Exploring concepts of justice, accountability, others at Anyanwu’s ‘Wrath of the Gods’ performance at Abraka
By Delight Pius
ON February 18th and 19th 2025, I had the privilege of acting in the live performance of Wrath of the Gods, a play by Dr. Boniface Chukwuma Anyanwu, at the Arts Theatre, Delta state University, Abraka. It was directed by the playwright and performed by the 300-Level students of Theatre Arts Department. The production delivered a compelling and thought provoking experience.
Wrath of the Gods unfolds as a vibrant storytelling competition set in a village playground under a full moon, where two groups from Eziala and Umuanyamele vie for narrative supremacy. The Umuanyamele group presents a folkloric tale about Prince Nwankeze, who was killed by a falling breadfruit and which sparked a chain of whimsical cause-and-effect reactions that end with the philosophical poser: ‘Who made God?’ In contrast, the Eziala group delivers a gripping drama about Agu I, a tyrannical king of Umuohiagu, whose oppressive rule drives his people to rebellion and exodus. When his farms are mysteriously emptied, he forces an oath-taking ritual overseen by the chief priest Ebubedike, only to meet his own demise as divine justice, orchestrated by the Earth Goddess, who reveals his false accusations. The play concludes with the Narrator urging the audience, as judges, to weigh both tales’ merits and implications.
Wrath of the Gods yields multiple thematic concerns that include justice and divine retribution, as it explores how justice prevails, whether through the gods’ intervention (Agu I’s fate) or the natural consequences of actions (Nwankeze’s death), emphasizing accountability beyond human control. Agu I’s authoritarian rule highlights the abuse of power and its repercussions, contrasting with the community’s resilience and eventual defiance. There is evident display of power and oppression on the part of the leader. The storytelling competition and oath-taking ritual underscore the importance of cultural practices that bind and govern society and ensures its time-tested tradition.
Also, the question, ‘Who made God?’ and the interplay of human folly (for instance, Agu I’s hubris, Azuka and Agumma’s cunning) reflect on the boundaries of knowledge and authority, emphasizing human limitations and the need for constant inquiry as part of human quest for the good of society. Rivalry between Eziala and Umuanyamele, alongside the villagers’ collective resistance, probes the tension between competition and cooperation with one breeding division and the other fostering unity.
Wrath of the Gods brims with interestng characters that are deftly deployed by the playwright to realise its thematic concerns, just as the student-actors delivered on their roles to the satisfaction of the audience. These include Narrator, a charismatic, humorous middle-aged man who serves as the play’s glue, engaging the audience directly with wit and wisdom. His traditional attire and lively demeanour make him a cultural anchor. Miss Delight Pius as Narrator was able to embody the character except the humorous part. She served as the mediator by keeping the story on track despite the constant interruptions. Indeed, but for her voice, she could have been mistaken for a man. Indeed, casting a woman to play the role of a male characters was a subversion trick of the director’s deft dramatic move that got the audience truly entertained.
Villagers protesting bad leadership
Agu I: The tyrannical king, complex in his arrogance yet humanized by his dependence on his people. His commanding presence shifts to desperation, revealing vulnerability beneath his regal facade. Goodluck Oghenemarho in the lead role as Agu I was able to embody the character perfectly, showcasing every attribute of a tyrannical king. His aura was imposing and he delivered the role spot on.
Ebubedike (Oghenemaro Ejenavi) as the enigmatic chief priest, serves a bridge between mortals and the divine. His cryptic proverbs and ritualistic gravitas lend him an out-worldly aura, though his loyalty to justice over the king’s whims adds depth to the performance. He played his role superbly by interpreting it to the best of his ability.
Azuka and Agumma: The duo of the blind man and the cripple are both comic and tragic, their disability fuelling ingenuity (stealing crops) and philosophical banter, making them subversive underdogs. Christabel Akpevwe Akatiba and David Chimaobi Obodomechine respectively dissected their roles and portrayed them from the beginning to the end, making us doubt their true status, whether they are not truly blind and crippled and showed how effective they were in their roles. Indeed, their performance drew commendation from Prof. A. E. Anigala.
Chinyere and Nwankwo (Deborah Ifeoma Okonkwor as Chinyere and Godstime Omadevuaye/Endurance Owhono) – leaders of their respective storytelling groups, embodied creativity and pride. Chinyere’s boldness contrasts with Nwankwo’s measured flair, and driving the competition’s energy. They tried in interpreting their roles, although Okonkwor had some difficulties with her lines, but Owhono, on the other hand, was able to interpret his role well and also relate well with the audience while addressing them.
Earth: A mysterious, regal figure symbolizing nature’s duality—nurturing yet vengeful. Her poetic monologue elevates her to a mythical status. Nneka Onwordi and Helen Kesiena Orieh who acted this character carried the role well, the charisma and bearing were on point, as the audience could feel the aura of a goddess in the way they recreated the character.
Ensemble (for instance, Ikenna, Ogbonna, Town Crier): A rich tapestry of villagers, guards, and queens, each contributing to the communal dynamic with distinct voices, from rebellious to sycophantic.
Characterization in Wraths of the Gods is vivid, relying on dialogue, proverbs, and physicality to flesh out personalities, though some minor characters filled the role of functionality rather than being fully developed.
The playwright deploys a minimalist yet evocative setting centred on the stage which is the substitute for a village playground that makes for transformations and fluidity. The storytelling arena is an open space on the stage with contestants seated around the stage, fostering an intimate, communal vibe. There is no set for umuanyamele except the projector with which they show us the journey of Nwankeze down to the breadfruit tree, its branches laden with fruit, collapsing into a mournful tableau leading to Nwankeze’s death. On the other hand, a throne-like upstage centre to await the arrival of the king, his queens, elders and his guards depict Eziala scene. Transitions were effected through blackouts and quick rearrangements keep the pace brisk, though stagehands’ visibility could enhance the folkloric spontaneity. The simplicity allows imagination to fill gaps, aligning with the oral tradition’s ethos.
Traditional Igbo attire dominates—flowing Ishi Agu robe for the Narrator and Agu I, adorned with lion-head motifs and caps, signalling authority. Villagers wear simple wrappers and headscarves, with Ebubedike in ritualistic garb (beads, cowries and white chalk) and Earth in a white, earthy wrapper around her breast and waist. The contrast between royal richness and peasant modesty reinforces class tensions. The make up is simple as it is an evening spontaneous activity. Only figures like Ebubedike and Earth are adorned with special makeup, with Ebubedike dressed like a native doctor with white chalk and cowries’ adornment, and Earth with a royal makeup for her royalty status.
A full moon glow light sets the initial festive mood, transitioning to stark daylight for Umuanyamele’s tale and dim, ominous hues for Eziala’s darker narrative. Spotlights highlight key figures (for example, Agu I on his throne, Earth’s entrance) while flickering shadows during the oath-taking evoke divine presence. Blackouts punctuate scene changes, though subtle fades could enhance emotional beats. All elements are vibrant and symbolic, amplifying cultural authenticity and dramatic shifts.
There wasn’t a massive turn out of audience but there was an active participation of audience in every process of the play from the beginning to the end. There was also interaction and reaction from the audience in regards to the stage performance. For example, when Azuka and Agumma swear their innocence to the God Agbara-ubi using tact to deny the crime, there was a loud exclamation from the audience, indicating that they knew what transpired, an indication that the audience was actively participating and following the thread of the story from the beginning to the end.
Playwright/director Dr. Chukwuma Anyanwu and some cast members
Wrath of the Gods is a dynamic, thought-provoking stage play that marries the charm of Igbo folklore with the gravity of social critique. Its dual structure—lighthearted competition versus intense drama—offers variety, though the Eziala tale is occasionally overstretched with protracted debates. The Narrator’s energy and the ensemble’s spirited interplay keep it engaging, while the philosophical and moral questions linger, inviting reflection.
The production shines in its cultural richness—proverbs, songs, and rituals weave a tapestry that’s both entertaining and instructive. However, pacing could be tightened, especially in Eziala’s narrative, where interruptions sometimes disrupt momentum rather than build suspense. The set’s simplicity and costumes’ vibrancy are strengths, though lighting could lean harder into mood-setting.
Ultimately, it’s a compelling exploration of justice, power, and tradition, with a standout blend of humour and gravitas. It leaves you pondering the gods’ wrath—and humanity’s role in inviting it. A worthy contender in any theatrical lineup, Wrath of the Gods is a must-read play and must-watch performance. I had a good time, as I enjoyed myself watching and acting at the same time. Obviously the first of a kind in theatre at Delta State University. Wrath of the Gods is an epic theatre as it broke the fourth wall between the characters and audience, with an active audience participation in the play. It’s a commendable dramatic effort from the playwright, Dr. Anyanwu.
* Pius is a 300-Level student of the Department of Theatre Arts, Delta State University, Abraka
