THE SUBTLE TRANSGRESSOR

A trenchant play

Review by Peter Moroe


Play: The Subtle transgressor
Author: Omoseye Bolaji
Publisher: Eselby Junior Publications (South African edition)

The Subtle transgressor is a powerful drama, shocking in some respects and with convincing (grassroots) dialogue the author is noted for. The play addresses a number of social issues in this our increasingly sophisticated world. Alas as society advances it appears the moral fibre continues to be undermined. It is a reality we have to face.

The pressures assailing the young can be clearly seen in this play – especially young ladies. They become aware of their sensuality and attractiveness to members of the opposite sex; they have their own desires and foibles; for those from rather poor backgrounds (as the protagonist Kate is) the pressures multiply even further. There are many men and “boys” out there ready to take advantage of them, realizing their vulnerability.

Needless to say a young woman (note that the play focuses not only on Kate but her two close female friends too) must “take care of herself” – she needs the basics, including toiletries; nowadays many of them hanker for “airtime” “credit” for their mobile phones. The “sugar daddies” swoop in also. It goes on and on.

In this play Kate’s father Job initially comes across as a man battling against odds to “discipline” his daughter, maybe teach her some values in life. That he goes as far as stabbing her (!) smacks of some sort of desperation. In the modern world with so many rights, this could have led to punitive measures for him if Kate had for example reported the matter to the Police. But she does not.
Hence we realize that there is some sort of intriguing relationship between Kate and her father Job. Other characters like the loquacious “Uncle” contribute to the particular ambience of the play. Kate certainly seems to understand her father well – a man who frowns upon his daughter’s closeness not only to “boys” but also to her best female friends. There can be no possibility that Kate would desert her friends. Or vice versa.

As characteristic of Omoseye Bolaji’s fiction it is only at the end of the play that we realize that Job has been abusing his own daughter sexually since she was a kid! This extraordinary revelation is presented quite convincingly with Job being utterly humiliated, but hardly punished for his deeds. We now realize that he is doubly guilty of abuse – not only has he stabbed her with a knife, but had abused her sexually throughout her young life.

Job is the ultimate hypocrite: his trenchant outbursts - claiming he is “principled” and only out to foment discipline in his daughter assumes a very hollow ring. He is a villain: an authentic subtle transgressor. And what about his poor abused daughter? Is it not likely that she would always feel inadequate, somewhat depressed and traumatized? Under the circumstances we can only but admire her feisty attitude and character.

We live in an age where the young ones (particularly females) are subjected to terrible things. We are not only thinking of rape or domestic abuse at home, but with increased reports of “date rapes” – e.g the male “spiking” the drinks of a female to render her unconscious and then going on to rape her; sometimes with a gang rape of the hapless female taking place… it seems as society becomes more advanced women become even more vulnerable.

The subtle transgressor tries to address some of these societal problems from what one might call the “tap root” – incest perpetrated by a father on his own daughter. In other words a dysfunctional background for a young female – what prize that this traumatic experience would not follow her around even as she grows up?