for compassionate communal structures, Azunwo positions the play as a call to social consciousness and ethical reform.

Recommendation

The Turn Over is strongly recommended for students, scholars, and practitioners of Theatre Arts, Literary Studies, and the Humanities. The play offers a compelling blend of social realism, moral inquiry, and theatrical effectiveness, making it a valuable text for academic study and performance. Its thematic focus on widowhood, gender relations, poverty, and community responsibility reflects pressing social issues within contemporary Nigerian society, thereby enhancing its relevance and pedagogical value.

The play is particularly suitable for undergraduate and postgraduate courses in African Drama, Gender Studies, and Social Theatre due to its accessible language, well-structured plot, and clearly defined characters. Directors and theatre practitioners will also find The Turn Over adaptable for stage production, as its realistic settings, manageable cast size, and strong emotional content allow for effective interpretation even with limited resources.

Beyond the academic environment, the play is recommended for community theatre groups, faith-based organizations, and social advocacy initiatives seeking to use drama as a tool for social enlightenment and moral reflection. Its emphasis on compassion, dignity, and ethical responsibility makes it a useful resource for sensitization programmes on women’s empowerment and social welfare.

Conclusion

In conclusion, The Turn Over is a significant contribution to contemporary African drama and gender studies. Azunwo writes with a scholar’s insight and a playwright’s emotional force, creating a work that is both intellectually rigorous and deeply moving. The play does not simply depict suffering; it interrogates its causes, imagines its alleviation, and celebrates the agency of those who endure.

It is recommended for courses in drama, African literature, gender studies, and social ethics. For academics and general readers alike, The Turn Over offers a compelling narrative of how quiet resilience can, indeed, turn over the structures of oppression.