the European colonial powers that promoted the retelling of stories from the Bible and Christian traditions. This play served a larger purpose that reflected the personal journey of Duro Ladipo and many others in reconciling the conflicting influences of Christianity enforced by the colonial authority as well as their ancestral roots of Yoruba traditions. Not only did Ladipo set the precedent for new thematic construction in Yoruba theater with Oba Kò So, but the people he chose to work was an act of resistance in itself, as his recruiting process did not revolve around schooling as done under colonial direction, but rather the merit of their contributions to Yoruba art forms. In a way, Ladipo included his actors, dancers, musicians, and singer in the opportunity to rewrite the history of Yoruba culture as they were all at the forefront of the creation process, contributing their personal experiences as content for the characters of the play. Background Shango is the protagonist of the play. According to some historians, he reigned as the king of Oyo and was a figure feared by both his subjects and, across the Niger, by the Borgu and Nupe empires. He was known for his warring and tyrannical tendencies during his life, and was later deified in tribal history and worshiped by some. His era was one of turbulence and also of intrigue. Duro Ladipo was influenced by the writings of the Rev. Samuel Johnson, a Yoruba historian who used a lot of old Oyo sources for his book on the Yorubas. Duro's play created the image of Sango as a tragic hero. Plot The play tries to revisit history by portraying a stout and commanding Sango at the height of his powers as a king. Ever mindful of the wishes of the people and in his desire to please them, he set two of his most powerful chiefs against each other. The chiefs, Gbonka and Timi, had grown too powerful and were becoming a nuisance to the kingdom. However, the plot ends up dividing his cabinet and many of his advisers, friends and a wife, Princess Oya, leave him. Shango's friend Mogba, rather than join the traitors, desires to redeem the battered image of the king. Mogba invokes incantations, causing thunder and lightning to damage the homes of Sango's enemies. References Ogundeji, "Philip Adedotun: The Image of Sango in Duro Ladipo's plays". Research in African Literatures,