The past two decades have seen the emergence of a great deal of scholarly work in English on West African performance in general and Nigerian theatre and drama in particular. Works by Alston, Ukpokodu, Dunton, Quayson, and an entire library by various authors on the theatre of Wole Soyinka have arguably made Nigerian performance second only to South African in terms of material in English about African performance available in the West. To this list must now be added Victor Samson Dugga’s book, which sites Nigerian theatre as part of “the process as well as the product of social change,” and goes on to offer a thorough analysis of three different contexts in which theatre and performance occur (12).