‘Chants in a Cemetary’: A Theatrical Meditation on Life, Death & Vanity

A Play That Confronts Human Existence

MALLAM Denja Abdullahi’s Chants in a Cemetary brought questions of life, death and human existence to the stage at the 2026 Jos International Festival of Theatre. Directed by Emmixkrizzz Onoja, the production offered audiences an opportunity to reflect on the fleeting nature of life and the meaning people attach to wealth, social status and worldly achievements.

The performance began at 4:58 p.m., following an introduction by the 8th Sage. Abdullahi attended the event alongside former teachers from the University of Jos, colleagues and friends. Members of the Association of Nigerian Authors (ANA) also turned out to support the playwright.

At the heart of the drama are two gravediggers, Musa and Baba, played by Samuel Enoch Terfa and Obed Frederick, respectively. Through their conversations and experiences, the cemetery becomes more than a burial ground. Instead, it serves as a setting for examining the realities of human existence and the uncertainties surrounding death and the afterlife.

The play’s existential concerns invite audiences to reconsider what truly matters in life. In a world where people often pursue wealth, influence and recognition, its central reflections challenge the assumption that material achievements offer lasting significance.

Two Actors Carry the Weight of the Drama

With only two performers sustaining a production that lasted about 60 minutes, Chants in a Cemetary placed considerable demands on its cast. Terfa and Frederick responded with energy, commitment and a clear understanding of their respective characters.

Their movements were purposeful, while their physical expressions complemented the dialogue. Consequently, the actors communicated the emotions and circumstances of the story without losing the audience’s attention.

Moreover, their ability to maintain the performance’s pace demonstrated discipline and creative coordination. The interaction between the two characters helped sustain the dramatic tension and gave the audience room to absorb the play’s philosophical questions.

Although the production offered entertainment, its deeper achievement lay in encouraging reflection. The cemetery setting and the gravediggers’ exchanges created a framework for examining mortality, human ambitions and the values people leave behind.

In this respect, the production functioned both as a theatrical experience and as an invitation to think critically about life’s impermanence.

Playwright Praises the Production

Abdullahi expressed satisfaction with the staging, particularly the actors’ interpretation and the director’s approach. He observed that the production balanced the play’s sombre subject matter with moments of humour, allowing the audience to engage with its themes without losing the pleasure of the theatrical experience.

Despite the play’s preoccupation with death, laughter punctuated the performance, and the audience reportedly gave the cast a standing ovation at the end.

The playwright praised the performers for bringing the scenes to life while preserving the original messages. He also commended the direction and the turnout, adding that the production surpassed the play’s premiere.

The presence of his former teacher, Professor Kanchana Ugbabe, and his University of Jos colleague, Professor Jerome Dooga, made the occasion particularly meaningful to him. Other invited guests also attended, while a camera crew he invited interviewed him for a festival feature.

Theatre Festival Sustains Cultural Exchange

The performance added to the programme of the 2026 Jos International Festival of Theatre, which continued with plans to stage Jerry Alagbaoso’s The Widow’s Choice on Friday 9 October. Wapi Barau directed the production.

The festival also received commendation for the support of the Embassy of Spain and the Spanish Agency for International Development Cooperation (AECID), whose contributions helped make the event possible.

Ultimately, Chants in a Cemetary demonstrated how theatre can use an intimate performance to confront universal questions. Through two gravediggers and their exchanges, Abdullahi’s play directs attention beyond the grave towards the choices people make while they are alive.

Its enduring question is not simply what awaits humanity after death, but whether the things people struggle to acquire during life possess the lasting value they often assume.