Cheta Igbokwe

Couple X and Y live and work on their farmhouse, but the advice X receives from Jerome disturbs their peace, leading to 2075, a year when memory is taboo.

“Farmhouse Couple" appears in Flyway Journal: https://flywayjournal.org/drama/cheta-igbokwe-farmhouse-couple/

'Onyegbuala' is a ten-minute play, extracted from Igbokwe's larger work, 'Dimkpa.' This standalone excerpt tells the heartbreaking tale of Onyegbula, who is forcibly conscripted into the local army, despite his family's desperate efforts to conceal him and protect him from the authorities. 'Onyegbula' was published in The Muse Journal No. 50: https://themuseunn.com/onyegbula/

Ogaranya is a ten-minute play that follows a day in the life of the title character, Ogaranya, whose name means "immense wealth", and who decides on this day to sue all the poor people in the world in court. Ogaranya was published in The Muse Journal No. 51: https://themuseunn.com/ogaranya/

'Banana for the Bereaved' is a solo play that follows the Bereaved, a twenty-five-year-old boy mourning the death of his sixty-two-year-old mother on January 29, lamenting the inadequacies of well-intentioned societal condolences, and finding a banana bunch more comforting than "All is well." This play was pulished on Lolwe in 2024: https://lolwe.org/banana-for-the-bereaved/

The Soroibes' only child, Enyinnaya, defies his father's expectations by abandoning law school and his apprenticeship. He aspires to be a comedian, but his father, a renowned legal luminary in Nigeria, opposes his dream, setting the stage for a generational conflict. Find on The Great River Review (Issue 71, Fall 2024) :
https://www.greatriverreview.com/issue-71-index/tricia-currans-sheehan-…

After his fourth and final attempt to be admitted into the Ikenga masquerade cult, Ofeke gives up his quest for true manhood which the cult confers on its subjects. His resignation from the pursuit is accompanied by a detest for it, for in his words, “They failed, not I.” But his sudden discovery of a personal secret of the cult leader, Obosi, offers Ofeke a real bargaining voice, but fleeting power. ‘No Gun Salute for Ofeke’ is a meditation on the creative and the destructive passions of love.

‘Dimkpa’ follows the story of an absent mother, her two sons, their two stray goats, a woman with a child trapped in her belly, a boatwright, a masquerade with fire on its head, a river, and a war the gods fought with their mouths wide open.

On the premise that life is a marketplace of bargains, two discarnate figures, set for a rebirth after an unfulfilled first life, stand before Awele, the goddess of rebirth and fortunes, to bargain their way into an upper class for their second coming on earth. The play, Awele, is an allegory of choices, unrequited love, and a reimagination of Ilo-Uwa in the Igbo thoughts.

Since the head of a great man does not end in the soil of a foreign land, the critically ill Professor of Dramatic Studies in the United States, Professor Ojemba Enweilo returns to Nigeria to plan his own funeral and set up quick memorable legacies in the arts. He reunites with his long- separated brother, Ndaa Okenta, and together they plan how to outsmart and batter the monster called death. Set in one day, ‘Brother-Brother,’ explores man’s age-long efforts to navigate the heart-wrenching problem of death.

Barrister Soroibe, an eminent lawyer, disapproves of his son Enyinnaya’s dreams of becoming a comedian, believing Enyinnaya should pursue a respectable legal career to earn a living. This generational conflict within a typical Nigerian family over issues of change and modernity is depicted in the play ‘A Friend of His Father.’

Homecoming chronicles the life of Nwakibe, a retired head teacher and catechist, who embarks on a mission to find his missing son. It also follows Johnson, a writer, in search of a story for his new book. It is a story of quest, love, discovery, and how what one finds in life is capable of slipping through one’s hands.