As part of the International Women’s Month celebrations, the stage play Blood and the Smile premiered at Terra Kulture, Victoria Island, Lagos, on Sunday, 30th March 2025. Written by journalist and playwright Ola Awakan, the production was produced by Just Theatre House in collaboration with Artswax Communications and the National Troupe of Nigeria. The play delves into the struggles of four pregnant women and other women facing various challenges, including a prophetess who unintentionally caused the death of another person. Together, they find solace in a safe space where they share their experiences and seek solutions.
A 15-Year Journey to Advocacy
Playwright Ola Awakan revealed that Blood and the Smile has been in development for 15 years, driven by his passion for storytelling and advocacy. He explained that the play serves as an eye-opener to the complexities of womanhood, addressing different life phases such as singlehood, marriage, pregnancy, and motherhood.
“Many women silently endure struggles that society often overlooks. Postpartum depression is one of them, yet few talk about it openly,” Awakan stated. “Research shows that 10 to 15% of mothers experience postpartum depression, and if left unaddressed, it can escalate into postpartum psychosis, leading to severe consequences. This play is not just about entertainment—it’s a call to action.”
Awakan further stressed the need for families, particularly husbands, to be more supportive of women after childbirth. He emphasized that mental health issues, including postpartum depression, are deeply linked to rising suicide rates and emotional breakdowns among both men and women. “We need to create an environment where people feel safe enough to speak out and seek medical help when necessary,” he added.
Medical vs. Spiritual Perceptions
Renowned actress Shan George, who played a doctor in the play, reinforced the message that postpartum depression should be treated as a medical condition rather than a spiritual attack.
“In our society, many people rush to religious solutions before considering medical help. If someone is showing signs of postpartum depression, the first response should be a visit to the hospital, not immediately assuming it’s a spiritual problem,” she stated.
George emphasized that while faith and spirituality have their place, they should not replace professional medical intervention, especially when dealing with mental health.
A Personal Connection to the Story
Nneka Isaac Moses, Managing Director of Goge Africa, found the play deeply personal, as it mirrored her own experience of pregnancy loss and the mental and emotional toll that followed. She recalled how her husband’s unwavering support was crucial in helping her heal.
“This play took me back to a painful chapter of my life. My first child would have been 27 years old today, but I lost that child. I was in a coma for about four to five days,” she shared. “The only reason I pulled through was because I had a present and supportive husband. Many women don’t have that, and they suffer in silence.”
Moses emphasized that men need to be more educated about the psychological and physical transformations women undergo before and after childbirth. “More men need to see this play. In fact, men should undergo training before marriage to truly understand what women go through. It’s not just about being a father—it’s about being a pillar of support,” she said.
Lessons from the Cast
The cast members also shared their reflections on the themes of the play. Pere Ere Sampson, who played Rose—a young woman deceived by a lover—highlighted the importance of women prioritizing their personal growth and future rather than defining their worth through relationships.
“My character, Rose, fell in love with a man who made empty promises. She ended up in a tragic situation, which unfortunately reflects what many women go through. Women need to be more aware and focus on building themselves, not just relationships,” Sampson noted.
Similarly, May Efe Okanigbe, who portrayed Woman 4, stressed the need for greater care and respect towards pregnant women. “Pregnant women go through so much, yet society often fails to treat them with the compassion and support they deserve. We need to do better,” she said.
The Vision Behind the Production
Director Ifeanyi Eziukwu explained that the production aimed to explore pregnancy and mental health from an angle that is often ignored. He noted that while financial constraints posed a challenge, the strong reception from the audience made the effort worthwhile.
“This play is about more than just storytelling—it’s about advocacy. We wanted to highlight the struggles that women face and emphasize the importance of spousal support, particularly during pregnancy and postpartum recovery,” Eziukwu stated.
A Call for Greater Awareness
Theatre artist and playwright Tunde Olaoye described Blood and the Smile as a timely and necessary production, urging men to pay closer attention to the realities women face.
“This is a play that every man should watch. Women undergo enormous physical and psychological changes during pregnancy and after childbirth, yet many men remain unaware or indifferent. This needs to change,” Olaoye remarked.
Blood and the Smile calls for a more informed and supportive society, advocating for open conversations about postpartum depression and women’s mental health. The play serves as both an artistic masterpiece and a powerful advocacy tool, pushing for a shift in societal attitudes toward maternal mental health and emotional well-being.