Writing Solo Plays in Nigerian Theatre: Using Sotimirin’s Molue, Mbajiorgu’s The Prime Minister’s Son, and Binebai’s Karina’s Cross as Paradigms

Abstract

In Nigerian libraries and bookshops, one can readily encounter contemporary plays by celebrated playwrights, yet the scarcity of solo plays—especially those written by notable solo dramatists—underscores a profound neglect of this subgenre. This paper therefore examines the craft of writing solo plays through the paradigmatic works of Tunji Sotimirin’s Molue, Greg Mbajiorgu’s The Prime Minister’s Son, and Benedict Binebai’s Karina’s Cross. Its objective is to explore the aesthetic and dramaturgical elements of solo playwriting and to encourage more Nigerian playwrights to embrace the form. Adopting a qualitative content analysis framework, the paper also employs avant-gardism and the “Less is More” principle as interpretive lenses for understanding the structure and performance of monodrama. Findings reveal that solo playwriting shares foundational principles with conventional dramaturgy, even though it requires heightened creativity in characterization, dialogue, and performance. Moreover, the research highlights that greater visibility and publication of solo plays would expand scholarly access and promote their teaching and practice in Nigerian universities. Consequently, this study argues that the institutionalization of solo performance as a compulsory course—integrating both writing and performance—will not only enrich Nigerian theatre pedagogy but also preserve an important, though overlooked, dimension of African performance heritage.