Zulu Sofola and El Osas Iyalekhue: A thin line between two dramatists.

Titling my play WEDLOCK IS NOT FOR GODS is by no means a theatrical accident, but a well planned attempt to arrive at some form of dramatic nuance. It is necessary to state that WEDLOCK IS NOT FOR GODS is not an answer to the questions raised by Zulu Sofola in Wedlock of the Gods. 

Wedlock of the Gods has always been a motif in my drama. This is because I value the essence which the play captures, and Zulu happens to be a writer whom I love.

In WEDLOCK IS NOT FOR GODS, The play opens with a beat from Zulu's Wedlock of the Gods, replaying the very tragic end of the play, which spurs the conflict of WEDLOCK IS NOT FOR GODS. I did this, not to condemn the tragic end of Ogwoma and Uloko whom did not possess the liberty of marrying each other because of an unattractive custom giving out women's hand in marriage irrespective of choice of interest. But rather, I wanted to draw attention to the self imposed emotional tragedy contrived by people in this generation who have the free will to choose their own spouses. And this self imposed tragedy is fueled by infidelity which is now a norm in our present societies.

WEDLOCK IS NOT FOR GODS exposes the excesses of men and women in relationships, while imposing the value of forgiveness in spousal commitments.

So for critics who continue to raise eyebrows over the title of my play WEDLOCK IS NOT FOR GODS, The play has no quarrels with Zulu 's play.

Yes, I know there is a thin line of love and hate between tragedians and anti-tragedians, but between Zulu and I, there is only one thin line- we existed in different generations, lest she and I would be two inseparable dramatic entities.