Abstract

Corruption has taken center stage in contemporary African politics, permeating political,
economic, religious, and social spheres. This paper examines how Diran Ademiju-Bepo’s No
More the Taming Hawk and Ojo Bakare’s Rogbodiyan satirize political, social, and religious
corruption. It critically evaluates the intersections of systemic corruption, dictatorship, and
moral decadence, with a specific focus on the ethical erosion of the community—an area that
remains underrepresented in current scholarship. Against this background, the paper
interrogates the depiction of political power and corruption in both plays, identifying the
dramaturgical elements used to lay bare the oppressive attitudes of public officials and the
gullibility of the ruled. Utilizing Vilfredo Pareto’s Political Elite Theory as its theoretical
framework, the study argues that unscrupulous political elites pursue power with an
egocentrism devoid of democratic ideals. Consequently, the paper engages in a contextual
reading of both texts, positioning them as a moral compass to navigate contemporary societal
anomie. Methodologically, this study adopts a qualitative research design centered on textual
and critical analysis. The analysis demonstrates that both plays serve as artistic and political
calls to action, urging citizens to embrace their responsibilities as stakeholders in the
democratic process to forge a unified front for national renewal. Ultimately, this textual
analysis underscores the utility of Nigerian theatre as a mirror through which society can
confront its endemic vices and curb the corrupt activities of public officials. The paper
concludes that drama is a potent instrument for dismantling institutionalized corruption, and
recommends its systemic integration into public discourse to foster moral rectitude, raise
political awareness, and drive collective action toward a more transparent and ethical society