LWATI: A Journal of Contemporary Research 2024, 21 (2): 253-268

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CURBING THE MENACE OF MIGRATION THROUGH

THE THEATRE: A STUDY OF TONI DURUAKU’S
A MIRAGE FOR A DREAM

Akaenyi Nkiruka Jacinta

Department of Performing Arts,
Faculty of Arts,
Akwa Ibom State University, Nigeria
[email protected]
+234-8032236043, +234-8051318287

Ndubuisi Nnanna
Department of Theatre and Film Studies
University of Nigeria, Nsukka
[email protected]
+234-8038684409

Abstract
This study examines the root causes of migration issues and its
consequences with a specific focus on Toni Duruaku's A Mirage for a
Dream. In a society battling with the challenges posed by mass migration,
this study seeks to investigate the potential of theatre as a tool for raising
awareness and initiating social change so as to address this widespread
global concern. This study employs close analysis of the play in order to
undertake a comprehensive exploration of the theatre‟s efficacy in curbing
the menace of migration. Findings highlight the role of theatre in fostering
a sense of empathy and collective responsibility, prompting audiences to
critically engage with the root causes of migration. Based on these findings,
this study recommends that the theatre should be utilized as a potent tool in
broader migration discourse.
Keywords: Migration, Theatre, social change and Menace

Introduction
Migration, is best defined as the movement of people from one
place to another. According to Marie Mcaulife and Martin Ruh, migration
“stretches back to the earliest period of human history” (Mcaulife and Ruh
1). This implication of this is that migration, dispersal, and other forms of

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mobility have always been essential aspects of human existence.

Acknowledging this, Susan Friedman states that “movement whether
forced or sought out is the foundation of human evolution and history of
change on a global landscape”. Migration is considered a powerful force of
globalization, representing just one of the numerous methods by which the
human population moves around the world.
Migration has become a growing global phenomenon that has created many
challenges for both the migrants and the communities they leave behind.
Kufre Akpan and Monica Udoette say that:
Although Migration has become a global reality, given some
sociopolitical upheavals that characterize almost all nation
states in the world, Africa is still very much in the centre of
a new world emergency. The situation has degenerated into
a situation where a typical African at the moment sees the
Europe, America and other Asian countries as destinations
of survival, carrying the promises of a blissful life and not
minding the package (Akpan and Udoette 64)

In a similar vein, Charles Adeyanju and Temitope Oriola says that

“some extra economic factors like the presentation of lives oversees by
African migrants as alluring and fascinating and the tendency to portray
themselves as sophisticated upwardly mobile and people exposed to
savoire-faire of modern life have also been responsible for the mass
movement of Africans (Adeyanju and Oriola 945).
Sadly, migrants tend to hide the harsh realities of their lives, such as
unemployment, racism, loneliness, and other unpleasant experiences. It is
as a result of this that Onyerionwu says that “It is mainly the overestimation
of the characters‟ chances of survival and opportunities for the realization
of their dream life (or life dream) and the tragic disillusionment that comes
with it that engages the new African transatlantic novel” (Qtd in The
Guardian, October 22, 2016)
Migration often results from factors such as economic opportunities,
political instability, environmental degradation, or conflict. United Nations
Human Rights Commission sees Migration by humans as “a systemic
condition driven by economic underdevelopment, severe social
fragmentation, weak state, migration policies that shape interaction
between sending and receiving states and colonial ties” (4-3). Additionally,
Everett Lee, through his Push-Pull theory, explains that “place of origin,
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place of destination, intervening obstacles and personal factors lead to

spatial mobility of population (Qtd. in Dick, 21). In line with the views of
Lee and Friedman, it is appropriate to suggest that every human society has
been influenced by migration. Migration can take place within a country's
boundaries, known as internal migration, or it can extend beyond national
borders, referred to as external migration. Akpan and Udoette says that “In
the recent decades, migration has not only been made convenient and
possible through advances in transportation technology, but has also
received prominence in socio-political, economic and literary discourses
around the globe” (Akpan and Udoette 64). Recently, for instance, the
large-scale migration of individuals from African nations and other
developing countries, as noted by Brobbey “led to politically-charged
debates about the building of walls to keep irregular migrants out of the
United States and Europe” (Brobbey 1). This equally aligns with Soren
Frank‟s view when he says that “the large-scale migration has then led to
the globalization of the local and the localization of the global, so much so
that „the global permeates the local, while the local dissipates into the
global; and the production of human identity is informed by new
coordinates‟” (Soren 2). According to Akpan and Udoette “Of all those who
involve in external migration, only a few purposefully and legally migrate
through the instrumentation of visas and transmutation of citizenship and
lotteries. Others defy all migration protocols and cross the Mediterranean
Sea and the Sinai Peninsula, not minding the oddities and fatalities
associated with the movement” (Akpan and Udoette 65). In a similar vein,
Brobbey says that “In October, 2013, the world was shocked by the death
of three hundred and sixty-six African migrants close to the Italian Island of
Lampedusa. Only a few African migrants survived this tragedy” (Brobbey
366). In support of this view, Ajibola Opeyemi says that, “the recent
migrant crisis has especially forced scholars and laymen, artists and critics
to engage in the migration discourse to ascertain the dialectics of migration,
migratory patterns and its consequences on people, spaces, and contexts”
(Opeyemi 65).
As mentioned earlier, In Africa, numerous adverse factors
contribute to migration, particularly among the youth who leave the
continent in large numbers every day. Nigeria, specifically, has been
afflicted by insurgent wars that have significantly reduced its population.
James Okpiliya and Kufre Akpan say that: “For close to two decades now,
Nigeria has been faced with a worrisome security challenge as orchestrated
by the faceless Islamic fundamentalists known as Boko Haram, a sect
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driven by the desire to Islamize Nigeria such that Nigeria will be governed
by Sharia laws” (Okpiliya and Akpan 50). Sociopolitical issues such as
social inequality, insurgency, wars, unemployment, and other severe socio-
political issues plaguing African countries have been the primary push
factors driving many Africans to renounce their homeland.
Regardless of the reason, the impact of migration can be felt by both
the migrants and the communities they leave behind. Theatre, as a form of
art, has been used to address societal issues for centuries. Its ability to
convey powerful messages through the characters and other element of
drama has made it an effective tool for raising awareness and bringing
about social change. Thus, using theatre as a means of curbing the menace
of migration has become a growing trend in recent years. Through the lens
of Toni Duruaku‟s A Mirage for a Dream, the complex issues of migration,
its impact on individuals, families, and communities would be analyzed.
This study also raises awareness about the root causes of migration and
advocates for policies and programs that would address these issues.

Nigerian Theatre and its Commitment to Social Change

Historically, drama has played a profound and transformative role,
serving as both a reflection and an agent of social change. From ancient
Greek tragedies to modern plays, the stage has been a dynamic platform
where social narratives unfold, challenging norms, questioning power
structures, and fostering conversations that reverberate beyond the confines
of the theatre. Greek drama was an integral part of religious festivals,
particularly the Dionysia, where citizens gathered to watch performances.
These theatrical events were not only a celebration of artistic expression but
also a communal experience that reinforced social and moral values.
Tragedies, such as those by the prominent classical writers such as
Aeschylus, Sophocles, and Euripides, often encompasses complex moral
dilemmas, ethical choices, and the consequences of hubris, serving as
cautionary tales for the audience. This aligns with Nkiruka Akaenyi‟s view
when she says that:
Sophocles' Antigone explores the moral conflict between
obeying the laws of the state and adhering to a higher moral
duty. These ancient plays are deeply rooted in religious and
ethical inquiries, setting a precedent for the moral discourse
unfolding on the stage. Even the comic plays of
Aristophanes often comment on moral issues with the aim of
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making society better. Aristophanes' comedies, which date

back to the 5th century BCE in classical Athens, primarily
sought to entertain and satirize the political and social
aspects of his time. Aristophanes frequently targeted
prominent political figures and institutions in Athens. By
exaggerating and ridiculing the flaws and vices of
politicians, he aimed to bring attention to the moral
shortcomings of those in power. This indirect critique
encouraged the audience to reflect on the state of their
society. His comedies, especially Lysistrata, often addressed
contemporary social issues, such as the role of women, the
effects of war, and the consequences of wealth and power.
By exaggerating and parodying these issues, he provided a
humorous lens through which the audience could view and
question their own societal norms and values (Akaenyi 15)
The relationship between drama and social change is deeply
entrenched in the ability of arts to capture the complexities of man‟s daily
life experiences. Theatre, as a reflector of the socio-cultural values in
society, not only mirrors the prevailing social values, norms and ideologies
but also has the power to influence and challenge them. Playwrights, actors,
and directors, especially in the historical times, have harnessed the emotive
and empathetic potential of drama and theatre to engage audiences in
profound dialogues about social injustice, inequality, and the general
human condition. This study does not merely deal with the entertainment
value of drama; it explores the potential of drama as a tool for social
change. Dramatic works have been effectively utilized in addressing the
social problems marginalization, exposing societal issues, and fostering
empathy among various communities. Whether through poignant narratives
that highlights the struggles of marginalized groups or through avant-garde
performances that challenge conventional ways or thoughts, drama has
proven to be a formidable force in shaping societal attitudes and promoting
a collective consciousness.
Roman drama and theatre, in the ancient period, especially
comedies, are often used for social commentaries. Roman playwrights like
Plautus and Terence used satire to ridicule societal absurdities and criticize
the political and social elite. By lampooning prevalent customs and
behaviors, these plays provided a platform for Romans to reflect on their
own society.

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Roman tragedies, inspired by Greek models, explored political themes and

power dynamics. Seneca's tragedies, for example, depicted the
consequences of tyranny and the moral challenges faced by political
leaders. While the primary purpose of Roman comic drama was
entertainment, it inadvertently contributed to discussions about governance
and ethics.
During the medieval period, the influence of the Church on
theatrical productions was felt. Mystery and morality plays, often
performed in public spaces, aimed to teach moral lessons and amplify
religious teachings. While these plays were not explicitly rebellious, they
contributed to shaping communal values and reinforcing social norms. In
Renaissance Italy, Commedia dell'arte troupes introduced improvisational
comedy, using masked characters to satirize societal stereotypes and class
divisions. This form of theatre had an outstanding impact on European
drama, providing a humorous yet stark commentary on social issues. The
19th century saw the emergence of realism in drama, with playwrights like
Molière, Henrik Ibsen, and George Bernard Shaw using their plays to
address social injustices, inequalities and challenge prevailing norms.
Ibsen's A Doll's House, remarkably questioned traditional gender roles,
eliciting discussions on women's rights.
Theatre and drama played a role in various socio-political
movements, including the abolitionist movement and labor movements.
Harriet Beecher Stowe's Uncle Tom's Cabin, adapted for the stage,
contributed to anti-slavery sentiments, while works like Upton Sinclair's
The Jungle shed light on labor exploitation. The 20th century witnessed an
intersection between theatre and political activism, particularly during the
civil rights movement and anti-war protests. Playwrights like Lorraine
Hansberry‟s A Raisin in the Sun, and August Wilson‟s The Pittsburgh Cycle
addressed racial issues, contributing to scholarly discussions. The latter half
of the 20th century and beyond saw the emergence of experimental and
postmodern forms of theatre. Playwrights like Samuel Beckett and Tom
Stoppard challenged conventional narratives, while contemporary works
explore issues such as identity, LGBTQ+ rights, and environmental
concerns. Contemporary theatre embraces a global and diverse range of
perspectives, allowing the marginalized groups to be heard. The
intersectionality of themes, including gender, race, and socioeconomic
status, is explored through plays like Tony Kushner's Angels in America
and Lynn Nottage's Sweat.

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Within the dynamic array of Nigerian plays, the exploration of morality

unfolds as a rich and intricate narrative. Playwrights address the
complexities of societal values and cultural traditions, crafting stories that
not only challenge and stimulate thought but also mirror the ever-changing
nature of morality in a nation undergoing rapid transformation.
Amidst the widespread bitterness, animosity, poverty, disease,
illiteracy, chaos, socio-political biases, sectarian violence, unemployment,
youth unrest, criminal inclinations, and similar challenges afflicting
Nigeria, the theatre emerges as a means of reconstructing the fractured
foundations of national unity. Through entertainment, the theatre offers
crucial emotional catharsis to its audience. Theatrical performances elicit
laughter and entertainment, pushing the concerns of the audience into the
background and offering them a comforting reprieve. Beyond its
entertaining role, the theatre also creates a favourable space for harnessing
human capabilities toward the sociopolitical and economic progress of the
society. It plays a significant role in promoting democratic principles in an
evolving democracy like Nigeria. Christopher Akachukwu says this is
because “it facilitates effective flow of accurate and adequate information
across the social strata. Such unimpaired exchange of information increases
the chances of success of democracy” (Akachukwu 54).
The prominent role of the theatre in fostering a lasting democratic
culture has garnered a substantial attention in numerous scholarly studies
on Nigeria's democratization. Ingrid Bjorkman relates this to the fact that
“The theatre sharpens the discriminatory capacities of man and this brought
to bear on the processes of democratic participation and choice it empowers
the citizens to understand the conclusion of his being, question it and seek
to exchange it when the need be” (Bjorkman 38). The theatre serves as a
potential safeguard against tyranny, societal problems, and lack of
development. It achieves this by fostering an objective understanding of
authentic national political interests, particularly in a diverse, multi-ethnic,
and multicultural country like Nigeria. The art of theatre is adept at
reaching both the literate and illiterate audiences alike. This is because,
according to Olamide Johnson “drama communicates orally, aurally and
visually. If the audience does not understand the language due to illiteracy,
they can at least appreciate its visual and aural appeals” (Olamide13).
The central theme, position, and core of drama revolve around
humanity and its surroundings. The theatre serves as a good platform for
the exchange of ideas and the dissemination of social awareness. It has the
ability to spark national discussions on important political matters that
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might not be suitably addressed in traditional political arenas. Due to its

nature as a social art that relies on cooperation, consensus-building, and
shared experience between the playwright, actor, and audience, drama
becomes a catalyst for democratic transformation. The theatre utilizes satire
to mock undesirable governance. Tunde Awosanmi says that “Curse, poison
and damnation are the weapons of the arts of satire. The first is the saliva
on the satirist; the second is the arrow in his quiver while the third is his
paradigm of the essence of dualism. The satirist is an inverted demon,
puncturing the balloon of pomposity – the over bloated intestine of the
predating elephants… (Awosanmi 1).
In Wole Soyinka's play From Zia with Love, the Nobel Laureate
presents the audience with a satirical depiction of military dictatorship,
forcing them to recognize the familiar notion of acquiring political power
not through consensus but through force. The satire in the play helps to
rekindle the democratic spirit of the people. Similarly, in Femi Osofisan's
Yungba Yungba and the Dance Contest, the democratic aspirations of
Nigerians are portrayed through the anti-illusionistic elements of Brechtian
epic theatre and the participatory aesthetics of indigenous art forms such as
songs, dance, music, and storytelling. The theatre plays a key role in
challenging the authority of political leaders, capable of demystifying the
totalitarian ideologies inherent in contemporary struggles for geopolitical
and territorial dominance, which pose a serious threat to national unity. The
theatre can play an important role in forming a new social and political
ideology in replacement of the existing ones rooted in partisanship and
ethnic nationalism.
Drama is capable of engaging and maintaining the interest of
children at various educational levels, including schools and colleges.
Utilizing role-playing as an instructional method enhances knowledge
acquisition in the learning process. By incorporating theatrical arts into the
teaching of different subjects, such as reading and writing, learners'
comprehension of these subjects can be improved, and their interest in
drama can be ignited. Rising literacy rates and growing interest in theatre
can make the democratic values and ideas portrayed in drama more
accessible to a broader audience. This increased awareness can greatly aid
in fostering a genuinely democratic Nigeria. In its popular form, theatre can
reach even the most remote rural areas, bringing the theatrical experience to
the grassroots. This empowers the original holders of political power by
encouraging them to challenge the current system. By taking theatre to the

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grassroots, the gap between the audience and the radical dramatist's
community can be bridged.
Popular theatre acts as a tool for conscientization and renewed
awareness, enabling rural communities to understand their societal
dynamics and instilling confidence in them as agents of change. The
theatre's awareness campaigns can inspire the Nigerian public to question
various issues, such as why the Federal Government's Poverty Alleviation
Programme seems limited to media announcements, why educational
institutions cannot accommodate the children of the political elite, why
Nigerian graduates struggle with unemployment, why politicians' savings
overwhelm Nigerian banks, why there are persistent fuel shortages, and
why the global economic downturn disproportionately impacts ordinary
Nigerians. The theatre, alternating between diplomacy and defiance,
addresses national issues. For example, Esiaba Irobi's play Nwokedi
exemplifies the rebellious nature of the theatre in confronting unacceptable
conduct and norms. Irobi vies for outright rebellion as a means of
combating social ills like tyranny and exploitative leadership. According to
him “this is our moment, when we must gather our strength and energies
into the demands of a revolution… this is the moment of revolt, of
rebellion. We must revolt against those disembodied godheads (politicians)
those spotted scavengers of Sahel Savannah …” (Irobi 28).

Drama as a potent tool for addressing the problems of migration:

A study of Toni Duruaku’s A Mirage for a Dream
The play, A Mirage for a Dream revolves around the protagonist, Chimdi, a
greedy, and zealous Motor Park tout who is illiterate. His desire to make
quick money makes him to take a risky journey through the Sahara Desert
and the Mediterranean Sea to get to Europe. Chimdi's father was wealthy
but died while he was still in primary school, leaving his handicapped
mother with very little after his two stepmothers took all the property. As a
result, Chimdi languishes in poverty, dropped out of school, and became a
conductor for his uncle, later becoming a motor park tout. Chimdi hoped to
solve his illiteracy and poverty issues by marrying an educated woman, but
his wife Berna proved to be a burden to him. Despite this, he worked hard
to provide material comfort to her in every possible way.
The play's starts when Chimdi spotted a passenger on board whom
he identified as Mike, his former classmate from primary school who is
now a barrister and is running for a position in the State House of

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Assembly. After a very long conversation between them, Mike strongly

urges Chimdi to visit him in his office.
A Mirage for a Dream by Toni Duruaku opens with two prominent
characters, Chimdi and his friend, Mike is seen in a rowdy place-- a motor
park. The playwright introduces Chimdi, a barely literate motor park tout,
during the first episode. As a bus conductor, his occupation often involves
grimy tasks. This occupation typically requires working in environments
where cleanliness is a challenge, and the work itself can be seen as
unglamorous or undervalued by society. Chimdi says “Grease is the mark
of that profession…No respectability, very bad conduct. No! Something is
wrong” (17)
The visitation of Egondu, his sister-in-law vividly sheds light on his
dire circumstances. Egondu says “Don‟t be rude. (sternly) I see your motor
park touting has ruined your home training. (As Chimdi picks up his bag
and leaves) Better look for a real job o. Even political thug is better than
this thing you‟re doing” (18). Chimdi‟s frustration over his inability to
secure a decent job manifests in several ways. One of these ways is that he
looks for the slightest opportunity to vent his anger on Berna, his wife.
Even the wife complains of his restlessness, even while he‟s asleep. She
says “ Last night you were tossing around in your sleep like a fish out of
water (pause) Speak to me, Chim. Chim, my husband. Did you lose your
job? (16). She also tells him “Talking to yourself is a bad sickness. (taps
her forehead) (16).
Chimdi‟s constant fight with his wife, illustrates the challenges of a
man who is going through serious mental turmoil, while grappling with the
harsh realities of financial and social responsibilities. As time goes on, the
ties of friendship between Chimdi and Mike's grow stronger, and Mike
convinces Chimdi to attend an adult class to prepare for his Primary Six
Common Entrance Examinations. This is necessary for Chimdi, so that he
can adapt to the current situation and be able to manage the new bus that he
planned to purchase. So as to help Chimdi achieve this, Mike assigned his
Personal Assistant, Charlie, to assist him.
Not long after Mike and Chimdi re-unites, Charlie discloses to
Chimdi how he went to Europe after leaving Mike's law firm and the great
opportunities for meeting up there. Chimdi was excited by Charlie's
revelation and his newfound wealth, and asked for more information about
how to travel to Europe. As soon as he receives the necessary information,
Chimdi abandoned the new bus that Mike had bought for him for
commercial purposes, as a symbol of his academic progress. He quickly
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made known to his pregnant wife Berna about his intention to travel to
Europe, and convinces her to borrow Two Hundred Thousand naira from
her sister, Egondu to supplement the funds needed for the trip. However,
Berna and Egondu were concerned about Chimdi's ambitious plan, as they
know that many people who pursue such dreams never make it to Europe or
survive to narrate their experience. Despite their warnings, Chimdi was
determined to go to Europe, and convinced Mike to lend him money for his
wife's business. Chimdi and two other travelers, Obinali and Ginger,
embarked on a journey through the Sahara desert and the Mediterranean
Sea to get to Europe. Unfortunately, due to exhaustion, hunger, and
dehydration, Chimdi and one of the travelers were captured, killed, and had
their organs harvested by human traffickers in Libya.
The play ends with Berna being physically assaulted by Chimdi‟s
people who blame her for his death. They accuse her of always nagging and
pressuring him to leave for Europe through illegal means, which finally led
to his death. Here, the issue of maltreatment against widows is being
dramatized. Nkiruka Akaenyi says that:
The subjugation of women is pervasive across various
communities and ethnic groups in Nigeria, where women
are perceived as mere extensions of men, occupying a
subservient status. Traditional institutions strongly
reinforce gender differences, seeing women as
inconsequential, the "insignificant other." This stereotypical
view of women, to a large extent, influences the mindset of
women, who often internalize and accept this position. Any
effort to challenge this norm is met with resistance, with
such women being seen as competing with men or trying to
disrupt the natural order of things. Consequently, they are
frequently labeled as stubborn, out of control, or ill-
mannered (86)

The norm cultural perception is that she's a strange woman, a

husband murderer, stirring up the superstitious belief that any man who
marries her would die before she could bear children. The maltreatment of
widows is not a theme peculiar to Toni Duruaku's play, A Mirage for a
Dream. In Akachi Ezeigbo‟s Hands that Crush Stones, the playwright
condemns the oppressive widowhood practices which is so entrenched in
the patriarchal society. This harmful widowhood practices is also opulently
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dramatized in Zulu Sofola‟s Wedlock of the Gods. Ogwoma, the female lead
character is accused of killing Adigwu her husband. In retaliation, her
mother-in-law uses strange powers to kill her. In Julie Okoh‟s Our Wife
Forever, Victoria, the female lead character in the play, who is also a
widow is subjected to all forms of psychological and emotional abuse by
her by in-laws. She goes through excruciating experiences in the hands of
her in-laws to the extent that she laments sorrowfully. She says “I was
made to sit on a mat on the hard ground throughout the period. Moreover,
my hands were crossed, tied in front of me. That means I couldn‟t use them
for anything. If I had an itch in any part of my body, I called on someone to
help me scratch the itching spot” (21).
On a different occasion, Victoria cries out “Oh what a life !
Suddenly I have become a prisoner. An outcast! I shouldn‟t go here or
there. I shouldn‟t do this or that! No one should come near me. No one
should reach out to me. All types of laws are heaped on me. Just because I
am a widow (p.23). All these harrowing experiences by Victoria aligns with
the notion of feminists that women oppression is rooted in patriarchal
tradition. Ezenwanebe says that:

Women as widows are recreated in the plays as an

expendable commodity. If women as wives are
twice oppressed, then women as widows are thrice
oppressed because they are women, were wives
and then widows. I therefore argue that wifehood is the
greatest burden of womanhood in Nigeria and the most
volatile gender space in dire need of social
transformation. When women as wives lose their
names and acquired names symbolizing their roles as
wife and mother, they lose the right to self-definition
(21-22)
The sense of helplessness Aetu is subjected to, is similar to the struggles
experienced by African women, particularly widows. Examining gender
issues in his play, Aetu Ahmed Yerima‟s portrays widowhood practices as
an oppressive tradition deeply rooted in patriarchy, where women are
debased. According to Ezenwanebe “The women as widows are products
of cultural degradation” (Ezenwanebe 268). Aetu as a widow in the play
under study has gone through much cultural degradation associated with
the widowhood rites. Again, Ezenwanebe says that:

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Some widows are required to sit in the ashes confined in

the house for months like Ogwoma in Sofola‟s Wedlock of
the Gods, shave their hair, howl for three days, etc. to prove
their innocence of their husband‟s death. For instance,
Eaglewoman in Ezeigbo‟s novel, Children of the Eagle
(2002) has to howl for three days to display public grief for
the loss of her husband, Josiah. In the same novel, her
daughters stage a protest against the patriarchal myths that
inform widowhood rites (p.269).

Elechi Amadi‟s novel, The Concubine revolves around a female

lead character, Ihuoma, who remarries seven times and at each marriage her
husband dies. The cultural perception is that she's a strange woman, a
husband murderer, stirring up the superstitious belief that any man who
marries her would die before she could bear children. In Ola Rotimi's Our
Husband Has Gone Mad Again, the main character, Lejoka-Brown, inherits
his late brother's wife, Mama Rashida. A Mirage for a Dream is a play that
explores the issue of migration in Nigeria, which is a prevalent theme in the
country in the 21st century. The play examines the root causes of migration
such as economic hardships, globalization, social inequality, market
economy, and discrimination. Other factors that contributes to migration
even though they are not fully explored in the play are political instability,
conflicts, wars, ethnic cleansing and other transformational processes that
shape Nigerian society.
The play mirrors the situation of many Nigerian youths like Chimdi,
Charlie, Ginger, and Obinali who flee to Europe in search of better
opportunities. While some succeed in making the perilous journey through
the Sahara, many like Chimdi perish due to dehydration, hunger, and
exhaustion, with their body parts being harvested by human traffickers. A
Mirage for a Dream highlights the dangers and desperation that drive many
young Nigerians to take such risks. The Nigerian youths as seen in the play,
chose to relocate to a foreign country because they feel that the government
has let them down in several ways, both economically, politically, socially,
and in other ways. As seen in the play, Chimdi is a bright young boy who
was once in primary school, but unfortunately dropped out of school as a
result of his father's death. His mother was unable to help him with his
education, and the government did not provide any assistance. As a result,
he decides to see Barrister Mike and was given a visitor's form to fill out by
Ginger, Mike's confidential secretary. He was unable to read or complete it.
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Chimdi's desire to leave the country was intensified by the mundane

nature of society seen in the play. Similarly, numerous Nigerians have faced
challenges and difficulties in European nations, with some being
imprisoned, others losing their lives, and many facing deportation on a
daily basis due to suspicions of involvement in criminal activities like drug
trafficking, cybercrime, armed robbery, and human trafficking. Instances of
xenophobic attacks against Nigerians in South Africa, as well as the brutal
killing of Nigerians in Libya and other regions, particularly in North Africa,
serve as typical examples. A good number of Nigerians have lost their lives
while attempting to migrate to European countries, either through drowning
in the Mediterranean Sea or perishing in the harsh conditions of the Sahara
Desert. Much like Chimdi, whose body was taken to his family with his
lung and kidney, numerous Nigerian migrants following the same path
often meet their death in foreign prisons or at the hands of human
traffickers in the Sahara Desert. Following their deaths, their remains are
either returned or unceremoniously disposed of, sometimes after the
harvesting of their organs like lungs and kidneys for medical examination.

Conclusion
This study sheds light on the urgent need to address the challenges
associated with migration. The play not only expose the grim realities faced
by Nigerian migrants in their pursuit of a better life but also underscores the
complex issues surrounding xenophobia, violence, and exploitation.
Through the use of drama, Duruaku effectively communicates the
multifaceted nature of this menace of migration, prompting the need for
reflection on the social and systemic factors that drive individuals to
embark on perilous journeys.
The power of theatre, as exemplified by A Mirage for a Dream, lies
in its ability to evoke empathy and provoke thought. By engaging readers in
the human stories behind migration, the play becomes a potent tool for
fostering awareness. It promotes the need for a collective response so as to
curb the menace of migration by addressing its root causes, advocating for
policy changes, and promoting a more inclusive and compassionate society.
As seen in the complexities given prominence in Duruaku's play, it is
evident that tackling the challenges of migration requires a holistic
approach involving governments, communities, and individuals. Through
continued dialogue, education, and artistic expression, the world can
become a better place, where the dreams of individuals are pursued within
the bounds of safety, dignity, and respect.
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