HOW NIGERIA IS AT CROSS ROADS:A Review of Gegebaseran's Play, ‘…exit of alagbara’

     For years, the morass of the political dire in Nigeria is appalling every day. More than what one can just meddle on, it needs critically philosophical approach to correct the hills surrounding the nation. This started at the early age of independent when rogue people, with their kleptomaniac fingers cut the national cake, kept it in their greedy pocket, which the people who sow the fruits of the country are now in the shadow of forgotten tales, so the nation started unimaginable journey on the famished road.

    , So, in great concern, Gegebaseran in his fifty-one-page social satirical play, ‘…exit of alagbara’ portrays egregious minds, having lost conscience for the development of the nation, but in their effort, promoting their selfish mindset rather than being selfless. Surprisingly, the corruption being portrayed in the play circled round the spheres of human endeavors. Both the leaders and the followers are regarded as the ambassadors of doom. Leaders, the advocates of corruption coupled with the masses’ aides, allowing the root of venality to germinate to the door of each soul in the country.

     The rogue people are those found in the realm of politics. In the play, the playwright portrays the socio vices found amongst the politicians in the country; using their wealth to oppress the masses, and, in the course of their actions it is the members of the public being used to carry out their evil deeds. Especially during the period of election, the able bodied men are used to rig the election and by power acquired through the social class, those who meddle in their line, the splash of debauched minds will cover their soul.  So in the play, Alagbara is being used as the caricature of the political aspirants in the country-seeking political power by hook and cook, rigging in election becomes his culture just to be in political office. Imagine Alagbara, a political aspirant, using young men on the street to accomplish their macabre nature of violence.

     Police even straddle on the shore of corruption, as it is being described in the play; they serve as the ambassador of doom for the nation. Instead of protecting the lives and property, masses are on red light when police vow to protect them—in the long run killing innocent soul. Those who hold the elm of security are the elements used by the politicians. In the play, Inspector Odaran, the head of police accepts bribes purposely to speak in favor of Alagbara in the court, that Alagbara never engage in rigging. But no matter how humans are the road, everyone will not go in the same direction, so Bodunrin, a police officer goes against the act of collecting bribes in all forms. The honest ones never live long on earth; Bodurin visits his ancestors while going for the duty—shot dead by unknown stray bullet and swim in his blood.

     Religion is also the abode of sinful mind according to the playwright. Politician (Alagbara in the mystery collusion with pastor in church), clergy makes abode for the enemy of progress in the country to germinate in the house of God so that people who belong to their religious realm entrust them with public affairs. Alagbara, to show that he is powerful by money; he gives a bribe to pastor so that he will be acclaimed as the future leader who will transform the country positively. But for the clergy to change the evil mindset of Alagbara, man of God works hand-in-hand with the rascal.

     As a satirical play, the characters in the play are highly visionary. They are created to represent the folk of particular people in the society-giving the characters names that will paint the pictures of their actions to the mind of the readers. They are all the epitome of upper, middle and lower class in relation to their social interactions. All their names are coined in Yoruba language, giving the impression of their actions. From the upper class, Alagbara means the powerful fellow, while at the middle class, Inspector Odaran, that is the Inspector of police who is also a criminal, Rikuyo means sought death with bliss while Bodurin and Amope the protagonists of the play only maintain the image of virtues but Morenike, Bodurin’s wife goes against the pious mind of her husband. Except Bodurin and Amope, other characters are foes to the society.

     Written with high powerful diction, the language of the play is culture based. By using some using Yoruba terminologies to show the appearance-giving the insight of the social class each character belongs, thus the readers without hesitation can say much about the class of the characters.

      The play, ‘…exit of alagbara’ is a satire written to be performed both on the stage and public places like pubs, market places even on the street so that through writing, the hills of the society will erase. But the language of the play is so abstruse to the extent that a common man on the street cannot understand it at a glance. The playwright should have dwelled his diction in the simple realm so that everyone will give meticulous explanation to the story line. But kudos to the playwright for his linguistic competence—free from errors.