165:: The central character of the play, Sanda is a cunning and calculating security officer at an opulent shopping plaza in Lagos. He orchestrates various criminal activities with ease and is the focal point around which the plot revolves. Beyond being the central character, Sanda displays the dual nature of power and manipulation. His cunning intellect and ability to exploit situations for personal gain highlight the corruption within Lagosian societal structures. However, beneath his facade of control lies a vulnerability stemming from his past, particularly his friendship with Miseyi, which complicates his motivations and actions throughout the play.
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256:: Representing the outsider perspective, Foreigner's experiences in the plaza underscore the challenges faced by foreigners navigating unfamiliar environments. His encounters with Sanda and other characters reveal the complexities of intercultural interactions and perceptions. The presence of foreigners in the plaza reflects Lagos's status as a cosmopolitan city.
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Sanda emerges as the central figure, cunningly orchestrating events to benefit himself while navigating the complexities of
Lagosian life. The play critiques military dictatorship, societal inequalities, and moral decay, highlighting the consequences of corruption and exploitation on both individuals
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Sanda manipulates the situation to his advantage, orchestrating schemes involving his associates to divert attention and exploit opportunities for financial gain. Through a network of characters, including Judge, Barber, Trader, Mama Put, Boyko, Cyclist, Minstrel, and Miseyi, the play explores themes
289:; it becomes a character in its own right, imbued with its own complexities, contradictions, and vibrant energy. Through its vivid portrayal of Lagosian life, the play captures the essence of Nigeria's largest city and offers a nuanced exploration of its social, political, and cultural landscape.
177:: His relentless pursuit of redemption and willingness to confront authority symbolize the resilience of the human spirit in the face of adversity. Despite facing numerous obstacles, Judge remains steadfast in his mission to bring about positive change, making him a moral compass amidst the chaos.
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The reference to Good Time Bar in
Ikorodu, a suburb of Lagos, highlights the sprawling nature of the city and the interconnectedness of its various neighborhoods. Ikorodu, with its distinct culture and identity, adds depth to the play's portrayal of Lagos, showcasing the city's rich tapestry of
268:: Although not individual characters per se, the presence of soldiers and their actions represent the looming threat of military dictatorship and the use of force to suppress dissent. Their interactions with Judge and other characters underscore the pervasive atmosphere of fear and intimidation.
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The primary setting of the play is the shopping plaza, a symbol of wealth and extravagance amidst the sprawling urban landscape of Lagos. It serves as a microcosm of
Nigerian society, attracting a diverse array of characters from various social backgrounds, each with their own aspirations and
250:: Responsible for enforcing parking regulations in the plaza, Attendant’s confrontation with Foreigner over parking fees highlights the theme of authority and exploitation. His interaction with Sanda reveals the pervasive influence of corruption and manipulation in everyday transactions.
262:: Symbolizing the oppressive nature of the prison system, Warder's actions reflect the injustices perpetrated by those in positions of authority. His involvement in imprisoning individuals without due process adds another layer to the critique of authoritarianism in the play.
238:: A character whose genitals are allegedly removed by Accused, Victim becomes embroiled in a bizarre incident that underscores the superstitions and beliefs prevalent in society. His plight serves as a commentary on the darker aspects of human nature and societal injustices.
232:: A wealthy individual who falls victim to a theft in the plaza, Big Man Shopper's altercation with Boyko and Sanda reveals the power dynamics within the societal hierarchy. His encounter highlights the vulnerability of even the affluent in the face of cunning schemes.
244:: Secondary characters who contribute to the discourse surrounding Accused's alleged genital removal. Their interpretations of the incident reflect varying perspectives within society, shedding light on the complexities of belief systems and rumor mills.
226:: A minor character but significant to the plot, Two-Four is responsible for stealing Big Man Shopper's briefcase, which sets off a chain of events in the plaza. Despite his minor role, his actions have far-reaching consequences.
171:: Sanda's friend from university and a significant character in the play, Miseyi plays a pivotal role in the wedding ceremony at the plaza. She chooses Sanda as her bridegroom, leading to significant events in the plot.
195:: Preoccupied with selling and training her daughter, Mama Put harbors a deep-seated hatred for soldiers due to the death of her brother. She represents the struggles of everyday people amidst societal turmoil.
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Distinguished by his willingness to pander to Sanda's criminal interests, Boyko serves as a convenient instrument for Sanda to achieve his goals. He plays a crucial role in executing Sanda's schemes.
207:: Obsessed with attending a job interview, Cyclist navigates the plaza on his bicycle, surprising those around him. His presence highlights the contrast between opulence and everyday life in Lagos.
183:: Defined by his belief in ritual killing as a means of making money, Barber represents the darker aspects of society. He is willing to engage in nefarious activities for personal gain.
213:: Poised to visit any place where a party is held, Minstrel revels in showcasing his repertoire of songs as a troubadour. He adds a layer of entertainment to the play’s events.
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society, particularly under military rule, and by extension, in any
African nation where regressive systems remain unchallenged due to a lack of checks and balances.
189:: Like Barber, Trader believes in ritual killing and views it as a lucrative venture. He holds the belief that certain body parts can bring wealth to individuals.
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by presenting herself to Sanda instead of her intended groom. This sparks conflict between the families and the military governor, leading to chaos.
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435:"Art and Politics in Wole Soyinka's The Beautification of the Area Boy By and Ola Rotimi's Our Husbands Have Gone Mad Again"
108:, was first published in Great Britain in 1995 and later in Nigeria in 1999. The play explores the absurdities present in
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The beatification of Area Boy: A Lagosian kaleidoscope
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509:Categories
494:2024-05-03
469:2024-05-03
445:2024-05-03
392:2024-05-03
316:2024-05-03
293:References
218:Minor cast
157:Major cast
152:Characters
104:a play by
254:Foreigner
248:Attendant
60:Publisher
266:Soldiers
224:Two-Four
211:Minstrel
193:Mama Put
130:families
110:Nigerian
44:Language
273:Setting
205:Cyclist
138:customs
126:wedding
55:fiction
47:English
419:May 3,
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260:Warder
236:Victim
199:Boyko:
187:Trader
181:Barber
169:Miseyi
34:Author
175:Judge
163:Sanda
134:plaza
122:Lagos
52:Genre
421:2024
363:ISBN
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