PRODUCTION REVIEW: HERBERT CHAIR by Imoleayo Adisa, Directed by Sunde Sejiro

This review focuses exclusively on the performance of the play and its original literary content. The key areas of discussion include:

1.    Plot Analysis: An exploration of the storyline and its development.
2.   Character Development: Examination of the characters' arcs and their significance within the narrative.
3.  Directorial Choices: Evaluation of the director's vision and how it influenced the overall production.
4.   Acting Performance: Assessment of the actors' portrayals and their impact on the audience.
5. Technical Elements: Consideration of the set design, lighting, sound, and costuming in relation to the performance.
6.   Themes and Messages: Analysis of the underlying themes and messages presented in the play. 

 

 

PRODUCTION REVIEWS: HERBERT CHAIR WRITING BY IMOLEAYO ADISA, DIRECTED BY SUNDE SEJIRO, IN PARTIAL FULFILMENT OF THA 308 – SPECIALIZED STUDENT IN THE ARTS OF THEATRE (DIRECTING)

Not every production delivers total theatre, but Herbert Chair offers so much more. The director’s bold approach and the passionate performances from the cast make it a thrilling experience, everything you could hope for in a live performance. As the director awaits a successful Opening Night, the audience seeks entertainment in their leisure. This play satisfies both goals: it entertains and leaves a lasting impact. The play was brought to life before its publication, meaning it is not a restaging of an existing work but rather a new and original creation by the dramatist and the director. It was staged on September 17, 2025. 

ABOUT THE DIRECTOR

Meet Sejiro Abiodun Sunde, “Sej”

Born on December 22, 2003, Sejiro Abiodun Sunde, fondly called Sej, is a rising force in Nigerian theatre. Currently a 400-level Theatre and Film Arts student at Lagos State University (LASU), he is both a bold actor and an imaginative director. Sej trained in directing under Dr. Babafemi Babatope, HOD of Theatre and Film Arts at LASU, and refined his acting under the tutelage of Mr. Bennett McAnthony. His stage debut came as Sango in Lekan Balogun’s Oya, a role that sparked his passion for performance. Since then, he has brought characters like BICYCLE in Midnight Hotel and ZAAZU in The Lion King to life with depth and flair.

Not only an actor, Sej also thrives behind the scenes. His directorial debut with Femi Osofisan’s Tegonni marked the beginning of a growing list of stage productions and skits. Leading LASU’s team to a remarkable 2nd place finish in a 20-university theatre competition, he has shown his gift for leadership and vision. His most recent directorial project is Herbert Chair (Terror of the Night), cementing his reputation as a young creative with a powerful voice on stage.

  PLOT ANALYSIS

SUMMARY OF THE PLAY/PRODUCTION

Herbert Chair is a powerful theatrical adaptation of Gbemisola Adeoti’s Bamboo Flute, reimagined by Imoleayo Adisa. The play explores the life of a community thrown into chaos after a military regime overthrows a civilian government that had grown too comfortable and failed to serve the people. But instead of relief, the people move from frying pan to fire. Those who claim to be restoring order use their power for personal gain. Among them is Officer Herbert Chair, a tragic, rootless, and cruel figure. Under his command, the community lives in fear, trapped by a harsh dusk, to, dawn curfew.

At the heart of the story are Pelewura, a sculptor, and his beloved wife Amope. They live a modest life and run a pepper soup restaurant. Their characters represent the everyday Nigerian who chooses honesty and hard work over corruption. Pelewura’s dialogue reflects this struggle and resilience, making the couple my favorite duo in the production. Herbert Chair’s cruelty reaches its peak when he assaults Amope, showing no empathy for her condition as a heavily pregnant woman. The trauma causes her to give birth prematurely, and the child dies. Yet Herbert returns the next day with his soldiers, continuing his reign of terror as if nothing had happened.

Driven by grief and a thirst for justice, Pelewura poisons Herbert and his men. This act forces us to reflect: when evil dies, does it deserve mercy? Herbert begs for the antidote, but Pelewura refuses. Honestly, if I were in his shoes, I wouldn’t give it either. Herbert and his crew die, and with their fall, the people are finally freed from the Terror of the Night.

Structure:

The play follows an episodic plot structure, a concept articulated by Brecht. The play consists of various situations set in different locations, which collectively shape the narrative, relying solely on the message/theme. Key episodes include:

1. The Chibok Girls: This opening scene was added by the director
2. Economy: The actions of brutal tax collectors
3. Women's  riot: Protests by market women
4. Way Forward
5. Speech: President's speech
6. A Military takeover
7. Daily life under curfew
8. The three religious scenes (Muslim, Christian, and Traditional)
9. Desecration

The climax occurs when Pelewura poisons Herbert Chair, serving as a pivotal turning point in the story. This moment leads us into the final episode, where the resolution unfolds.

2.                                CHARACTER DEVELOPMENT

HERBERT CHAIR: As the eponymous character, Herbert Chair embodies the oppressor whose rule is characterized by cruelty. He wields the power entrusted to him to instill fear and terror in the community. Herbert is a flat character, consistently engaging in acts of evil. Throughout the play, he continually praises himself and misuses his authority. Ironically, he never anticipates that his death would come at the hands of the very civilians he derides. Ultimately, he dies without ever acknowledging his wrongdoings.

PELEWURA: If I were to describe his personality, I would say he is brave, and his bravery results in resistance against oppression. He is a round character whose journey evolves through circumstances. I would also say he embodies both consistency and inconsistency in characterization, moving from being a victim to becoming an overcomer. Pelewura is a lover, a husband, and an expectant father, but this joy was tragically destroyed by Herbert’s cruelty. That particular act spurred him into action. He is also portrayed as a talented sculptor, and through his conversation with a customer, we learn that he is a graduate. However, the harsh economy forces even educated people like him to struggle just to afford a decent meal. Although fictional, Pelewura reflects the reality of many in society today, making him highly relatable to the audience.

AMOPE: She is Pelewura’s beloved wife, who is heavily pregnant and runs a pepper soup store with his assistance. Amope becomes a tragic victim of Herbert’s terror when he violates her, leading to the premature birth and death of their child. This cruel act leaves her broken and traumatized, and the performance effectively communicates her suffering to the audience.

ABASS: Abass seizes power by overthrowing the civilian government and assumes the presidency, promising to improve the economy. However, his military rule fails to live up to expectations, reflecting the cycle of political betrayal.

NUMBER ONE: A corrupt female representative, she pretends to support women but instead deceives them. She convinces the president to hold a false dialogue with the citizens. In one memorable moment, the women leader declares: “If the head, with the help of the eyes, mouth, and ears, cannot think reasonably and take action on its own, then it should transfer its position to the buttock.” This metaphor highlights the failure of leadership and the selfishness of those who cling to power despite their incompetence.

3.                                DIRECTORIAL CHOICES

The production was a creative masterpiece. The director, Sunde Sejiro, took the liberty to adapt the script by cutting some scenes and adding others to make the show more engaging. For instance, the opening scene with the Chibok Girls was his creative insertion. Sejiro employed Brechtian techniques, which elevated the performance by breaking the fourth wall. In the final scene, when Pelewura asks the audience whether he should give Herbert the antidote, the audience responds, making the show interactive and encouraging self-reflection.

Another strength was stage balancing—the careful positioning of actors on stage created good picturization. The stage movement was generally effective, though some actors moved mechanically, which slightly reduced the natural flow. There was no masking, but the director’s overall choices ensured that the production remained captivating.

4.                                ACTING PERFORMANCE

The acting in the production was commendable, with the director working with passionate actors. Pelewura’s played by AKAMO ABDULHALI; his performance stood out as exceptional. His dialogue delivery, facial expressions, body language, and stage movement were strong. One of his most emotional moments came when he reacted to the violation of his pregnant wife, a scene that moved the audience deeply.

Amope, played by CHINYE MARY ADAOBI, also gave a powerful performance. Her portrayal of grief and trauma was so convincing that the examiner rose to applaud her during the curtain call.

Herbert Chair, played by DARAMOLA AYOMIDE, embodied the character’s personality with energy and action. However, his dialogue rendering was not as strong as expected. Though he has a naturally strong stage voice, his attempt at voice coloration and accent made his delivery less audible. Despite this, he still managed to inhabit his role convincingly.

Some actors, however, did not sustain their characters consistently. For instance, Abass, played by RAJI OYINLOLAMI, could not play it out well, although Oyinlola is a good actor onstage.  As a military leader, he did not fully embody the physical traits of authority expected of such a role.

Additionally, some actors’ stage movement was predictable and mechanical, though their motivation was clear.

5.            TECHNICAL ELEMENTS: SET DESIGN, LIGHTING, PROPS, COSTUME, AND MAKEUP

The technical elements contributed significantly to the aesthetic of the show. The set design was simple, painted white and brown, though it did not always blend well with the costumes and lighting on stage. While the symbolic meaning of the set became clearer after reading the director’s note, its execution appeared slightly inconsistent.

Props were effectively used, and the minimalistic approach worked well in most scenes. However, certain accessories, such as bandanas and handkerchiefs, did not fit the period setting of the play. Costumes and makeup were functional, though they could have been more refined for authenticity.

Lighting supported the mood of the play, particularly during emotionally charged scenes. The use of songs was another strong element: they heightened the mood, provided entertainment, and blended smoothly with the dialogue without interrupting the flow of the action.

6.                                THEME OF THE PLAY

1.       The cycle of Oppression

Power shift, but the suffering of the people remains constant or even worse. From One Oppressor to Another

The play begins with the civilian government, which, though elected, becomes complacent and fails to serve the majority. (Leader and president Discussion)

The military regime steps in, claiming to restore order—but instead, they become even more brutal. (Abass)

This shift shows that changing leadership doesn’t always mean liberation. The people moved from neglect to outright terror, as posed by Herbert Chair. 

This kind of political oppression still exists among our leaders today, which makes Herbert Chair deeply relevant in our time. The play reflects ongoing struggles for justice and accountability, reminding us that the fight against tyranny is far from over..

2.       Theme of resistance

The play is an instrument for majority advocacy, subtly cohering with the contemporary, the cruelty, negligence, selfishness, and corrupt political oppressors. What can we say, the government refuses dialogue with the citizens, sweeping them completely under the carpet?  At the beginning of the play, the Market women protest against the lack of security and danger exposure that the president is reluctant to address, underestimating their worth.

Pelewura’s Resistance and the Breaking Point

•    Pelewura, a simple sculptor, represents the oppressed who finally say “enough.”

•     His decision to poison Herbert and his soldiers is a desperate act of justice, showing that when oppression becomes unbearable, the oppressed may retaliate.

•    Yet, this act also raises questions: does fighting evil with evil break the cycle—or continue it?

3.       Marxism in Herbert Chair 

Although Herbert Chair is an adaptation, the play deeply explores Marxist themes. It stands firmly with the oppressed masses, urging individuals to take responsibility and confront their oppressors. Through the dramatization of Nigeria’s three major religions, the play questions their role in survival, showing that fate is not dictated by faith alone—but by the actions of individuals.

Pelewura emerges as a powerful symbol of resistance. His character challenges the audience to reflect on their own choices and the systems they uphold. The play boldly advocates for a classless society—because truly, the majority deserves to breathe. The oppression is overwhelming. We witness how the people, already struggling to survive, are pushed further into hardship after the civilian government is sacked. Instead of relief, the situation worsens. The play is rich with thought and action, nourishing the mind while provoking change.

4.       Agitation and propaganda (Agitprop)

The performance is a didactic one indeed, A performance that does not just entertain but agitate, educate, and mobilize. A satirical play that exposes the policy or action of the military removing a civilian government during the Abacha Regime, called a military coup or coup d'état. It refers to a sudden and illegal seizure of power by the armed forces, often justified as a move to restore order or correct governmental failure. However, it usually bypasses democratic processes and can lead to authoritarian rule, as seen in Herbert Chair. The play is set in the era after Shonekan was overthrown in a palace coup led by General Sani_Abacha on 17 November 1993, and this marks the last Military Coup in Nigeria.

In conclusion, the performance of Herbert Chair successfully fulfilled its theatrical elements and brought the director’s vision to life. It was a captivating show that entertained the audience and educated them, sparking reflection on issues of oppression, corruption, and resilience. The blend of strong performances, Brechtian techniques, and creative directorial choices ensured that the production resonated beyond the stage. Overall, Herbert Chair was more than a performance; it was an artistic experience that left the audience both moved and thoughtful.

Images by Afeezsmart; captured during the live performance.

Pelewera and Amope, when tragedy hits

The defeat of Herbert Chair

Director Sunde Sejiro, during the curtain call.

Herbert Chair played by DARAMOLA AYOMIDE.

Need more images from the production? Click here.

REFERENCE

Adisa, Imoleayo, adapter.  Herbert Chair: Adapted from Gbemisola Adeoti’s Bamboo Flute,        

 unpublished play script.

Herbert Chair. Directed by Sunde Sejiro, performed by Ayomide Daramola, LASU Theatre Arts,

Theatre Art and Music Auditorium, Lagos State, 17 Sept. 2025.