The Beatification of the Area Boy

Author	wole soyinka
Country	Nigeria, England
Language	English
Genre	fiction
Publisher	A&C Black Pod
Publication date	January 1, 1995
ISBN	0-413-68680-9

The Beatification of the Area Boy a play by wole soyinka first published in Great Britain in 1995 and later in Nigeria in 1999, the play explores the absurdity sitted in Nigerian society, particularly under military rule, and by extension within any African nation where regressive systems remain unchallenged due to lack of balance and check.^[1][2]

Plot[edit]

The play is set in a shopping plaza in Lagos and revolves around the actions of Sanda, who commands a group of area boys. A prestigious wedding between two prominent families is about to take place in the plaza, but tensions arise when the bride, Miseyi, challenges traditional customs by presenting herself to Sanda instead of her intended groom. This sparks conflict between the families and the military governor, leading to chaos.

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 of power, corruption, and societal hierarchy in Lagosian society.^[3]

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 and society as a whole.^[4]

Characters[edit]

Major cast[edit]

• Sanda: The central character of the play, Sanda is a cunning and calculating security officer of 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 display the dual nature of power and manipulation. His cunning intellect and ability to exploit situations for personal gain highlight the corruption within lagos 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.
• Miseyi: Sanda's friend from university and a significant character in the play. She plays a pivotal role in the wedding ceremony at the plaza, choosing Sanda as her bridegroom, which leads to significant events.
• Judge: His relentless pursuit of redemption and his 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.
• Barber: Defined by his belief in ritual killing as a means of making money, Barber is a character who represents the darker aspects of society. He is willing to engage in nefarious activities for personal gain.
• Trader: Similar to Barber, Trader believes in ritual killing and sees it as a lucrative venture. He holds the belief that certain body parts can bring wealth to individuals.
• Mama put: 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 in the midst of societal turmoil.
• Boyko: Distinguished by his willingness to pander to Sanda's criminal interests, Boyko serves as a quick instrument for Sanda to achieve his goals. He plays a crucial role in executing Sanda's schemes.
• Cyclist: 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.
• Minstrel: 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.

Minor cast[edit]

• Two-Four: 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.
• Big Man Shopper: 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 at play within the societal hierarchy. His encounter highlights the vulnerability of even the affluent in the face of cunning schemes.
• Victim: 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.
• Witness, Woman, and Another Witness: 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.
• Attendant: 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.
• Foreigner: 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 within the plaza reflects Lagos's status as a cosmopolitan city.
• Warder: 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.
• Soldiers: Though 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.^[5][6]

Setting[edit]

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 part of Nigerian society, attracting a diverse array of characters from divers society, each with their own aspirations and motivations. The luxury and everyday life within the plaza reflects the inequalities that define Lagosian society.

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 communities and traditions.^[7]

Overall, Lagos serves as more than just a backdrop for the events of "The Beatification Of Area Boy"; 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.^[8]

References[edit]