A Performance Review of Uwa Hunwick’s The Black Star (The Teacher of Africa)
Staged at the Commonwealth Amphitheatre, University of Ghana, September 19th–21st, 2025
Synopsis of the Play
The Black Star (The Teacher of Africa) is a musical play that pays tribute to Ghana’s first president and Pan-African visionary, Dr. Kwame Nkrumah. The production dramatizes his life, ambitions, triumphs, struggles, and eventual fall.
In the play, “the Teacher” (Nkrumah) leads his people on a bold journey to achieve his dream of a United States of Africa. This vision, however, divides opinion. Some embrace his ideals, while others resist the sacrifices required. In pursuit of his goal, the Teacher incorporates traditional religious practices, invoking lesser gods, a decision that sparks sharp criticism from the Pastor, who accuses him of abandoning Christianity.
The Teacher also takes political action: he dismisses his Minister of Transport for incompetence and unknowingly imprisons his own son, Sentwa, who is of royal descent. Senchi, a central antagonist, aligns with opposition forces and is accused of treason. Despite repeated pleas, the Teacher refuses to release him.
Summoned by the King for trial, the Teacher faces a test alongside his Minister of Culture. To everyone’s surprise, they pass the challenge by interpreting talking drum messages and the Adinkra symbols displayed by the chief priest and the cupbearer. However, the hidden purpose of the trial is revealed: Sentwa is, in fact, the Teacher’s illegitimate son. Overcome with grief, the Teacher nevertheless insists that nothing not even his own bloodline can distract him from his African dream.
The climax exposes the darker side of his rule. The countrymen accuse him of egotism, abuse of power, and silencing opposition through the Preventive Detention Act. Demonstrations erupt. The Teacher flees to a hideout, but while abroad he is overthrown in a coup d’état. He later dies in exile. Ironically, the people, now suffering under military rule begin to long for his leadership again, but it is too late: he has already departed into “the land of the silent.” . A new leader then comes to their rescue and the play ends.
Cast and Production
The play featured powerhouse performances, with Nollywood actor Segun Arinze and Ghanaian stage icon Andrew Tandoh-Adote in the lead roles. They were supported by a cast and crew of nearly 100, including Gadede Segbefia, Grace Orleans-Lindsay, Amanda Jissih, and Nana Sam.
Produced by the Africa Arts Network and directed by Emmanuel Ato Ghartey, the play functioned not just as entertainment but as a cultural statement. It celebrated African unity, heritage, and the shared history of struggle. This review focuses on the second performance, staged on Saturday, September 20th, 2025.
Acting
The production opened with a rousing rendition of the patriotic song “Yɛn Ara Asaase Ni.” Ritual dances, a voice-over announcing, “Here is the Teacher of Africa,” and dramatic stage movements combined to produce a powerful opening spectacle.
The Teacher (Andrew Tandoh-Adote)
Andrew Tandoh-Adote embodied the persona of Nkrumah with conviction and skill. His vocal intonation, pauses, gestures, and stage presence reflected both the charisma and determination of Ghana’s first president. His blending of song and dialogue demonstrated versatility, while his performance of libations and ritual gestures added aesthetic authenticity.
Key moments included his authoritative dismissal of the Transport Minister, his masterful interpretation of Adinkra symbols, and his deeply emotional confrontation with Sentwa. His climactic statue-like freeze during his escape into exile stood out as a breathtaking theatrical moment, symbolizing Nkrumah’s immortalized presence in Ghanaian memory.
The Pastor/Chief Linguist (Kwabena Okyere)
Kwabena Okyere skillfully handled two contrasting roles. As the Pastor, his denunciations of Nkrumah’s turn to traditional religion were convincing and thought-provoking. Later, as the King’s linguist, he distinguished himself with authentic intonation and carefully measured delivery. His appellations to the chief during the durbar created a solemn yet celebratory atmosphere.
The King( Nana Karika)
The King commanded the stage with authority. His voice projected power, and his demeanor reflected dignity. His conflict with the Teacher felt real and tense. The revelation scene—when he disclosed Sentwa‘s true identity was executed with gravitas, reducing the Teacher to tears and exposing his humanity.
Sentwa (the Teacher’s Son)
Sentwa’s performance was layered with bitterness and defiance. His rivalry with the Teacher, his insults, and his scheming with conspirators were convincingly staged. His eventual arrest and imprisonment evoked pity, while his tragic death aroused genuine fear and sadness in the audience. His role was central to the emotional depth of the play.
Rose Pen (Gadede Segbefia)
As Senchi’s lover and later a journalist, Rose delivered a memorable performance. In her intimate scenes with Sentwa, her whispered warnings conveyed both tenderness and urgency. Her shocking line, “I have your child,” added suspense. Later, in her journalist role, she became the voice of the masses, expressing discontent with the Teacher’s rule. Her final mourning of Sentwa, coupled with her screams when flogged, drew deep empathy from the audience.
The Secretary (Amansa)
Professional and precise, the Secretary convincingly managed the Teacher’s schedules and announcements. Her interactions reflected the decorum of a post-colonial Ghanaian political office, grounding the play in realism.
The Transport Minister
His verbose speeches entertained the audience and showcased his character’s pompousness. His later conspiracies against the Teacher were acted with conviction, making him both humorous and menacing.
The Minister of Culture
Vibrant and expressive, she engaged the audience with her musicality. Her drumming scenes were suspenseful and skillfully executed, while her dance embodied cultural pride.
Madam Chichi (the Teacher’s Lover& Sentwa‘s mother )
Her portrayal was passionate and intense. Her anger at Nkrumah’s abandonment, her pained pleas for him to release their son, and her heartfelt singing created some of the most emotionally charged scenes in the play.
The Countrymen/Crowd
The chorus of countrymen energized the performance with chants, songs, and dances. Their encouragement of Nkrumah at crucial moments gave life to the unity theme. However, during the protest scenes, the simultaneous shouting made some dialogue unclear to the audience.
The Cupbearer
Comedic and lively, the Cupbearer provided much-needed humor, especially during the durbar scene. His energy was infectious.
The Dancers
From the exposition to the final act, the dancers captivated the audience. Their ritual and social dances embodied African cultural heritage. The lead dancer, symbolizing Africa, and the Kete dancer delivered particularly outstanding performances.
Busunga (the Teacher’s Advisor)
Calm yet firm, Bosanga balanced loyalty and tyranny in his dual roles as Senchi’s replacement and the Teacher’s caretaker during exile. His counsel to free Sentwa was tender and persuasive, showing his emotional range.
Sentwa’s Uncle
His confrontations with the Teacher were fiery and convincing. His boiling temper contrasted well with the Teacher’s cold determination, adding tension to the plot.
Guards and Soldiers
They convincingly portrayed both order and brutality. Their maltreatment of the countrymen during the coup scenes was chilling, while their discipline in protecting the Teacher’s house was credible. They maintained character throughout.
Backing Vocalists
Their harmonies enriched the play, sustaining mood and atmosphere in key moments. Great performance by the chorus.
Technical Aspects
Lighting & Sound
Lighting
The lighting design was generally effective. Spotlights were well used to highlight key performers such as the Teacher and the singers, creating strong focal points and guiding audience attention. The stage was well-flooded with light, ensuring visibility throughout the performance.
However, the differentiation of lighting between day and night scenes could have been sharper. Likewise, more deliberate use of color to achieve emotional effects would have strengthened certain moments. For instance, a softer blue light could have conveyed the romantic chemistry between Rose and Sentwa, while a red glow could have emphasized the pity and intensity during Senchi’s death. These subtleties would have deepened the emotional connection.
Sound
The sound design was very good overall. Sound cues such as suspense tones, sorrowful music, and gunshots added vibrancy and enhanced dramatic tension. The coordination between the sound team and the live band was particularly commendable, creating a strong sense of chemistry and rhythm between live and pre-recorded elements.
Nevertheless, there were a few challenges. At one point, some microphones failed to work properly, which slightly disrupted dialogue delivery. The sound at the prologue was also too loud, overwhelming the audience. Additionally, there was a slight delay with gunshot effects, which momentarily weakened the believability of those scenes.
Set & Props
Set
The set design was carefully thought out and visually striking. The multi-level building created a sense of authority for the Teacher whenever he spoke from above. His residence was beautifully designed with a large African map model, visually reinforcing his vision of a united Africa. The shrine, heavily decorated, captured the aura of traditional religious practice.
The set was used effectively by the actors, though certain elements could have been integrated more fully. For instance, the Teacher rarely interacted with the shrine, missing an opportunity to reinforce his faith in traditional spirituality. Likewise, the bookshelves filled with symbolic texts remained untouched. Had the Teacher picked up a book or even gestured toward them, it would have illustrated his intellectualism and love for knowledge.
Props
Props were effectively incorporated to build authenticity and context. Everyday items such as files, cups, bottles, and newspapers grounded the scenes in realism. Traditional props like calabashes, gourds, baskets, yams, swords, and watermelons were well employed in ceremonial sequences to welcome and honour the Teacher. Royal items such as stools, linguist staffs, drums, the royal umbrella, and whips further enriched the durbar scenes. Military props including guns and glasses helped make the coup sequence believable.
Costume & Makeup
Costumes were thoughtfully chosen and supported characterization. The Teacher and his ministers wore attire that reflected postcolonial leadership. The Pastor/Linguist’s outfit distinguished his dual role, while the fetish priests were strikingly dressed in raffia skirts with powdered bodies. Rose’s costumes suited both her romantic and journalistic roles, while dancers’ vibrant outfits added colour and energy. The King’s regal attire and the Queen Mother’s adornments captured traditional authority and dignity, while the cupbearer, soldiers, and police were dressed convincingly to fit their stations.
Makeup was also well executed. It illustrated the suffering of the masses during the coup, with visible marks of starvation and hardship. Darkened lips and body marks on some performers created striking visual contrasts, deepening the realism of their conditions.
Music
(Song – Aya ei Ayaya ei)
Audience Reaction
The audience was visibly engaged throughout the production. Highlights such as the Teacher’s freeze into a statue-like pose of Nkrumah, Rose’s dramatic revelations, Senchi’s imprisonment, the Pastor’s bold accusations, and the energetic dances consistently drew strong reactions. Laughter, gasps, and applause punctuated key scenes.
By the conclusion, the theatre erupted in sustained applause. Many audience members appeared visibly moved, leaving the amphitheatre inspired and reflective of the legacy of Nkrumah and the broader Pan-African dream.
Conclusion
Overall, the play successfully captured the Pan-African ideals of Nkrumah while also critiquing the contradictions of his leadership. The production was visually and musically rich, with strong acting and immersive technical support.
However, a few areas could be improved. The play occasionally suffered from anticlimax, and some scenes were drawn out, making the performance longer than necessary. Additionally, several actors played multiple roles, which created confusion at times; the use of voice modification or clearer costume changes could have enhanced differentiation.
Despite these minor flaws, the production was a remarkable achievement—a celebration of African heritage, leadership, and the enduring vision of unity.
I rate this production 9/10
Written by Mensah Junior Raphael, BA Theatre Arts, UEW.
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