Characterization In “Marriage of Anansewa” by Efua T. Sutherland

The Character of Ananse

Ananse is the central and most influential character in Efua T. Sutherland’s play The Marriage of Anansewa. He is the protagonist around whom the entire action of the play revolves. Sutherland models Ananse on the traditional Akan folktale figure from the Anansesem tradition, where the spider (Ananse) is portrayed as a clever, cunning trickster who uses intelligence, deceit, and manipulation to achieve his goals. Through this character, the playwright presents a satirical but critical examination of human behaviour, especially within the context of marriage, poverty, greed, and patriarchy in post-independence Ghanaian society.

Ananse as a Trickster Figure

Ananse is portrayed as extremely cunning and deceptive. True to his folkloric roots, he relies heavily on lies, half-truths, and calculated manipulation to succeed. His primary objective in the play is to escape poverty and improve his social and economic status. In pursuit of this aim, he turns his daughter, Anansewa, into a means of financial advancement by arranging her marriage to wealthy men.

He deceives almost everyone around him. He lies to his mother and aunt to send them away so they will not interfere with his plans. He also deceives his daughter by initially concealing the true nature of the marriage arrangements from her, revealing only half-truths when it suits him. Most importantly, he deceives four wealthy chiefs by making each believe that he alone is the chosen suitor for Anansewa’s hand in marriage. This deception reaches its peak when Ananse fakes his daughter’s death in order to extract sympathy gifts from the suitors and escape the consequences of his actions.

Ananse as a Poor but Determined Father

Despite his dishonest methods, Ananse is not presented as entirely wicked. He is a poor widower struggling to survive in a harsh economic environment. His poverty partly explains his desperation and moral compromises. As a father, he shows a sense of responsibility by sending Anansewa to school and ensuring that she is well trained in etiquette by enrolling her at Christie’s Institute for Prospective Brides.

Eventually, through his elaborate schemes, Ananse succeeds in securing a husband for his daughter—Chief-Who-Is-Chief—who is portrayed as responsible and worthy. This outcome complicates Ananse’s character: while his methods are morally questionable, the end result appears socially acceptable within the cultural context of the play.

Influence of Ananse on the Plot

Ananse’s influence on the plot is overwhelming. Every major event in the play is triggered by his actions. The idea to “shop” for rich suitors, the letter-writing, the outdooring ceremony, the deception of the chiefs, and the faking of Anansewa’s death are all products of his schemes. Without Ananse, there would be no conflict, suspense, or resolution in the play.

His clever handling of complications sustains dramatic tension and propels the story forward. Even when his plans seem on the verge of collapse, he finds ingenious ways to escape blame and turn situations to his advantage. In this way, Ananse functions as both the driver of the plot and the main source of comedy and satire in the play.

Ananse as a Symbol of Social Ills

Sutherland uses Ananse to expose the ills of modern Ghanaian society, especially poverty, greed, and moral corruption. Ananse represents the struggles of ordinary people in post-independence Ghana who resort to unethical means in their quest for economic survival. His exploitation of his daughter highlights how parents may misuse their authority over their children for personal gain.

He also symbolizes the vanity and extravagance of the nouveau riche. Once money begins to flow in from the suitors, Ananse’s taste for luxury increases rapidly. He begins to drink expensive gin, wear executive suits, desire a car, and associate with wealthy spendthrifts. He even fantasizes about having a private hearse at his funeral. Through this exaggerated behaviour, Sutherland satirizes the shallow materialism of newly rich individuals.

Ananse and Patriarchy

Ananse also represents the patriarchal structure of Ghanaian society. He dominates and controls the women around him, including his daughter, mother, aunt, and Christie. He initiates Anansewa’s marriage process without her consent and later blackmails her emotionally into accepting it. Despite his weak moral standing, he succeeds because society grants him authority as a man and as a father. This exposes how entrenched male dominance enables exploitation and silences female voices.

Moral Lessons from Ananse’s Character

Several moral lessons emerge from Ananse’s character:

1. Greed leads to moral compromise. Ananse’s desire for wealth pushes him into dishonesty and manipulation.
2. Exploitation of others, especially children, is unethical, even when motivated by poverty.
3. Material wealth does not equate to moral success, as Ananse becomes an object of ridicule and satire.
4. Society must critically examine its values, especially those that reward cunning over honesty.
5. Patriarchal authority can be dangerous when left unchecked.

 

THE CHARACTER OF ANANSEWA

Anansewa is one of the most important characters in Efua T. Sutherland’s The Marriage of Anansewa. She is the daughter of Pa Kweku George Ananse, the protagonist of the play, and the entire plot revolves around her proposed marriage. Through Anansewa, Sutherland explores themes such as obedience, patriarchy, tradition, love, and the role of women in both traditional and modern Ghanaian society. Although she initially appears passive, Anansewa gradually emerges as a character whose cooperation and decisions significantly shape the outcome of the play.

Anansewa as a Dutiful and Obedient Daughter

Anansewa is presented as a submissive and obedient daughter, reflecting the expectations placed on young women in traditional Ghanaian society. She is a beautiful, educated, twenty-year-old young woman undergoing training as a professional secretary. Despite her education and exposure to modern ideas, she remains deeply respectful of her father’s authority.

When Ananse first introduces the idea of her marriage, Anansewa objects strongly. She describes the arrangement as being “sold like a parcel to a customer,” a statement that reveals her awareness of the exploitative nature of her father’s scheme. She engages her father in a lengthy and emotional debate, almost breaking down in tears. However, she eventually submits to his wishes after he reminds her of the family’s financial struggles, her school fees, and the promise of a wealthy and admirable husband. This submission underscores the dominance of patriarchal authority and the limited power available to women in marital decisions.

Anansewa as an Educated and Useful Partner in Her Father’s Scheme

One of Anansewa’s notable roles in the play is her use of modern education and skills to support her father’s plans. As a trained typist, she types letters to the four wealthy chiefs her father has selected as suitors. Ironically, she refers to herself in these letters as “the object of your interest” without initially realizing that she is the subject of the marriage negotiations.

Through this role, Anansewa becomes an unintentional accomplice in her father’s scheme. Her typing skills facilitate communication with the suitors and contribute directly to the flow of gifts and money into Ananse’s household. Symbolically, Sutherland uses this irony to show how modern education can be exploited within traditional systems for questionable purposes.

Anansewa’s Acceptance and Cooperation

Anansewa’s eventual acceptance of her father’s plan marks a turning point in the play. By agreeing to cooperate, she transforms the scheme from a mere idea into reality. Had she resisted at this stage, Ananse’s plans would likely have collapsed. Her cooperation therefore plays a critical role in the development and progression of the plot.

Although her obedience seems to reinforce patriarchal norms, it also demonstrates her sense of responsibility to her family. She understands the harsh economic realities facing her father and chooses to sacrifice her personal comfort for the collective well-being of the family. This complexity makes Anansewa more than a passive victim; she becomes a conscious participant in shaping her destiny within the limits imposed on her.

Anansewa and the Outdooring Ceremony

Anansewa plays a central role in the outdooring ceremony, a significant traditional rite that initiates her into womanhood and prepares her for marriage. During the ceremony, she undergoes cleansing rites, receives prayers and blessings, and is celebrated with songs, dances, and gifts from family and friends.

Through her participation, Anansewa demonstrates respect for her cultural heritage and readiness for marriage. Sutherland uses this ceremony to highlight the richness and vitality of Ghanaian marriage traditions. Anansewa’s role in the ceremony contributes to the cultural depth of the play and reflects the playwright’s intention to valorise African customs.

Anansewa’s Role in the Faking of Her Death

One of the most dramatic and significant actions involving Anansewa is her collaboration with her father in faking her own death. Although she initially protests against the idea, she eventually agrees when she realizes it is the only way to eliminate unwanted suitors and secure her marriage to Chief-Who-Is-Chief, the man she genuinely loves.

By lying in state and convincingly acting as a corpse while messengers from the four chiefs come to pay their condolences, Anansewa demonstrates courage, self-control, and commitment. This action is crucial to the plot, as it moves the play from climax through falling action to resolution. It also saves her father from public embarrassment and humiliation, while simultaneously advancing her own personal interests.

Significance of Anansewa in the Play

Anansewa’s character is highly significant both thematically and structurally. Through her typing of the letters, acceptance of the marriage plan, and cooperation in the fake death, she directly contributes to her father’s economic breakthrough. The gifts sent by the suitors lift Ananse out of poverty, while her eventual marriage secures her own financial stability.

She also embodies the tension between tradition and modernity. Educated and articulate, she questions outdated practices, yet ultimately submits to tradition and parental authority. Her character exposes the limitations placed on women’s choices in a patriarchal society while also showing how women navigate and negotiate power within those constraints.

Moral Lessons from Anansewa’s Character

Several moral lessons can be derived from Anansewa’s character:

1. Obedience to parental authority can come at a personal cost, especially in patriarchal societies.
2. Economic hardship often forces individuals into morally difficult choices.
3. Women’s voices and desires are frequently subordinated to male authority, even in modern settings.
4. Tradition can both protect and constrain individuals, depending on how it is practiced.
5. Compromise and sacrifice may lead to personal fulfillment, as Anansewa eventually marries the man she loves.

 

The Character of Christie

Christie is a significant supporting character in Efua T. Sutherland’s The Marriage of Anansewa. Although she is not a member of Ananse’s family, her influence on the events of the play is profound. As the proprietor of the Institute for Prospective Brides and a close associate of Ananse, Christie plays a crucial role in advancing the plot, especially in the execution of Ananse’s most daring scheme—the faking of Anansewa’s death. Through Christie, Sutherland explores themes of marriage, female agency, loyalty, desire, and social manipulation within a patriarchal society.

Christie as a Trainer and Advocate of Marriage

Christie is the owner of the Institute for Prospective Brides, an establishment where young women are trained and prepared for marriage. This role places her at the centre of the play’s subject matter, which is marriage. Anansewa is sent to Christie’s institute to be groomed in etiquette and social skills suitable for a prospective wife, thereby making Christie instrumental in preparing her for married life.

Christie also participates actively in Anansewa’s outdooring ceremony, where she presents her with a sovereign and wishes her well. Her involvement in this traditional rite reinforces her commitment to marriage as a social institution and highlights the blending of modern and traditional values in the play.

Christie as a Fashionable and Worldly-Wise Woman

Christie is portrayed as fashionable, sophisticated, and worldly-wise—qualities that make her well-suited for the delicate and deceptive tasks Ananse assigns to her. She is socially intelligent and emotionally perceptive, able to read situations and respond tactfully. These attributes enable her to function effectively as an intermediary between Ananse and the outside world.

She harbours a romantic interest in Ananse and hopes to become his wife. Despite Ananse’s frequent lack of attention, Christie remains loyal and accommodating. She continually seeks to please him, uses words of endearment when addressing him, and willingly accepts any task he assigns her. Her patience and emotional investment eventually endear her to Ananse, making her indispensable to him.

Christie’s Role in Removing Obstacles

One of Christie’s strategic contributions to Ananse’s plan is her involvement in sending Aya and Ekuwa back to Nanka. By arranging a taxi for the elderly women to leave, she clears the way for Ananse to proceed with the faking of Anansewa’s death without interference.

This action serves both Ananse’s interests and her own. Aya, in particular, is already suspicious of Christie’s intentions toward her son and poses a potential obstacle to Christie’s ambition of marrying Ananse. By facilitating the women’s departure, Christie eliminates both moral scrutiny and personal rivalry.

Christie and the Faking of Anansewa’s Death

Christie’s most important role in the play is her central involvement in the faking of Anansewa’s death. After receiving Ananse’s instructions and securing Anansewa’s cooperation, Christie assumes the role of a respectable member of the family in charge of receiving mourners.

She welcomes messengers from the four suitors, communicates with them on behalf of Ananse, and collects all gifts and condolences. Crucially, she ensures that no mourner comes into physical contact with Anansewa’s body, thereby preventing the deception from being exposed. Her careful management of this scheme convinces the suitors that Anansewa is truly dead, effectively eliminating three of them from contention and paving the way for her marriage to Chief-Who-Is-Chief.

Christie as a Caregiver and Substitute Wife

Beyond her role in deception, Christie also acts as a caregiver and emotional support to Ananse. When Ananse becomes psychologically and physically distressed upon learning that all four suitors are coming to perform the head-drink ceremony, Christie repeatedly comes to his aid. She provides him with aspirin for his headaches, calms his nerves, and reassures him of her unwavering support.

In many ways, Christie assumes the social and emotional role of a wife in Ananse’s life. She manages crises, offers comfort, and stands by him in moments of panic. This quasi-marital role further deepens her importance in the play and explains why Ananse increasingly relies on her.

Significance of Christie in the Plot

Christie’s actions are vital to the success of Ananse’s scheme. Her involvement in the departure of Aya and Ekuwa removes obstacles to the fake death plot. Her efficient handling of mourners ensures that the fraud remains undiscovered. Without Christie’s intelligence, discretion, and loyalty, Ananse’s plan would almost certainly have failed.

Additionally, Christie’s Institute for Prospective Brides and her desire to marry Ananse allow Sutherland to further examine the institution of marriage from multiple perspectives—traditional, modern, romantic, and transactional.

Moral and Thematic Importance of Christie

Through Christie’s character, several moral and thematic lessons emerge:

1. Loyalty and devotion can blur moral judgment, as Christie supports deceit to gain emotional fulfillment.
2. Women exercise influence indirectly in patriarchal societies by working behind the scenes.
3. Marriage is portrayed as both an institution and a personal ambition, capable of motivating questionable actions.
4. Social intelligence and tact can be as powerful as authority, especially in crisis situations.
5. Desire for acceptance and love can make individuals complicit in unethical schemes.

The Character of Aya in The Marriage of Anansewa by Efua T. Sutherland

Aya is a minor but highly significant character in Efua T. Sutherland’s The Marriage of Anansewa. She is the mother of Pa Kweku George Ananse and the grandmother of Anansewa. Although she does not dominate the action of the play, her presence represents tradition, moral authority, and the older generation’s worldview. Through Aya, Sutherland contrasts age-old customs with modern cunning and exposes how traditional respect for elders can be manipulated.

Aya as a Custodian of Tradition

Aya plays an important role as a custodian of traditional marriage rites. She is expected to oversee and participate in the public and ceremonial aspects of Anansewa’s rites, especially the ritual prayers and blessings that formally initiate the girl into womanhood. Although she has to travel to Henson in response to an emergency call to duty, she later recounts and details what Anansewa underwent in private, particularly the ritual aspects, and prays for her well-being.

Through this role, Aya symbolizes the cultural continuity of Ghanaian society. Her involvement reinforces the importance of elders in guiding young people through significant life transitions such as marriage. Sutherland uses Aya to validate traditional customs and to show their enduring relevance.

Aya as a Credulous Old Woman

Aya is portrayed as credulous and easily trusting, especially when dealing with her son, Ananse. This trait is evident when she readily believes Ananse’s fabricated story about a cocoa farm in their village. She neither questions the source of the information nor attempts to verify its authenticity. Her unquestioning acceptance of the story surprises even Ananse himself, who marvels at how easily both she and her sister are deceived.

This credulity highlights the extent to which Ananse exploits familial trust and respect. It also shows how traditional reverence for family bonds can be abused by cunning individuals for selfish gain.

Aya as a Suspicious and Protective Mother

Despite her gullibility in certain matters, Aya is not entirely naïve. She is also portrayed as suspicious and perceptive, particularly regarding Christie’s intentions. Aya quickly senses that Christie may have a romantic interest in Ananse and suspects that her kindness towards Anansewa is merely a strategy to get close to her son.

This suspicion reveals Aya’s maternal instinct and protective nature. As an elderly woman, she feels responsible for guarding her son against potential manipulation, especially from women she perceives as opportunistic. Her distrust of Christie creates tension and subtly foreshadows Christie’s deeper involvement in Ananse’s affairs.

Aya’s Influence on the Plot

Aya’s presence initially poses a moral and practical obstacle to Ananse’s scheme. As an elder and a respected family member, her continued presence could expose or prevent the deception surrounding Anansewa’s fake death. This is why Ananse and Christie conspire to send her and Ekuwa away to Nanka under false pretences.

Her removal from the household directly contributes to the success of Ananse’s plan. Once Aya is gone, Ananse is free to proceed with the deception without fear of scrutiny or moral resistance. Thus, even in her absence, Aya plays a crucial role in shaping the plot.

Symbolic Significance of Aya

Symbolically, Aya represents the older generation and traditional moral conscience of society. Her trustfulness reflects the vulnerability of tradition in the face of modern manipulation, while her suspicion of Christie reflects the intuitive wisdom that often accompanies old age. Through Aya, Sutherland suggests that tradition alone is not enough to safeguard moral values if it is not accompanied by critical thinking.

Moral Lessons from Aya’s Character

Several lessons can be drawn from Aya’s character:

1. Blind trust can be dangerous, even within the family.
2. Respect for elders should not be exploited for personal gain.
3. Traditional authority can be undermined by modern cunning.
4. Intuition and experience remain valuable, even when not fully acted upon.
5. The absence of moral guardians creates room for deception and abuse.

 

The Character of Ekuwa

Ekuwa is a minor but culturally significant character in Efua T. Sutherland’s The Marriage of Anansewa. She is Ananse’s aunt and the sister of Aya. Like Aya, Ekuwa comes from the village to the city to assist in the performance of Anansewa’s outdooring ceremony. Though she does not initiate major actions in the play, her role is essential in reinforcing traditional values and in facilitating the progression of Ananse’s schemes. Through Ekuwa, the playwright further explores themes of tradition, trust, and deception.

Ekuwa as a Custodian of Tradition

Ekuwa’s primary role in the play is her function as a custodian of traditional rites and cultural heritage. Alongside Aya, she assists in performing the outdooring ceremony that formally initiates Anansewa into womanhood and prepares her for marriage. She actively participates in the ritual processes, explaining what needs to be done and the significance of each act.

Her involvement includes bringing a bowl of water into public view, placing nyanya leaves in the water, offering prayers for Anansewa’s future, and passing a ritual egg over the girl’s head. These actions reflect deep-rooted cultural practices meant to cleanse, protect, and bless the young woman. Through Ekuwa, Sutherland highlights the richness and seriousness of African marriage traditions.

Ekuwa as a Patient Teacher and Guide

Ekuwa also plays the role of a trainer and guide to Anansewa. She observes that Anansewa asks many questions during the rituals, showing eagerness to learn and understand the customs she is undergoing. Ekuwa’s response to this curiosity indicates her approval and reinforces the idea that Anansewa is being prepared not just for marriage, but for a dignified position—possibly in a palace.

This portrayal emphasizes Ekuwa’s patience and commitment to passing down cultural knowledge. She represents the older generation’s responsibility to educate the younger generation and ensure the continuity of tradition.

Ekuwa as a Credulous and Trusting Character

Like Aya, Ekuwa is portrayed as credulous, easily believing Ananse’s fabricated story about fire destroying the family’s cocoa farm. She does not question the source or authenticity of the information. However, unlike Aya, Ekuwa is less suspicious and more trusting in her disposition.

She views Christie as genuinely kind and helpful, believing that her involvement with the family is motivated by goodwill rather than personal interest. This trusting nature makes Ekuwa accommodating and cooperative, but it also exposes her vulnerability to manipulation.

Ekuwa’s Influence on the Plot

Ekuwa’s role in successfully carrying out the outdooring ceremony marks an important stage in Ananse’s overall plan. The completion of the ceremony officially signals Anansewa’s readiness for marriage, allowing Ananse to proceed to the next phase of his scheme involving the suitors.

Additionally, like Aya, Ekuwa’s presence initially poses a potential obstacle to Ananse’s plan to fake his daughter’s death. This explains why Ananse and Christie arrange for both women to return to the village. Their departure clears the way for deception and allows the plot to advance without moral scrutiny.

Symbolic and Thematic Significance of Ekuwa

Symbolically, Ekuwa represents unquestioning tradition and communal trust. Her character contributes to the exploration of the themes of cunningness and deception, as she becomes a victim of Ananse’s manipulation. Through her, Sutherland demonstrates how deeply respected traditional figures can be misled by those they trust.

Ekuwa also reinforces the theme of tradition versus modern manipulation. While she upholds cultural values sincerely, she is powerless against Ananse’s calculated deceit, suggesting that tradition alone cannot guard against moral corruption.

Moral Lessons from Ekuwa’s Character

Several lessons can be drawn from Ekuwa’s character:

1. Tradition requires vigilance to remain effective.
2. Excessive trust can make even respected elders vulnerable to deception.
3. Good intentions do not always prevent exploitation.
4. Cultural authority can be undermined by selfish modern interests.
5. Moral guidance must be combined with critical awareness.

Role and Significance

He functions as a narrator, guiding the audience through the story. His roles include:

• Explaining events
• Preparing the audience for upcoming actions
• Commenting on characters’ behaviour
• Initiating or joining songs
• Occasionally participating in the action

The Storyteller embodies the oral storytelling tradition of African performance. He connects the audience directly to the narrative and reinforces the moral and cultural lessons of the play.

Through him, Sutherland preserves the spirit of folktale narration while adapting it to modern drama.

 

The Minor Characters in The Marriage of Anansewa by Efua T. Sutherland

Although The Marriage of Anansewa centres mainly on Ananse and his immediate household, Efua T. Sutherland makes effective use of minor characters to enrich the play, reinforce its themes, and clarify traditional marriage customs. These characters, though they appear briefly, play vital symbolic, cultural, and dramatic roles.

Akosua and Akwasi

Akosua and Akwasi are a pair of lovers who appear in the play as part of an interlude. Their role is primarily didactic and symbolic rather than plot-driven.

Role and Significance

The lovers’ interlude is designed to emphasize a crucial principle in traditional Ghanaian marriage customs: until the head-drink is presented, no suitor has the right to claim a woman as his partner. Through their interaction, the audience is reminded that emotional attachment or verbal claims alone do not constitute a valid marriage.

Their performance reinforces one of the central ideas of the play—that marriage is a formal, communal, and ritualized institution, not a private affair. By presenting this lesson dramatically, Sutherland educates the audience while entertaining them, staying true to the Anansegoro tradition.

The Girls

The Girls are Anansewa’s friends and age-mates who participate actively in her outdooring ceremony.

Role and Significance

During the ceremony, they bring gifts, lift Anansewa in celebration, sing and dance with her, and pray for her future. Their presence highlights the communal nature of marriage rites in Ghanaian society. Marriage is shown not as a solitary or family-only affair, but as an event involving friends, peers, and the wider community.

Through the Girls, Sutherland underscores values such as female solidarity, friendship, joy, and collective support. Their participation adds colour, music, and vitality to the play and strengthens its cultural atmosphere.

The Messengers

The Messengers are representatives sent by the four chiefs who seek Anansewa’s hand in marriage.

Role and Significance

Each group of messengers reflects the status and personality of the chief they represent:

• The Chief of the Mines sends two men.
• The Chief of Sapaase sends one man and two women.
• Chief Togbe Klu IV sends two men.
• Chief-Who-Is-Chief sends a diplomat, one man, and two women.

These variations reflect differences in wealth, dignity, and social standing. The messengers deliver gifts, condolences, and ceremonial messages, especially during the faked death of Anansewa. Their complete belief in the deception confirms the success of Ananse’s scheme.

Structurally, the messengers advance the plot by:

• Bringing wealth into Ananse’s household
• Foreclosing marriage with three chiefs
• Paving the way for Anansewa’s marriage to Chief-Who-Is-Chief

They also reinforce the theme of appearance versus reality, as they accept events at face value without questioning the truth.

The Players

The Players are members of the cast who perform multiple functions throughout the play.

Role and Significance

They sing, clap, dance, comment on events, and sometimes act as the audience within the play itself. Their roles align with the Anansegoro and Anansesem traditions, where storytelling is communal and interactive.

Through their songs and chants, the Players:

• Comment on characters’ actions
• Satirize Ananse’s greed and deception
• Reinforce moral lessons
• Maintain audience engagement

They blur the line between performers and observers, reminding the audience that the play is both a story and a social critique.

The Postman

The Postman is a minor but functional character.

Role and Significance

He delivers written correspondence from Anansewa’s suitors to Ananse. His role highlights the modern aspect of communication in the play, contrasting with the traditional rituals surrounding marriage.

By serving as the link between Ananse and the suitors, the Postman indirectly contributes to the unfolding of Ananse’s scheme and the progression of the plot.

The Property Man

The Property Man is both a technical and dramatic figure.

Role and Significance

He manages stage properties and also functions as:

• A supporting actor
• A prompter
• A scene setter

His presence emphasizes the theatrical nature of the play and reflects Sutherland’s experimental style. By allowing backstage roles to become visible on stage, the playwright breaks the illusion of realism and draws attention to the play as a crafted performance.

The Storyteller

The Storyteller is one of the most distinctive minor characters in the play.

Role and Significance

He functions as a narrator, guiding the audience through the story. His roles include:

• Explaining events
• Preparing the audience for upcoming actions
• Commenting on characters’ behaviour
• Initiating or joining songs
• Occasionally participating in the action

The Storyteller embodies the oral storytelling tradition of African performance. He connects the audience directly to the narrative and reinforces the moral and cultural lessons of the play.

Through him, Sutherland preserves the spirit of folktale narration while adapting it to modern drama.