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Backchannel Communications in Ola Rotimi's 'Our Husband Has Gone Mad Again'

Written plays are examples of interactive discourse in print and dialogue among characters is a key feature of this discourse. Related features include grumbled fragments such as ‘eem’, ‘ugh’, ‘oooh’ and so on which are backchannels and can contribute to the success of any piece of dramatic work. This paper therefore examines how along with characterisation and cleverly woven language these backchannel items heighten the hilarious and comical effect of Ola Rotimi’s Our Husband Has gone Mad Again which is meant to ridicule the selfishness and naivety of neo-colonial African politicians.