Last Friday, I attended a stage production on the Makola Queens, which brought to life the story of women traders who courageously mobilised funds and support for Ghana’s independence.
As someone who deeply values the contributions of women in political spaces, such as the peace efforts led by women in Liberia, I was eager to experience a production that rightfully celebrated these bold matriarchs of Ghana’s independence movement.
When I arrived at the National Theatre, there was a long queue. My friend, who had thankfully come much earlier, had reserved a spot for me in the auditorium. I joined her, full of anticipation and high expectations.
The show, however, started at 8:30 pm, thirty minutes past the scheduled time. That delay, though not uncommon in our theatre scene, foreshadowed what became an evening of missed opportunities.
What went wrong
Though it was framed as a feminist piece, the production veered too far into a drawn-out depiction of market life, at the expense of telling the powerful political story it promised.
The main character, Rebecca Naa Dedei Aryeetey, commonly referred to in the play as Naa Dedei, who was not only a powerful market queen but also a fearless political organiser, was disappointingly portrayed as a subdued character. In my opinion, the play failed to capture her fiery spirit and leadership. Her grandmother towered over her personality and felt more like the protagonist.
If you came into the theatre without prior knowledge of the historical account behind the play or who Naa Dedei was, you would likely leave with more questions than answers. Critical moments in her life were either downplayed or left out entirely.
For instance, her mysterious and politically charged death, which occurred at a rally in Ho, was not shown or even properly contextualised. Her iconic nickname, given to her as a successful flour merchant, “Dedei Ashikishan” (translated to “Dedei flour” from the Ga language), was not mentioned throughout the play and only appeared as chants in the recessional chorus.
The plot felt slow, and it was not until the end that the actual substance of the play began to emerge. However, it was too late to establish a meaningful bond between the audience and Naa Dedei.
Her death, which should have been the emotional crescendo of the play, left the audience unmoved, not out of indifference, but because the narrative never allowed us to feel who she truly was. There was little dramatic build-up to her political importance; no moment laid bare her convictions or sense of sacrifice.
Without that emotional layering, her death felt abrupt and almost symbolic, rather than real. The audience needed more scenes that humanised her. These could have been through conversations, decisions, or moments of political resistance that allowed us to connect with her story and grieve her passing.
For a story rooted in the courage of women who shaped a nation’s independence, the portrayal must rise to meet the weight of that legacy. And I say this not as someone overly critical, but as one who appreciates the effort and constraints of Ghana’s theatre space.
Still, when dealing with historical icons like Naa Dedei, there is a responsibility to bring nuance and depth to the stage.
What Went Right
The acting was one of the production’s strongest assets. Performers delivered with remarkable conviction, fully embodying their roles and bringing the dynamics of market life to life. Their chemistry and comedic timing added vitality to what would have been otherwise slow scenes.
The music was equally memorable, and I commend Harmonius Chorale for that spectacular performance. I did not expect less from them anyway. I enjoyed the music so much that I wouldn’t mind a Makola Queens playlist.
The stage design was good! The textured stalls and vibrant fabrics in the set transported the audience directly into the heart of Makola. It was not just a backdrop but a towering, present character in the play.
One scene that stood out to me was the closing moment between the old man and his granddaughter, who had no idea who the woman on the 50 pesewa coin was. That short scene carried the emotional weight and historical grounding that the rest of the play often lacked. It would have been even more effective had it appeared at both the beginning and end of the play, serving as a narrative frame.
Opening with the girl’s limited knowledge of the woman on the coin, and then closing with her (and the audience’s) expanded understanding of who Naa Dedei truly was, could have created a more cohesive journey.
“The play is a passionate effort to highlight overlooked heroines of Ghana. The creative prowess of the team is undeniable, and I believe this production is only the beginning of what they are capable of bringing to Ghana’s theatre space.”
Suggestions for Improvement
To the writers — and I say this as someone who admires your work and vision, I offer a few humble suggestions for later productions of the same play:
- Let Naa Dedei’s political activism take centre stage. Her courage, influence, and the injustice of her death should not be side notes but central themes.
- Strengthen her narrative arc by gradually pacing the story to build toward her political significance and eventual death, so the audience can emotionally invest in her journey.
- Consider balancing the music with the plot. The music is powerful, but ensure it complements rather than overshadows the storytelling.
- Assume the audience may not be familiar with the historical background of the play. Provide sufficient context within the play so that newcomers can follow and appreciate the significance of what is unfolding.
- Naa Dedei was not a passive figure in history: she was bold, young, and strategic. Let that fire shine through.
The play is a passionate effort to highlight overlooked heroines of Ghana. The creative prowess of the team is undeniable, and I believe this production is only the beginning of what they are capable of bringing to Ghana’s theatre space.
With greater historical grounding and more courageous storytelling, the creative team can produce a work that not only entertains but also educates and inspires.
Ghana’s heroines like Naa Dedei deserve to be remembered not just as symbols on a coin, but as flesh-and-blood women who risked everything for a nation’s future. Let us honour them with stories that carry the same weight and courage they showed in life.
