A Performance Review of Ebo Whyte’s “Order for Four ” Staging At The National Theatre, Ghana on the 28th, 29th, 30th November to 5th,6th, and 7th,December,2025.
Synopsis of the Play
Order for Four is a musical drama that explores the intertwined lives of four individuals who meet at a hotel through a series of coincidental arrangements. June sets up a perfect date for Ekua who recently resigned from a bank job to pursue a kente-weaving business. The plan is simple: a mystery date with a little wine, some laughter, and perhaps a spark of romance. Coincidentally, Akua also invites her friend Ankobra to meet her at the same venue.
However, the unfolding events complicate what should have been a pleasant evening. Ekua discovers that her supposed love interest is someone who makes her blood boil, leading her to fail KC’s test of patience and emotional restraint. Meanwhile, Ankobra gets into a heated confrontation with his ex-wife, June, as they revisit memories of their failed marriage, which had collapsed partly due to sexual dissatisfaction on Ankobra’s part.
What begins as a romantic setup gradually becomes a cocktail of rivalry, love, and emotional fireworks. At the climax, KC supports Ekua’s entrepreneurial ambitions by financing her trip to an entrepreneurship conference in London—an act that warms her heart, though she struggles to openly confess her feelings for him. In a dramatic twist, Ankobra, desperate for political power to secure his reputation and marriage, attempts to poison his best friend KC but ends up poisoning his own brother instead.
In the falling action, KC forgives Ankobra, and Ekua finally gathers the courage to express her feelings.
Order for Four was produced by Roverman Productions in partnership with the National Theatre, Ghana, and Joy FM.
This review provides an analysis of the theatrical elements—acting, lighting, sound, costume, makeup, set design, props, audience reaction, and the overall impact of the production. It focuses specifically on the performance staged on Saturday, December 6, 2025 specifically the 4pm show. Comments from other performances are not included.
Acting
The production began with a prelude by The Roverman Acapella Voices, whose vocals were impressive. Their rendition of “I am saved like the criminal on the cross… Praise God I am saved” and “See the Holy City, Meet the Lord” was well performed. Initially, I wondered whether these songs had any connection to the play, but this became clear when they linked the lyrics directly to the title: “I am going to watch the play, The Order for Four…”
The second performer, Ama, sang the “Hallelujah Song” beautifully. Her strong vocals and expressive facial gestures enhanced the performance and prepared the audience for the opening of the play. However, the introduction of the actors after their dance felt unnecessary. It broke the illusion of the dramatic world and delayed the actors’ transformation into their characters, especially since they had just introduced themselves as performers moments earlier.
JUNE
June opened the play powerfully and quickly established herself as a standout performer. Ernestina A. Twumasi, who played June, convincingly portrayed a woman who owns and commands the cafeteria space. Her initial interaction with Akua was believable and captured the nostalgic excitement of reuniting with a long-lost friend. Their chemistry was natural and engaging. Her humorous line, “I like sex too,” was delivered with perfectly matched facial expressions.However, she tended to rush her lines, which affected clarity and made some moments lose emotional weight. Incorporating more vocal inflections could have improved this. Additionally, her telephone conversations lacked clear distinction from her dialogue with onstage characters, making the transitions less convincing.
Her portrayal of the pastor during the mock wedding ceremony between Akua and KC also needed a smoother transition. On the other hand, her reaction to seeing her ex-husband, Ankobra, was excellent. She captured nervousness, discomfort, and suppressed resentment effectively. Her admission that she never enjoyed their sexual relationship and her disapproval of his political ambitions were believable and emotionally grounded.
June’s reaction to Ankobra’s failed poisoning attempt was breathtaking. Her comedic timing was also strong, winning the audience over with lines like, “When Jesus said ‘It is finished,’ He meant our relationship.” One undeniable strength she brought to the stage was her vocal range. She hit the right notes effortlessly and often appeared to enjoy the singing segments more than the acting. Her performance of “This Girl Is on Fire” in support of her friend was particularly memorable.
AKUA
Akua was also exciting to watch and truly stole the show. Roxanne Bougsin Koffi convincingly projected the strong bond she shared with June—the lively “ladies’ vibe”. Her sharp criticism of the double standards of politicians was spot on. She also demonstrated resilience by ignoring detractors who thought she would fail after leaving the banking sector to venture into the Kente business. Akua handled her lines well and her anticipation for her date with KC was believable. The confrontation between Akua and KC worked well, and the banter between them was engaging, allowing the audience to appreciate how quickly she lost her temper, ultimately making KC win his bet with June. Akua clearly admired KC’s six-pack but pretended otherwise when he removed his shirt after getting hurt. Her reaction when she attempted to hug Charles but quickly remembered they were not on good terms forcing her to withdraw was done well. And her gradual acceptance of the nickname “Akua Wednesday” was nicely executed.
Additionally, she celebrated her London trip with genuine excitement, but her mood quickly shifted when she learned Abrantie had been arrested for slapping KC. Akua and KC sang beautifully together, and their chemistry—especially in “One more dance”—was strong, supported by expressive gestures and actions. Her duet with June was also beautifully performed, capturing the softness of romantic anticipation and emotional vulnerability.
However, a few challenges were observed. Her transitions between dialogues were sometimes abrupt, and her pauses and vocal inflections were not consistently strong, especially in scenes with KC. The moment she looked at her old picture was too swift; lingering a little longer would have enhanced the emotional beat. Furthermore, although her adoption of a British accent after her two-week stay in London was humorous and initially effective, her inconsistency in maintaining the accent weakened the spectacle. Also, when she attempted to gossip to June about KC’s supposed new baby in South Africa, she did not check whether KC was actually gone before revealing the gossip.
Aside from these minor issues, Akua delivered a powerful, memorable performance and was one of the standout actors of the night.
KC
Philip Torgbor Mensah, as KC delivered a performance filled with great charisma, especially in his portrayal of a wealthy man. He succeeded in provoking Akua, testing her temper, and ultimately winning the bet. The banter between Akua and KC was engaging, and their chemistry particularly when their love story was ignited,was convincing. His rapport with his political opponent and friend, Ankobra, was also impressive. The two handled the phone conversation excellently, making it feel like a real phone-in segment.
KC, however, occasionally rushed through his lines. Upon his return from South Africa, his announcement of his presence was strong, and his attempt at a South African accent was commendable, though not consistent. The confrontation and fight between Ankobra and KC following the poisoning attempt felt real, and KC transitioned well into offering help to the culprit afterward.
A key challenge was his narration: his story about meeting Hon. Commey and his journey to success felt rushed and lacked the solemn tone it required. Similarly, the account of how his parents died before he was born was hurried. Additionally, KC did not convincingly look like someone who had wrestled or been injured—he appeared too comfortable, making the attack seem staged.
ANKOBRA
Kenneth Ollenu was also exciting to watch, fully embodying the presence and confidence of a political figure. His entry was strong, and his interactions with KC and Akua were playful and enjoyable. The conversation between Ankobra and June about their failed marriage and his pursuit of younger women was well-delivered and humorous. His discussion of his political journey and presidential ambitions was also convincing and well-acted.
Ankobra’s proposal to Akua was handled smoothly, and his performance during the live-show phone conversations was commendable. He effectively switched his voice during phone scenes; however, the visible WhatsApp chat on his phone screen during one call slightly disrupted the illusion of realism.
His moment of drunkenness was very believable . His gestures and facial expressions added depth to the scene. Additionally, the way he confessed to June in the falling action, claiming he had now learned new sexual positions, was both hilarious and well-acted. His remorse following the failed poisoning attempt also felt genuine. Overall, Ollenu delivered a captivating and thoroughly enjoyable performance.
Technical Aspects
Lighting Effects
The lighting design for the production was generally satisfactory. The fade-in and fade-out transitions were well executed, though they could have been enhanced for greater dramatic effect. One notable limitation was the absence of lighting cues to indicate changes in time; the scenes appeared to take place largely in the afternoon, creating a lack of visual variation. For example, the date scene in the opening should have featured blue tones or more colourful lighting to create a romantic atmosphere. Similarly, the intimate moment between KC and Akua during the performance of “Darling is Ill” would have benefited from soft blue lighting to heighten the mood.
Additionally, there were no special-effect lighting moments to accentuate key dramatic points. During the scene where June and Ankobra were conversing while Akua and KC were also engaged in dialogue, the lights should have dimmed on one pair to create a strong central focus on the other. This would have improved clarity and guided audience attention more effectively.
Sound Effects
The sound effects were good but left room for improvement. The phone call effects worked, but some could have included vibration tones, as people typically keep their phones on silent or vibrate during dates.In scenes involving chaos—such as the fight sequence—and the moment Akua spotted KC driving an expensive vehicle, the inclusion of a car horn sound would have strengthened the realism and enhanced audience immersion.
Finally, the police siren sound in the climactic moment was delayed, which weakened the intended dramatic impact.
Set & Props
The set was carefully designed and visually appealing, effectively illustrating a restaurant environment. The colour palette was appropriate, and the “Ivory Loft” brand inscription added a professional touch to the space. Props such as the saxophone chair, champagne bottles, glasses, disposable packs, Kente cloth food packs, sofas, pillows, flower pots, and flowers enhanced the aesthetic beauty of the stage. Other props, including watches, papers, and mobile phones, also complemented the performance. However, June’s bottles on the shelves was were touched, kept wondering the essence there. Additionally, after Akua’s return from the UK, the restaurant looked exactly the same, even though two weeks had passed; a slight alteration in the set could have visually communicated the passage of time.
Costume & Makeup
The costumes were well selected and supported characterization throughout the performance. Akua’s Kente outfit promoted her brand and matched the vibrant appearance of someone going on a date. When she returned from the UK, her costume reflected someone who had just come from overseas, which helped establish her transition. June was also appropriately costumed, often wearing orange, especially in scenes with her husband, creating a unified visual tone. Ankobra’s costume effectively portrayed him as a politician; the grey tones helped reflect his age and status. KC was suitably dressed as a wealthy gentleman, and when he was injured, the bloodstains on his outfit enhanced believability. Makeup across characters was consistent with their roles and contributed positively to characterization.
Music
Music was integral to the production, with major characters each having songs that reinforced emotions and themes. The live band performed excellently. Musical pieces included:
“Hallelujah” – Leonard Cohen
2. “I’m Alive” – Celine Dion
3. “Girl on Fire” – Alicia Keys
4. “So it goes” – Black Sherif
5. “Foko!” – King Paluta
6. “ “One More Dance” – Harry Belafonte & Miriam
These musical interludes enhanced characterization, provided variety, and deepened audience engagement.
Audience Reaction
The audience remained fully immersed from beginning to end. June’s impeccable comedic timing consistently triggered waves of laughter, turning even simple lines into memorable moments. Akua’s unpredictable actions and expressive reactions kept viewers alert, curious, and eager for her next appearance on stage. KC and Ankobra’s exaggerated bragging created a humorous tension that the audience clearly enjoyed, often prompting knowing smiles and spontaneous applause.
Collectively, the cast managed to pull the audience into the world of the play—people leaned forward during intense moments, nodded along during emotionally familiar scenes, and reacted loudly to surprising twists. By the final act, the enthusiasm in the hall had built into a warm, appreciative atmosphere, demonstrating the cast’s strong connection with the audience.
Conclusion
Order for Four was a well-crafted and engaging production that showcased both strong character work and thoughtful artistic choices. The use of music, humour, and dynamic performance energy contributed significantly to its overall success. While the transitions between dialogues and shifts in conversations occasionally felt abrupt, smoother pacing in these areas would elevate the storytelling even further.
Nevertheless, the production delivered a memorable theatrical experience—rich in creativity, emotion, and audience appeal. I confidently rate this performance 8/10, with the potential for an even higher score as the identified areas are refined.
Written by:
Mensah Junior Raphael,
B.A. Theatre Arts, UEW
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