TITLE: AGONY OF THE DOUBTFUL
PLAYWRIGHT: OLUWADARA MIKE-BAMILOYE
GENRE: CHRISTIAN PLAY
RELEASE DATE: 2015
PUBLISHER: THE MOUNT ZION PUBLICATIONS
AGE RATING: NON-RESTRICTED
RATING: 4 STARS
The playwright fiddles with prophecies; recreating the premise of the heavenly discourse by simply portraying a mixed tribal kingdom. Indeed Aiyegbogbo, the kingdom, points to the world without reservations. Her feverish display of simple words sandwiched with actions which give life to the characters paints a portrait of her thought-point in the playbook.
Without caution, the play, peeps into the future with a Pre-tribulation Premillennialist belief of rapture. It is not the usual luxury product of a teenage writer from High school (at the time of writing the play). Her bold steps to make symbols of the caption-ascribed-characters further leaves the reader to undergo an internal debate concerned with the near-reality of the fast-moving playbook. Consequentially, she takes turns drastically and to the pitiable awe of the reader who steps into the tension of the plot, a bosom craft of her far out imagination.
Agony of the doubtful presents a world filled with apathy and disregards for true rewards; a world with a majority ready to sacrifice an eternity for the guise of a century-long existence. Without intentional harm, Oluwadara lampoons the unprepared and the doubtful.
Her conflict shakes the faith of the reader only to question if the king is afraid of his adversary, Fikajoye by leaving but isn’t the enemy fretful not to attack while the king is still present? The playwright is visibly unshaken and would not trade mercy with the faithless – who would not sacrifice the enjoyment of life for the strict adherence to the policies of the training – ultimately sentencing them to the fateless penalty. The play is not ignorant of the devices of the ultimate adversary in the spies of Fikajoye, but is salient to point out that the true enemy is the person willing to believe in unbelief.
At the king’s departure – the rapture – the playwright, not comfortably but almost conveniently, sustains the suspense of when the remnants – who had once disbelieved but were after the king’s departure willing to keep their stand and not compromise – would get caught. With a character like Kola even the reader shares a dwindling sense of hope until Oluwadara, the playwright, has had her fill and would engage further to the expected fate of endurance for a faith, once neglected, or doom upon the reception of the mark of agreement with the adversary.
Agony of the doubtful, a reenactment of the parables the ten virgins and many of the like, expresses God’s concern with freewill worship, the unknown knowledge of the Christian rapture, lack of conviction of believers to represent what they are; the devils ploy of penetration into the church well enough to dissuade even the elect of God, the instrument of the stranger’s voice as a mantle to dissuade the consciousness that the enemy dwells in our midst as we have lost the dominion of total control. The play posits that the Christian emblems of remembrance get dim quickly but only by the anointing from the Holy Spirit can they be renewed.
The play preaches of the ministry of the prince – Jesus – who redeems by conviction of love and has advocated that God, the father tarry this long. It speaks of hope: occurring when it should and when it must. It speaks of remnants, pre-rapture patience and post-rapture endurance. The enigma of the end is a blur that the trance of this premeditated warning in form of art has truly come to an end.
Agony of the doubtful is dotted by subtle humour and has a liberal facade with no specific religious adulation. But what could be easily faulted is the bias of basing the final candidature for departure on luck however the piece summons the consciousness of an eternal existence that humanity should be willing to be party to. It builds conviction, establishing that only the tactful who have come to terms with the lifestyle of a Royal City – heaven – can indeed enter into it and experience harmony.
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