Breaking the Silence: How Theatre is Changing the Narrative on SRH

In parts of Northern Nigeria, conversations about sexual and reproductive health don’t usually happen in public. Topics like early marriage, family planning, and female genital mutilation (FGM) are often kept behind closed doors—if they’re talked about at all. But one play is pushing against that silence.

“The Cut Across,” a stage production performed in rural communities in Zaria, Kaduna State, is using theatre to break the ice. It tackles sensitive issues head-on, and it’s doing it in a way that people are actually listening to—through storytelling.

The play was developed by the Department of Theatre and Performing Arts at Ahmadu Bello University, Zaria, in collaboration with the Stand with the Girl Child Initiative (SWAG). For the director, Prince Nathan Kure, this is about more than performance. “We needed to find a language that resonates with the people,” he said. “Theatre is that language. It breaks barriers where conversation fails.”

A different kind of awareness campaign

Reproductive health is not just about hospitals or clinics. It’s about access to information, the freedom to make decisions, and having spaces where women and girls feel safe enough to speak. In many rural areas of Kaduna, those spaces are rare.

Early marriage, teenage pregnancy, and complications from childbirth are still common. And even when health services exist, many women don’t know what’s available—or what their rights are.

A 2024 study by researcher Suleiman Musa Aishat pointed out that outreach efforts often miss the mark in places like Zaria. “There’s a critical need for more accessible platforms that spread awareness,” she said. “Many young women simply don’t have the information they need.”

That’s where theatre comes in.

From hospital visits to stage scripts

“The Cut Across” was inspired by real-life experiences. “Many times, I’ve visited the teaching hospital here in Zaria,” Kure said. “I’ve seen the pain women go through—complications that could have been prevented if they had the right information.”

The script, written by Mabel I.E. Evwierhoma, originally focused on FGM in the Urhobo community. But the ABU team adapted it to reflect the specific realities of Northern Nigeria, incorporating themes like menstrual hygiene, family planning, and early marriage.

“We discovered through research that some women still use rags during menstruation,” Kure said. “They think it’s safer or more affordable. We had to speak to that.”

Respecting tradition, encouraging change

The team knew they had to be careful. “We couldn’t just attack the traditions,” Kure explained. “We showed that these practices were once seen as honourable, but now they’re causing harm.”

In the play, a few brave women start to question these practices. Eventually, even the village ruler begins to understand. That shift was intentional—it helped avoid backlash while planting seeds for reflection.

“If we had portrayed these traditions as barbaric without any context, people might have rejected the message,” Kure said. “But when they see the consequences maternal deaths, VVF, lost daughters they start to listen.”

Speaking the unspoken

In many homes, women still can’t talk about their own health, even in front of their husbands. That silence is what “The Cut Across” is trying to challenge.

“A woman should be able to talk about family planning, gender-based violence, and her own body,” Kure said. “This play helps start those conversations.”

And though it’s rooted in one culture, the message goes beyond that. “It speaks to the reality that women, no matter where they come from, should have autonomy over their lives.”

More than just a play

Audience reactions have been powerful. Some people cried. Others came forward with questions. “I think they saw themselves in the characters,” Kure said. “It made them ask, ‘Why do we still do this? What can we do differently?’”

After the performance, the conversations didn’t end. There were follow-up discussions, feedback sessions, and plans to take the message even further into schools, religious centres, and online spaces.

“Our hope is that it doesn’t stop on stage,” Kure added. “We want it to keep spreading.”

What comes next

Theatre isn’t the only answer, but it’s proving to be an effective one. In places where formal health campaigns struggle to get through, a relatable story on stage can open doors.

For many in Kaduna, “The Cut Across” was the first time they heard SRH issues discussed out loud. And for some, it was the first time they felt like they could join in.