A REVIEW OF EFO KODJO MAWUGBE’S “PRISON GRADUATES” STAGED AT THE SCHOOL OF CREATIVE ARTS THEATRE – UNIVERSITY OF EDUCATION, WINNEBA. ON 25TH – 27TH JULY 2024.
SYNOPSIS OF THE PLAY
The play is a political satire set in Ghana that tackles serious issues in a lighthearted manner. It shines a spotlight on various situations common in Ghana and more broadly across Africa. This includes the trend of young ambitious individuals paying significant sums of money to migrate in search of better opportunities abroad. The play also examines the “cash and carry” practices prevalent in the country’s healthcare system.
Through the use of satire and humor, the play provides a thought-provoking commentary on the socioeconomic challenges facing Ghanaian and African societies. It aims to engage the audience by presenting these complex issues in an accessible and entertaining way, encouraging reflection on the realities experienced by many people in the region. The play is an absurdist play and doesn’t have a moving plot only just back and forth.
The play was performed by a trio of final-year acting students from the Department of Theatre Arts – Edward Nana Yaw Aboagye, Bright Amoah, and Richmond Ofori Asante. This production served as their culminating final-year project, undertaken as a partial fulfillment of the requirements for the Bachelor’s Degree in Theatre Arts. In addition to the trio actors, the play was supported by some students within the department. Interestingly, this production was undertaken without a designated director. Rather than having a singular directorial vision, the student actors had to rely on their own mastery of craft to bring the play to life on stage. This creative challenge allowed them to take on a greater level of ownership and responsibility for the overall production.
This review captures only the performance on the 27th of July 2024, therefore, the performance of the previous nights (25th and 26th of July, 2024) won’t be included. The actors’ acting, costumes, lighting, sound, sets, and audience participation will all be highlighted in this review.
Acting is the art of embodying and portraying a fictional character or persona in a performance. This multifaceted process involves the use of a range of techniques and skills to breathe life into a character, whether on stage, in film, television, or any other medium. At its core, acting requires the performer to delve into the psychological, emotional, and physical dimensions of a character. Through rigorous training and constant practice, actors develop the ability to convincingly inhabit the persona of another individual, effectively suspending their own identity to become the character.
The play opens with the haunting melody of “Ebibiman” echoing through the prison cells. The somber song, sung by the inmates, sets the tone for the performance, conveying a ponderous sense of confinement and longing for freedom.
Amidst the chorus of voices, two prison officers stride onto the stage, their uniforms crisp and their demeanor authoritative. In a terse announcement, they begin to call out the numbers of the inmates who have been granted amnesty and are to be released from prison.
zyz24/34880 fm, www.com.963, PT 007/123/WOl and KW24/111/66, the senior officer intones, his words cutting through the melancholic atmosphere. At the sound of the numbers, they wear in place of their names. The four inmates hurriedly make their way to the stage, their movements infused with a sense of relief and excitement as they spring to life, their faces alight with joy and anticipation.
As the four inmates gather with a sense of relief and joy, the CHAPLAIN comes in with his oversized coat flowing gracefully. His voice, rich and resonant, carried a soothing quality that instantly commanded the attention of all present. He began his benediction, his words emanating a profound sense of empathy and understanding. The change in his demeanor from courage to fear was well registered as inmate number WWW.COM.963 voice laced with malice tried to attack him while hurling words at him. As tensions boil it erupted into a chaotic action as all three inmates try to stop inmate WWW.COM.963 from attacking the Chaplain, by grabbing hold of their colleague to restrain him while scolding him for his actions. Amidst the cacophony of shouts and the struggle to subdue the volatile inmate, it became increasingly difficult to discern the individual voices as they all seemed to be talking simultaneously. This phenomenon is very symbolic and asserts their individuality and sheds their prison identities, the inmates who took on new names.
Interestingly, the four inmates are granted amnesty or presidential pardon and they switch names and decide on what to do with the new freedom gained. ZYZ24/34880 FM, one of the inmates assumes his new role as ABUTU. Also, Www.com.963 into GOMIDO, PT007/123/WOI also adopts the name CHAKA, and lastly, KW24/111/66 also settles on the name BASABASA. The act of choosing these unique names suggested a determination to assert their individuality and break free from the constraints that had once been imposed on them. It was a hopeful gesture and a symbolic step towards reclaiming their humanity and their right to self-determination.
ABUTU
ABUTU being a Ga man in the play displayed his creativity by effortlessly singing the corrupted version of the South African national anthem in the Ga language. The lyrics, “Yo komishi kelewele Africa eyɛ bi mami shika kaaye ko. Bɛ ne mi sha jɛ mɛ ayeta, aaah aaah kelewele ta” . These were not part of the original script, yet Abutu incorporated them to spice up his performance though from the way he sang, the audience may know he is not an original Ga man, but he did try his best as it added a humorous twist to his character.
As the play progressed, he again captivated the audience with his remarkable ability to take on dual roles. Transitioning from his natural male persona to that of a female nurse, ABUTU showcased his versatility and commitment to the exercise of envisioning their post-prison professions. Despite his great efforts, ABUTU’S inherent masculinity continued to shine through, even as he attempted to adopt a more feminine accent and mannerisms.
Again, as the designated linguist for Abusuapanin (CHAKA), ABUTU exhibited a remarkable command of rhetorical devices and verbal emphasis, further captivating the audiences. ABUTU’S skillful use of figures of speech added depth and nuance to Abusuapanin’s dialogue. His eloquence and emphasizes on words that needed emphasis like; “Spit in my mouth that I may spit.” This smooth integration of eloquence and strategic emphasis demonstrated his deep understanding of the play. While ABUTU’S versatility and commitment to his roles were undeniable, one area that could have been further enhanced was his ability to infuse the appropriate level of playfulness and comedic timing, particularly in moments where the written dialogue called for a more lighthearted delivery.
Despite the inherent humor in some of his lines, he maintained a serious, almost stoic demeanor throughout much of the performance. In future performances, it would be valuable for ABUTU to explore the interplay between serious and lighthearted delivery, allowing his characters to organically transition between the two as the script demands. By fine-tuning his comedic timing and embracing the playful moments with the same enthusiasm as the more dramatic ones.
CHAKA
Throughout the performance, CHAKA emerged as the moderator among his colleagues guiding the group’s dynamics and facilitating the envision of their post-prison life. In his role as the moderator, Chaka demonstrated a keen sense of timing and an innate ability to read the room.
CHAKA’S diplomatic approach and ability to strike a balance between the diverse perspectives and personalities within the group were crucial to maintaining the cohesion and momentum of the performance. One of the standout moments in his performance was his transition from his primary persona as a man to that of a female nurse at the hospital. This role-switching showcase was particularly noteworthy for the level of commitment and attention to detail he brought to the portrayal.
In his portrayal as a female nurse, CHAKA meticulously emulated the mannerisms and behaviors of some of the hospitals’ female nursing staff. The application of lipstick, the careful combing of his hair, and the engagement with social media challenges all contributed to a convincing transformation that immersed the audience in the character.
However, CHAKA’S performance was not without its moments of subtle complexity. While he maintained a convincing feminine demeanor, his voice would occasionally betray his true gender, momentarily breaking the illusion. This duality added an intriguing layer to the performance, hinting at the inherent challenges of fully embodying a different identity.
Even as a patient (GOMIDO) lay in pain nearby, CHAKA’S nurse character remained focused on her social media activities, underscoring the complexities of modern healthcare and the competing demands placed on medical staff.
One of the most captivating aspects of Chaka’s performance was his ability to transition into the role of a would-be Abusuapanin in the future. In this persona, Chaka demonstrated a remarkable command of vocal and physical ingenuity, transforming his voice and demeanor to embody the mannerisms and gravitas of an experienced Abusuapanin.
The shift in CHAKA’S voice was particularly evident, as he was able to lower its timbre and add a distinctive rasp, instantly conveying the wisdom and authority associated with the Abusuapanin role. This vocal transformation was accompanied by a subtle change in posture, with CHAKA adopting a more measured, deliberate gait and a thoughtful, contemplative expression.
From the production, it can be seen that CHAKA is a well-educated character because he could read and understand, but the manner in which he mentioned a word like; zero as “zelo”, underrated him.
GOMIDO
GOMIDO embodied the character of a pastor, a would-be profession he had claimed. In this capacity, he led his fellow freed inmates in a spirited singing and dancing session, infusing the performance with a sense of energy and communal spirit. His ability to shift his vocal tone and mannerisms to that of a seasoned preacher was awesome. His delivery took on a rhythmic, almost hypnotic quality, as he spoke with the cadence and inflection typical of a charismatic religious leader. The moments he lapsed into speaking in tongues further heightened the authenticity of his pastoral persona, immersing the audience in the fervor of the religious gathering.
Again, GOMIDO took on the role of a politician, in this new political guise, He commanded the stage, addressing the assembled colleagues also posing as audiences with the confident, charismatic delivery of an experienced candidate seeking votes. His voice underwent a striking transformation, adopting the distinct cadences and inflections associated with popular political figures known for their persuasive oratory.
GOMIDO’S performance as an aspiring politician was marked by a keen understanding of the nuances of political rhetoric. He expertly wove together a narrative that sought to sway the “voters” in attendance, presenting himself as the ideal candidate and offering compelling reasons why he deserved their support.
As the political candidate, GOMIDO also demonstrated a sharp intellect, adeptly fielding questions from the audience and providing substantive, well-informed responses. This display of political acumen further enriched the performance, lending an air of authenticity to the character and engaging the audience in a dynamic exchange.
Still, on his display of versatility, GOMIDO once again transformed himself, this time taking on the role of a female British High Commissioner. In this persona, he switched his accent and mannerisms to embody the distinctive characteristics of a high-ranking diplomatic official from the United Kingdom.
As the British High Commissioner, GOMIDO carried himself with a regal bearing and an air of professional composure. His voice took on a refined, clipped cadence that was characteristic of the upper echelons of British society, as he imbued it with a subtle feminine charm and authority.
Despite GOMIDO’S impressive command of the British High Commissioner persona, sharp-eared audiences were able to detect that his voice and accent, while expertly crafted, ultimately betrayed his African origins.
As the “sick fellow,” GOMIDO’S entire demeanor underwent a palpable shift. His posture became slightly hunched, and his movements became more labored and deliberate, conveying a sense of physical discomfort and diminished vitality. The expression on his face morphed, with his features displaying a pallor and a weary world-worn quality that evoked a state of ill health.
BASABASA
Among the four inmates granted amnesty, BASABASA was perhaps the most distinctive and engaging character. His manner of speaking, which was marked by a heavy, broken English, immediately set him apart from the others and lent an endearing quality to his interactions.
From the moment BASABASA opened his mouth, it was evident that he was not a native English speaker. His words were halting, his grammar was often incorrect, and his pronunciation was heavily influenced by his native tongue. This linguistic quirk, rather than detracting from his performance, only served to amplify the comedic potential of the character.
BASABASA’S struggle with the English language was not merely superficial; it was deeply woven into the fabric of his personality. His responses were peppered with malapropisms and misunderstandings, leading to a delightful series of humorous exchanges that elicited laughter from the audience.
Yet, despite his apparent linguistic limitations, BASABASA exuded a disarming charm and an infectious sense of humor. His facial expressions, his body language, and the sheer earnestness with which he navigated the unfamiliar terrain of the English language all contributed to the creation of a truly memorable character.
As a Japanese waiter, BASABASA’S repertoire of professional gestures and mannerisms was truly captivating. The most striking of these was his execution of the traditional Japanese bow. Through this mastery of traditional Japanese greeting customs, Basabasa demonstrated his profound understanding of the cultural significance and intricate etiquette underlying such gestures. The seamless integration of the bow into his performance not only heightened the realism of the scene but also served as a testament to his exceptional attention to detail and his ability to fully inhabit the persona of his character.
Again, it was captivating to watch as BASABASA hurled GOMIDO at his back, serving as “an ambulance” to rush him to the hospital. Having arrived at the hospital, a nurse requested $50 from BASABASA before a doctor could attend to Gomido. In response, He turned to the audience, his expression a mix of urgency and pleading, as he solicited the necessary funds.
The resilient manner in which Basabasa portrayed this appeal to the audience was compelling. He did not simply ask for the money; rather, he conveyed a sense of desperation and determination, as he cried and sang ” Yaree ya ya” demonstrating the gravity of the situation and the need for immediate action.
In all, all four actors; ABUTU, CHAKA, GOMIDO, and BASABASA did exceptionally well in their unique ways.
COSTUME
A costume is a specific set of clothes, accessories, and other items worn by an actor, performer, or individual to represent a particular character, role, or persona. Costumes play a crucial role in the visual storytelling of a production, helping to create a cohesive and immersive experience for the audience. They are an essential element of the creative process, collaborating with other design elements such as set design, lighting, and sound to bring a character or narrative to life.
In the production “Prison Graduates“, the costumes worn by the various characters effectively conveyed their roles and statuses within the prison setting.
The prison officers were attired in their standard uniforms, instantly recognizable by the audience as the authority figures within the institution. The crisp, tailored nature of the officer’s uniforms reinforced their position of power and control.
In contrast, the CHAPLAIN’S costume consisted of a simple white long-sleeve shirt and white trousers, along with an oversized coat. The white shirt diminished the visual impact of the Chaplain’s religious identity as his clerical was not visible enough. A more distinctive color like; blue, pink, or black, would have better highlighted the Chaplain’s clerical and established his role better.
Finally, the four prisoners who were being released wore their standard prison uniforms. This choice of costume effectively communicated the characters’ status as incarcerated individuals, instantly establishing their position within the hierarchical structure of the prison. The uniform nature of the prisoners’ attire also served to underscore their shared experiences and the collective journey they had undertaken.
LIGHTING
Lighting in the context of performance, refers to the intentional use and manipulation of light to achieve various artistic, practical, and emotional effects. Effective lighting design requires a deep understanding of the interplay between light, shadow, color, and contrast, as well as the ability to adapt to the specific needs of the production or visual medium.
From what I witnessed the lack of any physical scene changes or better still leg changes as the play was written in legs meant that the production unfolded in a continuous, single setting. While this choice helped to maintain a sense of immediacy and immersion, the lighting design team could have leveraged subtle shifts in illumination to signify the passage of time within the production.
Rather than keeping the lighting at a consistent level throughout the entire performance, the designers could have opted to gradually dim the stage at strategic moments. This would have communicated to the audience that time had elapsed between various events or interactions occurring within the prison setting.
SOUND
Sound in the context of performance, film, or multimedia refers to the intentional use and manipulation of audio elements to enhance the artistic experience and support the narrative or creative vision.
The sound team of “Prison Graduates” expertly incorporated a diverse range of musical compositions to elevate the production and immerse the audience within the thematic framework of the play. From the soulful lamentations of Lucky Dube’s “Prisoner” to the poignant social commentary of Bob Marley’s “Redemption Song,” the creative team thoughtfully curated a soundtrack that resonated with the play’s central themes of incarceration, redemption, and the human condition.
The haunting melodies of Asa’s “Jailer” provided a stark counterpoint, underscoring the power dynamics and emotional turmoil experienced by those trapped within the prison system. In contrast, the uplifting rhythms of Nat Brew’s “Wogbe jeke” offered a glimmer of hope and the possibility of transformation, mirroring the aspirations of the characters as they navigated their journeys.
Koo Nimo’s “Yaree ya ya (to be taken ill),” with its evocative lyrics and traditional Ghanaian musical influences, further enriched the production’s cultural and contextual layers, drawing the audience deeper into the unique perspectives and lived experiences explored within the play.
The judicious integration of these diverse musical elements allowed the sound team to elevate the emotional impact of the performance. By strategically incorporating these powerful songs, the production was able to create a multifaceted, immersive experience that resonated with the audience on both an intellectual and visceral level. Also, the sound team did well giving us the sound of a sea wave in the background signifying that the prison was closer to the beach.
During the last scene where the Prison Officer opened the prison for CHAKA, GOMIDO, and BASABASA to re-enter the prison, the sound came on early locking the door before they even entered.
SET
Set refers to the physical environment, background, or constructed space within which the action, events, or narrative of a production takes place. The production made excellent use of the front yard of the “James Fort Prison” as the primary setting. The set designers opted for a visually striking color palette, painting the yard in a combination of warm, earthy tones – including shades of yellow, ash, and terracotta. This choice of colors immediately set the tone, suggesting a sense of weathered authenticity and the passage of time.
Enhancing the sense of realism, the set featured an electric fence that ran along the walls of the prison compound. This ominous security measure not only conveyed the harsh, imposing nature of the incarceration system but also served as a tangible barrier, both physically and metaphorically, for the characters and their struggles.
At the entrance of the prison, the set construction team prominently displayed the official prison insignia, further grounding the audience in the specific location and institutional context. This attention to detail helped to establish a strong sense of place and institutional identity.
To further heighten the sense of authenticity, the set was intentionally “dirtied” and weathered, signifying that this space had been in use for many years. The distressed, well-worn appearance of the yard added a layer of grit and lived-in realism, inviting the audience to imagine the countless stories and human experiences that had unfolded within this confined environment.
Finally, a “Post No Bill” sign was strategically placed on the set, a subtle yet effective detail that conveyed the restrictive and controlled nature of the prison space. This visual cue not only reinforced the institutional constraints but also hinted at the broader societal attitudes and prejudices that the characters were forced to navigate.
AUDIENCE
The audience were thoroughly engaged and responsive throughout the production, laughing and clapping to demonstrate their active involvement and investment in the live theatrical experience. The audience’s engaged and responsive behavior demonstrated their deep investment in the production, suggesting that the cast had successfully crafted a captivating and accessible performance that resonated with the audiences on an emotional and experiential level.
IN CONCLUSION
The production was a great success, the result of the cast and crew’s constant hard work and dedication. Congratulations to the acting students who brought the characters to life with compelling performances. Additionally, the supporting actors and the production crew deserve recognition for their good work, which contributed to the overall success of the show. The production started at 7:25 pm. As an active audience, I rate the production 8.5/10
Written by Abigail Nyamekye Clement (B A Theatre Arts,UEW)
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