TITLE: ‘Tori Don Geti Bow Leg’ (Maj Gen. Mamman Vatsa)
PLAYWRIGHT: Denja Abdullahi
EXECUTIVE PRODUCER: Usman Akanbi
PRODUCER: Denja Abdullahi
DIRECTOR: Oko Owi Ocho
CONSULTING DIRECTOR: Jibrin Ahmad
PRODUCTION CONSULTANT: Dr Daniel Chikada
FEES: Free
DATE: 31.11.2025
VENUE: Mamman Vatsa Writers Village, KM 2, Mpape, Abuja
AUDIENCE: Adult ANA members
REVIEWER: Dr Haruna Penni, fANA, FIPAN, FIMC
This play was scripted by Malam Denja Abdullahi, a former National President of the Association of Nigerian Authors (ANA) and a former Director of Performing Arts at the National Council for Arts and Culture (NCAC). He was commissioned by his successor, Dr Usman O. Akanbi, ANA National President, who was on the cusp of a rerun back to office.
The non-fee entry drama would have netted a post office box, but it was freely organised for the 44th ANA International Convention and Annual General Meeting and Election. This was done to commemorate the 40th memoriam of the demised General Mamma Vatsa who granted the Writers’ Village land when he was the Military Administrator of Nigeria’s Federal Capital Territory in 1985.
Vatsa was moved to donate this sizeable chunk of land, according to insider information, based on a visit to a Scandinavian country; he was taken to their writers’ sanctuary and this triggered him to have similar resort for Nigerian writers as he was one. He felt that would be a worthy legacy on the part of the Administration which, unfortunately, killed him.
The play was performed on Friday, November 31, 2025 during the 44th ANA Convention and AGM held at the Chinua Achebe International Conference Centre at the Maman Vatsa Writers Village at Mpape, Abuja. More than thirty-five ANA state chapters who attended the 2025 convention and AGM watched the drama.
Maman Vatsa was a Nigerian general, poet, and administrator. He was born into Dibo dialect (a subgroup of Nupe or Takpa ethnic group and language) in 1940 in Vatsa village, Niger State. He was arguably a foremost figure in Nigerian literary landscape, military and the Babangida administration. He specialised in poetry which mostly delves on issues of Nigerian culture, identity and social integration.
One of his plays, which Denja Abdullahi staged, Tori Don Geti Bow Leg, is a scathing exploration of Nigerian identity, complexities and culture. The play’s use of pidgin English adds a layer of authenticity, while the characters’ struggles resonate deeply with the poem’s thematic predilection and the producer’s script. Sadly, the play chronicles Vatsa’s last days. Although he has other works apart from Tori Don Geti Bow Leg, which he published in 1981, but all of them speak to his penchant for social commentary. His works include Back Again at Wargate and Reach for the Skies published in 1982 and 1984 respectively.
The production of Denja’s Tori Don Geti Bow Leg was well-crafted, with standout performances from the cast. The play explores the tensions in the military occasioned by coup d’état amongst the officers corps who though tag themselves as Officer and Gentlemen. Vatsa’s obnoxious coup scenarios send panic to the authorities, open up ambitions, expose betrayals, break up families and make a caricature of the rule of law, as well as reveal the struggles for the survival of a regime.
Most of Vatsa’s works, as earlier alluded to, have themes that critically examine the complexities of the Nigerian identity, including the interplay between the military class and civilian political groups. And a military regime and horrible civilian administrations would not like such exposure. Notwithstanding Vatsa’s poisoned pen, his career got to its crescendo with the same regime headed by his former Bida secondary school head boy, Babangida, who appointed him as Military Administrator of the FCT and member of the two highest military ruling councils.
The poem, ‘Tori Don Geti Bowleg’, like his other works, is a critique of the Nigerian societal norms and power structures which he found obnoxious. The military and other despotic governments do not like dissention, ‘too know’ and criticism of their polity as they view them as equivalent of a coup. And perhaps their marabouts may also have the long hands in identifying their potential nemesis.
Could it be the reason he was roped in what ANA believed was a phantom coup to silence the critic? Some have even alleged that the so-called coup was a mere disagreement Vatsa had with his Commander-in-Chief in one of the Council meetings. And there is also that alleged angle of personal rivalry between them right from secondary school, a rivalry just like the case of General Yakubu Gowon and Col. Emeka Ojukwu.
Technically, the plot structure of the play is not only engaging, coherent, and well-paced but had no inherent plot holes or inconsistencies that mire plays of such nature. The characters were well-defined, relatable, believable and drive the plot forward. These characters include Generals Ibrahim Babangida, Mamman Vatsa, Salihu, Lt Col. Ubah, Professors Wole Soyinka, Chinua Achebe, etc.
The dialogue was natural, concise, and revealing of the characters without any awkward or forced conversations, while the themes and symbolism are clear and effectively conveyed. This is because the symbols and motifs were effectively used.
One unique selling proposition of the play was that tension and conflict were well-built and resolved satisfactorily. This went with its pacing and timing, which were well-balanced, having no slow or rushed moments.
However, the setting and atmosphere could not be effectively created and be immersive as to support the story since army barracks condition could not be recreated on the podium.
The language and style of the play were rich, evocative, and fitting for the characters and setting, while the stage direction and production were clear and effective. This was because the production was well planned for three months at Nassarawa State University, Keffi, using its theatre arts students and graduates. The managers too were experienced and studied theatre arts.
The plot summary involves the court-martial of Vatsa by a military tribunal, firing squad and the attendant saga miring the whole episode. The play’s themes is appropriate because so many Nigerians did not believe he committed any coup and the right characters were used to pull through the story. And the stage lighting, set design and sound were in order as they did not disappoint.
The message and impact of the play convey an emotional meaning by leaving a lasting impact on the audience on the tragedy of coup which comes with a collateral damage. According to military rule, a mere rumour heard is enough for one to be accused and arrested as one part of coup makers if he fails to report it.
The opinion and recommendation of this reviewer is that the play was well crafted and executed technically by professional producers and directors while the cast have a long career ahead of them with their excellent performance.
It is also suggested that the play be taken round military formations to underscore the other side of coup. The fleeting nature of artiste is a sore point otherwise it is recommendable that the boys and girls who played their characters very well be held together by the production outfit, which is Orpheus Foundation.
The apparent strengths of the performance is both in the thematic thrust and the ability of the producer to blend live music and dance in the overall movement of the play. This was both electrifying and exhilarating as it was exhibitive of the young ladies alluring talents in other sub-sectors.
The play’s weaknesses, if there are any, will be in not lending the storyline to easy decoding and interpretation while the characters were visibly not body double of who they represented. Military uniforms can always be hired from the forces public relations for good causes instead of getting it produced by the Obiomas of this world.
When Tori Don Geti Bow Leg play is compared to the same drama staged by the producer, especially his Death and the King’s Grey Hair, which this writer saw performed by IBB University drama troupe in Lapai, one can only factor on time frame, cost and the technicality of operating military outside the known military environment.
And there is that fear of negatively characterising the patriotic Nigerian soldiers who at this time are busy putting their lives on the line to defend us. A security guard once told this writer that after God it is the Army, thus underscoring the fact that one needs to tread cautiously with anything of theirs.
Perhaps, The Kings Grey Hair is more amenable to dramatisation. And afterall, the Vatsa play is a one way script revolving on the coup that silenced him instead of the actual theme of the poem. Nevertheless, it is to the credit of the playwright that he was able to put together this commemorative script and play within the shortest time.
The dominant theme in the play is that refrain of coup, its kangaroo trial processes and its traumatic after-effects of guilty sentence and firing squad. So the militarisation motif of the play is not misplaced as this is mildly explored in the dramatic gamut of parade, coup, salutation, court martial, and killing as earlier narrated.
Of course, the play leaves a lasting imprint in the minds of gullible civilian audience. They were exposed to military legalism, lifestyle of bereaved army families and its consequent trauma processes. This is even though the creatives are not themselves innocent as they too have also birthed and killed characters in their works from the act and art of playing God.
The producer executed this task with a 16-member crew who include Biachi N. Anointing, James Onawo, Yepwi P. Ishaku, Mordi C. Chukwunonso, Alidzi G. Joseph and Uchenna P. Martins.
Others were Oloko Owokonu, Lucy K. Ibe, Ogah A. Akeji, Chinasa M. Okoro, Emmanuel H. Haruna, Favour Mmaju, Cletus Amuda, Oboshi E. Innocent, Godwin J. Onawo, and Jude F. Terkuma.
The partners in the task were Orpheus Foundation, Abuja Poetry Troupe with the generous support from Major General Hassan Lai, KMVL Ventures, Mrs Awele Ilusanmi, Prof. Idris Amali, Prof. Udenta Udenta, Gen. Mammam Vatsa’s family and of course the Association of Nigerian Authors (ANA).
The producer, Malam Denja Abdullahi, was born on August 27, 1969 in Idah and hailed from Lokoja, Kogi State. He attended universities of Jos, Ilorin and Abuja for his three degrees in English Literature. He is a prolific playwright, poet, essayist and one-time National President of ANA.
A former lecturer with Sokoto State Polytechnic, Birnin-Kebbi, in the early ’90s, Denja transferred to the National Council for Arts and Culture and retired as a director in 2023.
He is the Chairman of Orpheus’s Literary Foundation, Chair of Agbaja Writers’ Residency and a Fellow and merit awardee of ANA, ICPAN, NPOM and SONTA.
* Dr Haruna Penni is a freelance literary journalist and communications policy analyst. Phone: on 08034299585.
