PREFACE
This
critique is authored by OROLE OLAYINMIKA
JUMOKE following an insightful viewing of the play staged and directed by Effiong
Simon, on the 25th of September. 2025, in the Department of Theatre
and Film Arts at Lagos State University. This critique partially fulfills the
requirements for THA 308 – Specialize student in art of the Theatre Arts
(Theory and Criticism).
CONTENTS
1. Introduction
2. Nature of dramatic theory and criticism
3. Critique theory: Expressive
4. Plot analysis
5. About the author
6. About the director
7. Directorial choice
8. Analysis of acting and technical elements
9. Themes and messages
10. General overview and contribution
11. Reference
1.
INTRODUCTION
Jakadiya, a play by Ahmed Yerima, explores themes of betrayal, oppression, and
power struggles in a Northern Nigerian palace. It tells the story of Bilkisu,
the Jakajiya, and eponymouse character. A palace woman whose promised reward is
denied, and who finds herself silenced by the manipulations of power and
tradition. The production staged in my department attempted to bring Yerima’s
text to life through a blend of cultural elements, realism, and improvisation.
This review examines the production in terms of plot interpretation, character
development, directorial choices, acting, and technical elements, as well as
its thematic concerns.
2.
NATURE OF DRAMATIC THEORY AND
CRITICISM
What
is theory in art Studies?
Theories
are organized frameworks of principles and ideas that provide systematic ways
of analyzing, interpreting, and evaluating phenomena, enabling us to explain
and sometimes generalize our conclusions. The nature of theory in the study of
artworks, including theatrical performance, as defined by Robert Stecker, is
“An
art theory is a framework that provides criteria for identifying, classifying,
and evaluating artworks, as well as for explaining their functions and value in
human culture.”(1997)
This
definition helps us understand what cut counts as art, what it means, and why
it matters.
Dramatic
criticism
Dramatic
criticism in this field deals with creating and applying theories, rules, and
methods that guide how works of art should be studied and understood. A systematic account of the nature of a theatrical
performance, textual analysis, contextualization, and aesthetic evaluation.
Criticism
is not merely a matter of personal opinion or To Me affair; over the years,
dedicated theorists and critics have helped evaluate theatre, guided its
growth, and deepened our understanding of it. Dramatic criticism has moved from
traditional rule-based approaches, like Aristotle’s classical theory, to more
flexible modern perspectives such as realism and expressionism. Contemporary
dramatic criticism, however, emphasizes diverse frameworks, including feminist,
Marxist, psychoanalytic, postcolonial, and performance theories, that focus on
ideology, culture, and audience interpretation rather than fixed rules.
H.
M. Abrams’ four basic approaches to theory and criticism:
1.
Mimetic Theory: This approach sees
theatrical work as an imitation of reality. A work of art is
judged by how well it reflects the world, human life, or nature.
2.
Pragmatic Theory: Focuses on the effect
of theatrical work on the audience. It asks how a work teaches,
entertains, or influences its readers/viewers.
3.
Expressive Theory: Views theatrical
work as an expression of the author’s emotions, imagination, or inner
world. And also, what does the performance reveal about
the artist’s, directors', or actors’ vision or emotions, the writer’s feelings,
and creativity are central.
4.
Objective Theory: Considers a work of
art as an independent, self-contained object. Meaning is found within the text
itself, not in the author’s intention, audience response, or outside reality.
The question: Does the performance stand as a complete, unified work of art on
its own terms?
3.
CRITIQUE CHOICE: EXPRESSIVE
THEORY
In
this critique, I use the Expressive Theory, which looks at how
the director brings the writer’s vision to life. The performance follows the
trajectory of Ahlaja Balaki, the head of the maids in the palace. In Jakadiya,
the director stayed true to the script, keeping the author’s ideas intact while
adding theatrical elements to enrich the play. The performance used modern
realism to reflect real life, but also included a representational
style, giving the play both authenticity and deeper meaning.
This approach made the production faithful to the text while still creative,
and it sets the stage for a full analysis of the performance.
4.
PLOT ANALYSIS
The play is a tragedy that revolves around the life of its eponymous character, Ahlija Bilkisu, also known as Jakadiya. A devoted palace servant, she is promised the position of Magajiya but is ultimately betrayed by the Emir and other palace elites. The linear plot traces her painful journey, revealing the secrecy of succession and the political manipulations within the palace, which lead to her downfall. Although the production followed the text closely, certain details weakened its cultural accuracy. For example, one of the Emir’s wives appeared in adire, a Yoruba fabric not linked to Hausa culture, while a palm wine calabash was used to serve nunu, misrepresenting northern traditions. Despite these lapses, the performance powerfully conveyed the tragic weight of Jakadiya’s story. The production highlighted both the intrigues of palace politics and the emotional suffering of the heroine, keeping the audience deeply engaged with her fate.
5.
ABOUT
THE AUTHOR
Ahmed Yerima is one of
Nigeria’s most distinguished playwrights, theatre directors, and scholars. Born
in 1957 in Lagos State, Nigeria, he has contributed immensely to
Nigerian and African theatre through his thought-provoking plays, which often
explore cultural, political, and historical themes. Yerima studied Theatre Arts
at the University of Ife (now Obafemi Awolowo University), and later earned his
master's and Ph.D. in Theatre Arts from the University of Ilorin. His academic
and creative works have earned him respect across Africa and beyond. He served
as the Director-General of the Nigerian National Theatre and later became the
Dean of the College of Humanities at Redeemer’s University. His works include
award-winning plays like Hard Ground, Attahiru, The Trials of Oba
Ovonramwen, Aetu , and Jakadiya , among many others. In Jakadiya, Yerima
blends tradition and history with the personal struggles of a woman navigating
power, loyalty, and identity in a patriarchal setting. Like many of his plays,
Jakadiya showcases his strength in using historical contexts to reflect on
contemporary societal issues.
6.
ABOUT
THE DIRECTOR
Effiong Simon Nsika
Effiong Simon Nsika, born on June 7, 2002, hails from Akwa Ibom State, Nigeria. He is a student of the Department of Theatre and Film Arts, where he has consistently demonstrated passion, creativity, and commitment to the performing arts. Since his early years in the university, Effiong has actively engaged in theatre productions, serving in various capacities as director, assistant director, actor, and dancer. His theatrical journey began in his 100-level year as the Assistant Director of Oya (The Goddess of Whirlwind). By his 200-level year, he had already distinguished himself as the Director of Obanla (The Travails of Our Heroes), and further showcased his versatility as a dancer in Midnight Hotel, directed by Dr. Babafemi Babatope. He also co-directed and acted in Echoes of the Drum and served as Assistant Director for Future (The Winning Team). In his 300-level year, Effiong expanded his artistry by acting in Future. (The Winning Team) and directing Jakadiya, a production that sought to highlight and celebrate the culture and heritage of the northern demographic in Nigeria, was presented to the immediate audience of Lagos State University.
Effiong’s
directorial approach is deeply rooted in realism, with a
strong emphasis on projecting African values and culture through performance.
Beyond directing and acting, he is also an accomplished dancer and a proud
member of Rythme Riddles, a renowned dance
troupe led by Dr. Yeside Lawal, where he continues to showcase his talent and
versatility in the performing arts.
Through
his creative endeavors, Effiong Simon Nsika has proven himself as a dedicated
and dynamic theatre practitioner, committed to the preservation and promotion
of African cultural heritage while exploring contemporary modes of storytelling
and performance.
7.
DIRECTORIAL CHOICES
The
director of Jakadiya adopted a
concept rooted in modern realism, in
the tradition of Ibsen, while subtly blending in African theatrical elements.
In line with Aristotelian and Diderot’s idea of the fourth wall, the actors remained fully immersed in their roles
without acknowledging the audience, making the palace life feel believable and
authentic. This approach shows a clear use of a Representational style, where the performance creates the illusion
of reality and the audience views the characters as living in their own world.
Stylized devices such as spotlighting, ritual-like pauses, and
symbolic gestures enriched the narrative, with Jakadiya’s spotlighted lament
and Atine’s flashback serving as emotional highlights. In terms of stagecraft, movement was fluid and convincing, with
the actors performing smoothly and not mechanically. Picturization was only partially achieved, as not all stage
pictures carried a strong visual impact. Similarly, stage balancing was midway, effective in some moments but less
coherent in others.
The director’s vision for this production revealed both strengths
and weaknesses. On one hand, he attempted to balance the cultural setting of
Northern Nigeria, but this was not entirely successful. For instance, certain
costume choices such as the use of adire on one of the Emir’s wives and Ikwale attire
on two other maids, were culturally misplaced, since adire is not part of Hausa
tradition. Similarly, the use of a palm-wine calabash to serve nunu was a clear
misrepresentation of northern culture, and the lack of consistent Hausa accent
among most of the cast reduced the cultural authenticity of the performance.
While only the Emir tried to use the accent, his dialogue delivery suffered in
terms of audibility. Stage Balancing also suffered in some parts, especially
Scene Two, where most of the action was restricted to stage right, leaving the
center and left unused, which caused the stage to visually collapse and lose
balance. Despite these shortcomings, the directorial style showed creativity in
blending traditional African theatrical aesthetics with modern stage
realism. The actors were guided to
embody their characters truthfully, with natural gestures, culturally informed
behavior, and believable dialogue delivery. Technical elements such as
lighting, blocking, and set design further reinforced the illusion of a
Northern palace, giving the play an atmosphere of authenticity despite lapses
in cultural details.
8.
ANALYSIS OF ACTING AND TECHNICAL ELEMENTS
CHARACTER DEVELOPMENT
The characters in the play were brought to life with varying
degrees of effectiveness.
JAKADIYA, played by
IWEGBU MIRACLE GRACE: The lead character was embodied with depth and
consistency. She spoke with clarity, carried her emotions convincingly, and never
lost grip of her role. Her performance captured the pain, dignity, and
resilience of the character.
EMIR played by IMOH MICHAEL: Despite
being taken over by Michael only 48 hours before the performance, the Emir was
one of the strongest characters. His presence was believable, and his
interpretation of the role was commendable, demonstrating true dedication to
the craft.
CHIROMA: His role stood out during the bribery scene with Ahmed Datijo,
where improvisation was used. However, weak vocal projection reduced the impact
of that scene during performance.
ATINE played by Emore Agatha: Her
narration during the flashback scene, where she recalls the massacre of her
people and her captivity, was powerful and moving. There was effective use of
makeup and props, particularly in the portrayal of a beheading scene involving
Atine's character on stage. This moment not only showcased the dramatic impact
of the production but also highlighted a complete realization of her character.
ACTING IN PERFORMANCE
The acting in this production displayed a mixture of commendable
strengths and noticeable weaknesses. The most outstanding performance came from
the actress who played Jakadiya. Her embodiment of the role was consistent and
powerful; she maintained her character throughout, delivered her lines audibly,
and fully captured the traits of the Jakadiya figure. Her presence gave the
production its strongest emotional anchor. The Emir’s role, taken over by
Michael only 48 hours before the performance, was another remarkable highlight.
His ability to step into such a demanding role on short notice demonstrated the
true spirit of a dedicated thespian. Despite the time constraint, his stage
presence and interpretation were convincing, making him one of the
best-performed roles in the production. Some of the actors, however, did not
achieve the same level of precision. In Scene Three, during the elders’
conspiracy at Ahmed Datijo’s house, some performers mumbled their lines,
reducing the clarity and impact of the moment. Likewise, while the use of
improvisation in the bribery scene between Chiroma and Ahmed was creative, poor
vocal projection weakened its effect. The female dancers who doubled as male
characters were another point of concern. Their performances could have been made
more believable if the costumer or makeup artist had provided them with caps or
proper masculine facial touches to support the illusion. In addition, most
actors failed to adopt Hausa voice coloration or accent, which limited cultural
authenticity. Only the Emir attempted it, but his audibility suffered in the
process.
Overall, while the lead roles of Jakadiya and the Emir stood out for their
strength and consistency, the supporting cast needed greater discipline in
vocal delivery, characterization, and physical transformation.
TECHNICAL ELEMENTS
The technical elements of the production showed creativity, though
with some shortcomings. The set design was impressive, particularly in Scene
Three where a constructed door effectively depicted the entrance to the
graveyard, and the stage was divided between the graveyard (stage right) and
Ahmed Datijo’s house (stage left). The lighting design was also commendable,
with the spotlight on Jakadiya during her lamentation beautifully emphasizing
her inner pain. Special effects were used in Atine’s flashback scene, adding
depth to her narration of captivity.
However, the costume and makeup design was less effective. The use of adire on
the Emir’s wife was a cultural misfit; the female slaves’ costumes were not
properly Hausa, and the dancers doubling as male characters lacked the
necessary makeover. The misrepresentation of props, such as using a palm-wine
calabash for nunu, further weakened authenticity. These issues created a
disconnect between the intention of cultural realism and its execution on
stage.
9.
SONG AND DANCE
This was symbolically used to showcase Northern Nigerian culture,
highlighting their richness in singing and dancing. The dance in the play was a
traditional Hausa dance that reflects their ceremonial atmosphere, accompanied
by their songs.
10.
THEMES
The production
highlighted several major themes from Yerima’s play:
- Slavery
In Ahmed Yerima’s Jakadiya, the theme of slavery appears both as a
lived reality and a metaphor for oppression. Atine recalls how, at the age of
five, her people were killed and she was captured, a memory that reduces her
life in the palace to that of a slave and mere consort. Jakadiya herself also
suffers another form of enslavement—not through chains but through betrayal and
broken promises, as her elevation to Magajiya is denied and she remains trapped
within palace servitude. Even the palace women and attendants reflect this
condition, reduced to tools of labor and silenced voices. Yerima uses slavery
to expose the loss of dignity, the silencing of women, and the psychological
bondage created by power and traditiom
- Oppression of Women: Jakadiya represents the
silenced voices of women in patriarchal systems, as her promised reward is
denied and her voice suppressed by the palace.
- Betrayal and Broken Promises: Bilkisu’s
unfulfilled expectations and the deceit of the palace illustrate how trust
is undermined in the pursuit of power.
The politics of succession and hidden truths reflect the tension of
authority and betrayal within leadership.
11.
GENERAL OVERVIEW AND CONTRIBUTION
The production of Jakadiya by Ahmed Yerima,
directed by Effiong Simon, can be described as a commendable effort that
balanced modern realism with African cultural elements. The director succeeded
in emotionally engaging the audience and delivering a performance that was both
entertaining and educative. However, as with most productions, some areas
called for improvement.
For example, in Scene Two, all the action took
place at stage right, leaving the center and stage left unused. This not only
collapsed the stage balance but also confused since parts of the stage were lit
though no action occurred there. A more strategic distribution of action across
the stage would have enhanced the picturization.
Language was another area that needed attention. The
director could have trained the actors to adopt a Hausa intonation, especially
Jakadiya, who appeared in almost every scene. This would have added
authenticity and cultural depth to the performance. Furthermore, while the lead
characters delivered strong performances, some of the supporting actors
appeared weak on stage, often mumbling their lines. To address this, the
director should emphasize rigorous rehearsals, particularly vocal
exercises, to strengthen projection and clarity.
As critics often say, “every picture tells a story.”
In this production, picturization was only partially achieved, which
limited the visual storytelling. Careful stage pictures and stronger blocking
choices would have carried the narrative more effectively.
Finally, the director’s collaboration with his crew is
crucial. Proper meetings with designers and stage managers could have prevented
lapses in costume choice (such as the adire on an Emir’s wife or the palm-wine
calabash used for nunu) and other misinterpretations that risked undermining
the vision of the production. In all, the production of Jakadiya was a
success. While it may not have achieved the ideal of a “total theatre,” it
nonetheless showcased strong performances, cultural richness, and directorial
creativity. The gaps identified do not overshadow its achievement but rather
point the way forward for even more refined future productions.
CONCLUSION
In summary, the production of Jakadiya in my department was a creative attempt
to bring Ahmed Yerima’s play to the stage. The strengths lay in the powerful
performances of Jakadiya and the Emir, the effective set and lighting design,
and the director’s effort to combine realism with symbolic African theatrical
elements. However, weaknesses in cultural authenticity, inconsistent
projection, costuming, and prop choices limited the full impact of the
performance. Despite these, the production succeeded in engaging the audience
emotionally and visually, proving once again the richness of Yerima’s play and
its relevance in exploring themes of power, betrayal, and the struggles of
women in society.
REFERENCE
Jakadiya. Directed by Simon
Effiong, performance by Miracle Iwegbu, LASU Theatre Arts,
Theatre Arts and Music Auditorium, Lagos State University, 25 Sept.
2025.
Stecker, Robert. Artworks: Meaning,
Definition, Value. University Park: Pennsylvania State
University Press, 1997. ISBN 0-271-01595-0
Yerima, Ahmed. Jakajiya. Kraft Books, 2017.
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