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When we arrive at “Part II: Fusion, the fragments,” the poems put up a tougher resistance to surface-level interpretation, inviting one rather into a celebration of language that walks the balance between cryptic chaos and lyrical rapture. Here, the poet contemplates the paradox of the Nigerian spirit that insists on excellence amidst crippling dysfunction, while still finding solace in family, love, literature and music.
Damilola’s screenplay largely meets the challenge. Characters are introduced coherently, the villain receives motivation beyond mere menace, and the central dramatic question (what happens when a community’s spiritual infrastructure is dismantled from within?) is developed with seriousness. The Saul-to-Paul arc at the film’s moral centre gives the narrative a shape that the original episodic production was never required to provide.
Somewhere between those readings, shared meals and quiet conversations, the people I had met at the airport stopped feeling like strangers. The city outside the workshop continued moving in its usual Lagos way, but inside that room, I had found a slower kind of movement—the movement of ideas between people.
Four decades after Dr. Fred Agbeyegbe’s four-play festival lit up the National Theatre in Iganmu…











