This study examines the malleability of Iyorwuese Hagher’s plays to varied styles in performance, using
Mulkin Mata, Aishatu, and Anti-People as staged at the Department of Theatre Arts, Federal College of
Education (Special), Oyo, between 2002 and 2012. The problem addressed is the limited scholarly
attention given to the relationship between Hagher’s dramaturgy and the interpretive possibilities it offers
directors, actors, and designers in performance. Although Hagher’s plays have attracted literary attention,
insufficient study has been devoted to their pliability in stage realisation. This study addresses that gap. Its
aim is to establish how Hagher’s dramaturgy permits diverse performance choices, while its objectives are
to identify the stylistic features of the selected plays, examine their stage interpretation, and assess their
adaptability beyond the stage. The study is anchored in Patrice Pavis’s theory of mise en scène, which
explains performance as the organised transformation of dramatic text into stage expression through
acting, design, movement, and visual composition. Adopting a qualitative, practice-based analytical
method, the study draws on selected productions and textual evidence. Findings show that Hagher’s use of
narration, role reversal, audience involvement, satire, episodic structure, and flashback expands directorial
and design options. The study concludes that the formal elasticity of these plays strengthens their stage
vitality, pedagogic value, and screen adaptability, thereby extending their relevance within theatre practice
and performance scholarship.