A Performance Review of Ebo Whyte’s “Voices In My Head” Staging At The National Theatre, Ghana on the 5th,6th, 7th,12th ,13th and 14th September,2025.
Synopsis of the Play
Voices in My Head is a stage adaptation of Uncle Ebo Whyte’s novel The Deal. It captures the ordeal of Cheslie, a gospel star whose fame and love life collapse under the weight of scandal. Stripped of her crown and drowning in shame, she is unable to move on after Pateku, her ex-boyfriend, leaves her for another woman. She continues to battle with two voices in her head: the Angel, who is a beacon of hope and strength, and the Devil, who constantly reminds her of her shame and guilt, pushing her towards suicidal thoughts.
While experiencing paranoia, she is visited by Rod, another ex-boyfriend, who is also struggling with his marriage. Rod’s return brings both comfort and complication, as he claims his happiness depends on Cheslie’s. His presence awakens a spiritual war for Cheslie’s very soul. In the end, the good voice triumphs over the bad, and Cheslie reforms, regains her strength, and resumes her journey into the spotlight.
The play was produced by Roverman Productions in partnership with the National Theatre, Ghana, and Joy FM.
This review offers an analysis of the theatrical elements acting, lighting, sound, costume, makeup, set, props, audience reaction, and overall impact. It focuses specifically on the second day of performance, at the 4 p.m. show on Saturday, September 6, 2025. Comments from other performances are not included here.
Acting
The production began with a prelude performance from a narrator-actor, who welcomed the audience with a soothing spoken-word introduction about the play. She engaged the audience especially when she said, “Welcome… Akwaaba—or should I say Oobakɛ?”a witty nod to the current debate on which greeting should be used at Kotoka International Airport. Her intonation and gestures enriched her characterization.
Beyond narrating, she served as a linking actor between the audience and the performers, later doubling as Cheslie’s vocal coach. She executed her role excellently, at one point transforming the theatre into a real-time church service with her melodious singing during praise and adoration scenes. However, there were challenges with her stage blocking. Her entrances and exits sometimes felt abrupt, as though she only appeared to deliver lines. Her transition from narrator to performer also lacked clarity. Additionally, her illustration of war drums (“tum tum”) was weak and could have been heavier to better match the dramatic tension. Despite these minor flaws, Adepa, who played the role, was captivating.
Cheslie
Cheslie opened the play on a powerful note and stole the show. She convincingly portrayed the torment of a woman trapped in a nightmare. Her screams, body movements, and breathing synchronized with the spectacle of demons attempting to destroy her, until the Angel’s timely intervention. Anastaklyn Darko, who played Cheslie, mastered the role and had strong chemistry with Rod.
Her performance during scenes of heartbreak, paranoia, and drug addiction was deeply moving. Her transformation from downtrodden despair to joy and rejuvenation after her symbolic bath was remarkable. Even small details, like the artistic way she ate Tuo Zaafi and reacted to it, added authenticity. Her singing voice was powerful, and her breath control allowed her to switch smoothly between singing and dialogue.
One highlight was her phone conversation with her ex, Pateku. Her facial expressions and tone conveyed desperation and longing, particularly with her soft, emotional line, “Hello, PKT…”
Also, the way she reacted to her leaked photos was believable to the audience, making them empathize with her. However, a technical lapse occurred when the phone’s screen light showed the home screen instead of caller mode, which broke the illusion. Overall, Cheslie delivered a stellar performance, especially in her heartfelt prayers and powerful transition back to faith, capped with her bold proclamation: “This is the doing of the Lord, and what God cannot do does not exist.”
Rod
Roland Amoah Awuah, as Rod, embodied the character of a supportive ex trying to help Cheslie reclaim her old self. His reaction to her messy, bottle-filled room was believable, and his efforts cleaning, making calls, serving her favorite food, and replacing alcohol with water felt authentic. He sang well, used gestures effectively, and connected warmly with the audience.
Rod’s phone call with his wife revealed remorse and made the audience pity him. However, some of his transitions were weak. For instance, he did not convincingly show surprise when confronted by the Angel, and he sometimes rushed his lines. For instance, when Cheslie asked him, “Tell me how you met her?” Rod’s response felt rushed. He could have paused for a moment and then recounted the story in a softer, more reflective tone to make the conversation more engaging and emotionally convincing Moments that required a softer, persuasive tone such as when urging Cheslie to bathe also came across somewhat forcefully.
Nevertheless, his comic timing was excellent, especially during the fake gunshot scene, where his exaggerated fall drew laughter. His energetic dance celebrating Cheslie’s new album, and his quick thinking while pretending to be Cheslie’s brother to the landlord, were memorable highlights.
The Angel
Richmond Anaman, playing the Angel, delivered a commanding performance. His baritone voice, lighting sword, and majestic presence created powerful stage moments. He consistently saved Cheslie from despair, whether in nightmares or reality, and embodied multiple personas, at times evoking J.J. Rawlings, J.E.A. Mills, and even Kwame Nkrumah in his freedom chants when met Rod and Cheslie in reality.
His transitions from invisible celestial being to visible human form were smooth and convincing. His performance of motivational songs, including a rendition of Captain Planet, was both inspiring and entertaining. Despite a brief mishap when he nearly dropped Cheslie, his stagecraft was outstanding.
The Devil
Philip Torgbor Mensah, as the Devil, was electrifying. From his dramatic entry, lifting the sofa on which Cheslie lay, to his sinister persuasions and convincing her to return to her ex, commit suicide, or fight Rod , he embodied evil convincingly. His hysterical laughter, twitchy body movements like someone with the Tourette syndrome, and moonwalk dance gave the role a unique flair of a devil .
He was a perfect foil to the Angel, recoiling during prayers and gospel songs. His comic interruptions lines such as “Liar, liar, boy,” “Aboa Kwasia,” and “Reverse miracle—turning alcohol to water!”!”, “You are not my friend, my friend ” and “Angel Asiamah!” had the audience laughing. His French-accented impersonation of Pateku during a phone call was another clever touch. His curtain-call fall, struck down by the Angel, ended his performance on a high note.
Supporting Cast
The two Angels added depth, opening the play with artistic movement and later shielding Cheslie with their glittering wings. Their swaying choreography created celestial effects, suffocating the Devil and his acolytes. Their harmonious backing vocals elevated the musical atmosphere.
The Devil’s acolytes also contributed effectively, especially in the opening scene. Their synchronized actions vividly depicted the battle of voices in Cheslie’s mind. Their collapse and disappearance alongside the Devil at the end while promising to return which mirrored the biblical teachings about evil.
Technical Aspects
Lighting & Sound
The lighting design did a superb job in amplifying the spiritual battle. The opening scene, filled with red light and smoke, vividly depicted Cheslie’s nightmare. Blue lighting and smoke introduced the Angel and his attendants, while deep red hues marked the Devil’s entrances. Lighting effectively distinguished the opposing realms of good and evil.
Sound effects were equally precise. From eerie nightmare sounds to the knock on a door, dogs barking, phone ringtones, whipping effects, and gunshots, each cue was perfectly timed. The orchestra also deserves praise for playing live alongside the performers, blending dialogue and music seamlessly. A minor hitch occurred when the Devil’s lapel microphone failed briefly, but it was quickly fixed.
Set & Props
The set was carefully designed and visually pleasing. Cheslie’s house was decorated with awards, flowers, and piano keys at the entrance, highlighting her status as a celebrated gospel star. A framed portrait of Cheslie might have reinforced the sense of ownership and fame.
The Devil’s and Angel’s domains were strategically placed, with attendants hidden in clever spots. Making the Devils appear from beneath the stage was such a spectacle .
Also, Props including champagne, glasses, a gun, a lighting sword, masks, bottles, phones, plates, bowls, sofa, flower pots, candles, and whips were effectively used. However, Cheslie’s awards could have been touched or acknowledged more, either by her or Rod, to evoke nostalgia or inspire hope.
Costume & Makeup
Costumes were well-chosen and supported characterization. Cheslie appeared disheveled with makeup to show drug abuse in the opening, later transforming into more refined outfits as she healed. Rod’s costumes, including a hat and wristwatch, reflected his social status.
The Angel’s costume, reminiscent of Captain Planet, contrasted with his attendants’ classic white robes and glowing wings. The Devil, in red trousers matched with his acolytes, looked appropriately menacing. Makeup across the cast was subtle but effective, adding to realism.
Music
Music was integral to the production. Every major character had songs, reinforcing emotions and themes. Pieces included:
Yeshua Hamashiach by Nathaniel Bassey
Smooth Criminal by Michael Jackson
Yesu adi Nkunim
Things Fall Apart by Kofi Kinaata (sung by an Angel, critiquing church hypocrisy)
Na Anka Ebeye Den by Nana Acheampong
Captain Planet (theme song)
Bronya by Wutah , etc
These musical interludes enhanced characterization, provided variety, and deepened audience engagement.
Audience Reaction
The audience was thoroughly engaged throughout. Many empathized with Cheslie, even comparing her struggles to those of real-life gospel musician Joyce Blessing. Applause followed nearly every scene. The banter between the Angel and Devil particularly delighted the crowd, while Cheslie’s prayers drew quiet emotional reflection.
The narrator and Cheslie often transformed the auditorium into a worship space, inviting the audience to sing along. The Devil’s playful insults sparked bursts of laughter, while the Angel’s echoes of Ghana’s past leaders Nkrumah, Rawlings, and Atta Mills struck a chord with national pride.
By the end, the theatre erupted in applause, with many leaving visibly inspired.
Conclusion
Voices in My Head is a powerful, faith-driven production that blends humor, music, and spirituality to tell a story of redemption. Roverman Productions once again demonstrated mastery of theatre that entertains while provoking reflection on contemporary issues like shame, scandal, resilience, and spiritual warfare.
Despite minor flaws in transitions, technical cues, and blocking, the performances especially those of Anastaklyn Darko (Cheslie), Richmond Anaman (Angel), and Philip Torgbor Mensah (Devil) were remarkable. The synergy of acting, music, and spectacle left the audience inspired and entertained.
This production is not only a testimony to Uncle Ebo Whyte’s storytelling but also to the enduring power of Ghanaian theatre to confront life’s deepest struggles with hope and laughter.
I rate this production 9.6/10
Written by Mensah Junior Raphael, BA Theatre Arts, UEW.
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