Walking on to the stage of theatre

In the words of a former Minister of Education and celebrated playwright, Dr Ama Ata Aidoo, “Theatre in Africa, and particularly in Ghana, is not just a form of entertainment. It is a powerful medium for challenging societal norms, engaging with pressing issues, and ultimately driving the kind of dialogue that leads to real change.”

Despite the rise of digital entertainment, theatre remains a vital component of Ghanaian culture, providing a platform for storytelling, social commentary and cultural preservation.

Theatre has long been an integral part of Ghanaian tradition, with roots dating back to ancient times. 

From traditional folk performances to modern plays, theatre has served as a powerful medium for expressing cultural values, addressing social issues and promoting national identity.

In recent years, the purpose of theatre has been deepened. It is not seen as just entertainment but a tool for social change. It has the power to educate, inspire and challenge societal norms.

The impact of theatre extends beyond the stage, contributing significantly to Ghana's economic and tourism sectors. 

Despite its significance, Ghana's theatre industry faces numerous challenges, including limited funding, inadequate infrastructure and political intimidation.

Playwrights shared their experiences and insights with the Daily Graphic.

The Chief Executive Officer (CEO) of Globe Productions, Latif Abubakar, known for impactful plays like "Judas and Delilah" (HIV/AIDS awareness) and "Men Don’t Die" (road safety), highlighted the resilience required to tackle social ills through theatre. 

“One of the major challenges is how the particular aspect of society that the problem affects will take your piece,” Abubakar explained. “We did a project on illegal mining some time ago, and if that were to be done now, the government might perceive it as an attack,” he said.

Mr Abubakar said he faced challenges within his own productions. Actors may quit if they're uncomfortable with sensitive topics, and this fear could also make it hard to find sponsors.

“Companies might hesitate to fund projects tackling sensitive issues due to the fear of being associated with controversy or being seen as taking a political stance. 

“For example, in a project aimed at improving access to clean water and sanitation in schools, most stakeholders refrained from participating because the play directly called on the government to act,” he noted.

According to Mr Abubakar, financial constraints plague the theatre industry, particularly when tackling social issues. 

He recalled receiving feedback from companies which expressed reluctance to align with projects they deemed too controversial, fearing public perception or political connotation.

Dialogue

The CEO of Roverman Productions, Uncle Ebo Whyte, one of Ghana’s most revered playwrights and directors, also shared that theatre played a vital role in promoting dialogue. 

Mr Ebo Whyte, whose works like “I Want to Feed You” and “Takeover” have graced the stages of Ghana’s most prestigious venues, believes that theatre offers a unique platform for discussing the nation’s most pressing issues.

“Theatre creates a platform for national dialogue. It allows us to reflect on who we are as a people and where we are going,” Whyte asserts.

His plays often explore themes of redemption, social justice and the human experience, engaging audiences with humour, relatability and insight. 

Storytelling

For the playwright and director of Kritik Productions, a theatre production house, Eyram Evans Adorkor, the power of theatre to inspire social change was rooted in storytelling. 

Mr Adorkor stressed the importance of authenticity in creating narratives that resonated with audiences. However, crafting these stories come with their own set of challenges.

“Researching and putting the story together so that it makes sense is always challenging. I believe that theatre must remain relevant to the issues that affect ordinary people, and to do so, practitioners must engage deeply with the communities they represent,” Mr Adorkor told the Daily Graphic. 

Social mirror

As a journalist, Benefo Buabeng, known as Abrantepa, has long advocated the arts as a vital component of social discourse. He sees theatre as a mirror to society, one that reflects not only the beauty of culture but also its flaws.

“Theatre serves as a platform to raise awareness and stir discussions around critical topics,” Mr Buabeng said. 

He pointed to productions like Ebo Whyte’s “Devil’s Wife” and Ola Rotimi’s “The Gods Are Not to Blame” as examples of plays that explored the complexities of love, morality and human existence.

“These works challenge audiences to reflect on their own lives and the society they inhabit, sparking conversations that can lead to broader social change,” he said.

A critic and a public relations practitioner, Edem Mensah-Tsotorme, argued for an increase in environmental-themed plays. 

“As climate change and environmental degradation become more urgent, theatre is a powerful tool for educating the public about conservation and sustainability. We should do more environmental plays,” he urged, emphasising the role of theatre in promoting not only social justice but also environmental stewardship.