Chukwuma Anyanwu’s ‘Wrath of the Gods’ excites as DELSU’s 17th Convocation Play

By Damilola Oloruntobi

ACTIVITIES for the 17th Convocation Ceremony of Delta State University, Abraka, like in previous years, included the town-and-gown gathering for the kind of societal edification that the dramatic arts has a special way of invoking. Convocation plays have long been a tradition in Nigerian universities, usually organised to enact socially conscious plays written by playwrights established in the dramatic canon, and equally directed by competent hands. DELSU, Abraka’s choice of play for its 2025 convocation was Dr. Chukwuma Boniface Anyanwu’s Wrath of the Gods – a title that harks back unmistakably to Nollywood’s home video formulaic tales, and the epic typecast of a community’s pantheon being typically angry. Except that this particular play masterful blends folkist aesthetics, despotism and retribution, comic relief and symbolist allusions to the present-day.

Anyanwu’s play was enacted on Thursday, 24 April, 2025, at the Theatre Arts Studio, Site III of the university, joining the prestigious list of dramatists whose works had graced such prestigious occasion before: Ola Rotimi, Hope Eghagha, and of course, Sam Ukala.

Anyanwu, in his second stint as Head, Department of Theatre Arts, authored and directed the play. Also a member of the Association of Nigerian Authors (ANA), Delta State chapter, Anyanwu has a storied background in the field of mass communication. His piece rose to the occasion. Wrath of the Gods centres on the power of storytelling, using a fictional rural community, Umuohiagu as its premise. The title itself is very striking, especially as communal or tribal deities exert a level of importance in the religious and sociocultural belief of Nigerians and Africans at large. Nollywood famously navigates much of its storylines around the temperament of gods, fluctuating according to the abidance of their mortal subjects to socio-spiritual code of conduct. So when the play’s title was publicised in the university bulletins and the faculty information platforms, it resonated a familiar suspicion that the gods are angry again, and this time there must be a grave offence needing appeasement.

The play opens with the signature folkist narrative introduction, taking the audience on a journey to the kingdom of Umuohiagu, and how the decisions of their despotic eponymous king, Agu, shape the struggles of its peasant class until they receive redemption. The dictatorial attributes of Agu lead to the unraveling of incidences in the play, as it explores retribution and poetic justice. The performance unfolds smoothly, drawing the audience into a world where present hopelessness and its attendant defeatism, does not foreclose the prospect of freedom. At its core, the play raises questions about preconceived notions of what qualifies one to be a hero (and what constitutes heroism), challenging the audience to reflect on their own archetypes. The people of Umuohiagu are ironically delivered by two men who. by societal standards. are meant to be “disabled”, but at the end are the only men “able” to deliver the people. The writer is able to use characters such as Azuka, the blind man, and Agumma, the cripple, to blueprint a standout enactment where the actors portray these roles with comical depth and authenticity.

A scene from Chukwuma Anyanwu’s Wraths of the Gods

Being a narrative drama, the actors were able to blend in their roles and properly interpret it in relation to the setting. The director’s bold choices in staging and costumes created a powerful visual mosaic that resonated with the play’s themes of power and control, and the overall acting was compelling enough to showcasing the characters’ vulnerability and resilience. The director’s vision was clearly reflected in the pacing of events and the stagecraft, which sustained audience’s engagement throughout. Innovative choices in scene transitions and space interpretation enhanced the dramatic impact of key moments, and the actors were able to understand when to sit on stage, when to stand and how to handle stage movements. The play’s plot relies heavily on the lever of storytelling, where actions are performed simultaneously as the bard narrates his story, and even becomes a part of the story. It is a refreshing technique, and it helped produce wonderful spectacle. What was also notable was the inculcation of local colour and cultural motifs, exemplified especially by the prolific use of proverbs. The audience could not help but be impressed by how the dramatic diction was accompanied with a special message. The actors played the dual role of being the narrators and actors simultaneously, and at the end the play, the trickery of the crippled and the blind bring emancipation to all the people.

Being experienced thespians, the cast of the play were able to strike a balance between modernity and the depiction of rural life. The stagecraft included the use of projector to aid the storytelling, along with corporeal stage enactment. This was quite impressive; in a number of scenes, one got the feel of the character of the ancient Greek chorus who reported some actions that could not be enacted on stage. The cast played the double role of being both singers and actors and their songs constituted the musical background for the play and they helped set the tone for the performance. It was truly an amazing narrative technique. They were also able to properly inculcate music and sound in communicating meaning and putting the audience in the right mood. The villagers, being the central characters of the play, enacted major roles in the unfolding of the plot. They are oppressed, repressed and even forced into hunger and famine. One would expect a sad tone to prevail throughout the performance, but the playwright through the use of two characters, the crippled and the blind (Agumma and Azuka), serves comic relief, and masterfully deploys a subplot the audience did not see lining out. These two played a salvific role at the end of the play, by being able to, through their wisdom and the help of the gods, save the people of Umuohiagu from their despotic ruler. The minimalist set design allowed the actors to shine, while still suggesting the play’s atmosphere. The stage is designed to properly suit a typical rural backdrop, and the lighting and sound were used effectively to heighten tension and emphasise emotional beats. Costumes accurately reflected the time period, and helped define the characters’ personalities. With the aid of the costumes, the audience was able to tell at a glance the age of the characters.

The story is relevant to contemporary Nigerian society as the audience could relate to the fate of many Nigerians under authoritarian leadership. The king, Agu, is a stark equivalence to our political leaders and how they try to suppress the people. King Agu’s refusal to allow the people to leave also signifies how our political elite characteristically employ subduing tactics to tame the people, and foil the flowering of their potential. The use of the guards by King Agu also represents how political leaders manipulate law enforcement agents to subdue the people. The audience could not help but be drawn to all the happenings depicted on stage. The audience responded with laughter, gasps, and even a standing ovation – a testament to the production’s success. It was truly moving and intellectually engaging, and sends a message of hope and emancipation for no better time than now in today’s polity. This production of Wrath of the Gods succeeds in delivering a memorable theatrical experience, and a thought-provoking experience that lingers long after the final curtain.

* Oloruntobi is a student of the Department of English and Literary Studies, Delta State University, Abraka