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Nii – Efiewura’s commotion specialist.

By James Harry Obeng.


AMONGST the hodgepodge of pundits of Efiewura, currently the most riveting serial rolled on TV3 and GTV every Wednesday and Sunday, respectively, may be a somewhat ill-informed observation; that Agya Afari, the leviathan of all landlords, is anything and everything variant to peace and fairness – a figure in whose domain orderliness is scarcely guaranteed.


Also, to many viewers, the unyielding landlord embodies the be-all and end-all of the myriad untoward and unfathomable activities that occasionally plunge the household into anarchy and utter disequilibrium, just to catalogue a few.


Albeit not entirely fictitious, however, the foregoing observations do not also drift much away from counting easily as conjured and ridiculous.  Realistically, there are far lethal (if not worst) operatives cloaked in “sheep’s wool” whose operations, both open and underhand, indubitably contribute substantial stimulus to the bedlam that periodically swallows up the Efiewura compound.


One of such characters is James Augustus Quist (aka Jimmy Quist), a tactful commotion strategist, yet a character many admire to watch because of his intrinsic predisposition to enthrall viewers with his captivating pirouette dancing steps.


A husband of a chauvinistic and flirtatious wife by name Adoma, Jimmy (who plays the role as Nii in the cast) also, with gusto, takes terrorism to fever-pitch, especially when he goes man-hunting the myriad concubines of his wife, atop the list remain Osofo Joojo and Akrobeto.


The consequences of such exercises become extremely fatal when Nii combine forces with his nephew, Bukom Banku, a cut-throat bully with a protruding boxing prowess and exuberance, whose favourite delicacy, banku with kpakpo shito, remains all it requires to endow him with the strength to embark on such brutalities.


Sometimes, Nii’s penchant to visit mayhem and venom upon the concubines of his wife would leave viewers much to desire, a situation that oftentimes create doubt over his braveness to confront his wife Adoma in finding an effective prophylactic to her (the wife’s) flirtatious exploits.


But just as one may hasten to suggest to him to stamp his authority as the husband over the wife via the  African fashion, Nii declares unequivocally to Spectator that “Efiewura is not only meant to entertain viewers, but more importantly to educate them on contemporary developments that will positively move our society forward.


Now I can’t beat my wife Adoma because of the Domestic Violence Act that protects her, and in very large extent women, despite all her flirtatious character.”


Nii admits though he is often seen in Efiewura to occasionally vent his anger on the men who deals amorously with her wife Adoma, the import of his seemingly lukewarm approach in dealing with her is much derivative of the educational aspect of the film plot that advises married men to stay clear of the masculine susceptibility to resort to violence in the house.


SPEC: Why haven’t you parted with your wife?

Nii: What do you mean by this!


SPEC: I’m talking about divorcing her?

Nii: For whatever reason, I still love my wife. You don’t know what she does to me in my bedsit.


SPEC: Efiewura is replete with numerous characters. Who is your favourite?

Nii:  Everybody in Efiewura acts his/her part very well.  And I do also try my best to socialize and fraternise with every one of them.  But I will say Joojo Robertson (Osofo) is one of the livewires of Efiewura.  And we’ve missed him a lot.


SPEC: (cuts in) Where is he now?

Nii:  Somewhere in the States (USA).  (continuing)… I’ve known Joojo, Eunice Banini (Adoma) and Koo Fori before appearing on Efiewura and I think that partly accounts for the reason we jell whenever we appear on set.  Agya Afari (Katawere) is a gem and a true legend who gives me a lot of inspiration.


SPEC: Any future ambitions?

Nii:  Why not!


SPEC:  Share with me?

Nii:  I wish to become a Member of Parliament (MP) one day.


SPEC: (Cuts in):  Why, are you a political?

Nii: Oh, not that partisan, but I point out the pluses and minuses as and when I see them.


SPEC:  you still haven’t answered me. Why do you want to be an MP?

Nii:  I think it will be an opportunity for me to help formulate policies to propel the entertainment industry for the better.  One of us, Capt (rtd) Nkrabeah Effah Dartey, was there and will be leaving by the end of the year.  We need people of his calibre to continue from where is leaving.


SPEC:  So how do you see the future of the entertainment industry?

Nii:  Oh, it quite promising and bright.  Right now, we are seeing a lot of performing colleges springing up in the country.  I can mention those of Juliet Asante (of Eagles Production) and Kojo Dadson as steps in the right direction that will help in strengthening the industry.


Nii hails from Osu in the Greater Accra region. Trained at the Ghana Institute of Journalism (GIJ), Jimmy attended the Pennywise International School (South La Estate), the Rev John Teye Memorial School, the Datus Educational Complex (Tema) and Osu Presby Preparatory School before proceeding to the Osu Presbyterian Secondary School (PRESEC), for his secondary education.


He is currently studying for a Bachelors Degree (BA) in Information Studies at the University of Ghana, Legon.


Jimmy Quist is now the Studio Manager of Citi FM in Accra, a position he has held since the establishment of the outfit four years ago. Jimmy first worked at Joy FM, also in Accra, as a front desk executive in 1996 and rose through the ranks to the station’s Programmes Department as an Assistant Librarian.


He then joined Adom FM in the year 2000. But with the versatility and professionalism with which he does his duties, Jimmy was recalled into the fold of Joy FM to boost the new production team headed by Adjoa Aidoo when Komla Dumor left for the BBC.


At Joy FM, Jimmy additionally hosted a night show, dubbed “Jimmy’s Jam” where he treated listeners to soothing music, predominantly hip-life music.



November 28, 2008 Posted by | Reviews | Leave a comment

Sefa-Kayi goes romantic in a new film premiere

By James Harry Obeng


IN a setting where characters are explicitly the opposite of what they are known for, and promises mere mockeries, it is only the age-long Shakespearean dictum “Hell hath no fury like a woman scorned” that emerges as the hypothesis, awaiting either an outright confirmation or otherwise.


At 6:00pm this evening at National Theatre stages the grand premiere of “SCORNED”, yet another mind-boggling masterpiece of a movie from the stables of Sparrows Productions Limited, producers of the hit movie, “Life and Living it.”


Directed by youthful but talented producer, director and script-writer, Shirley Frimpong-Manso, “Scorned” represents a must-watch blend of talent, creativity, and prestige interspersed with humour perfectly acted out by the finest of movie stars in the country, including Efo Kodjo Mawugbe, Kwami Sefa Kayi, in a romantic role, Chris Attoh, Ecow Smith-Asantes, Dzifa Glikpoe, and Lydia Forson who played the lead role as Dea Thompson.


Two years of marriage to Orlando Thompson, the Reverend Minister’s son, has left Dea Thompson badly scared.


A case of self defense leaves Orlando battling for life and Dea, an opportunity for a more financially secure future. But there are many more people who will do anything to ensure that does not happen.


Abused, suppressed, exploited and ill-treated, Dea is a woman on a mission who will stop at nothing to right all wrongs done her; including getting what she thinks is rightfully hers.


It therefore turns dangerously lethal as Dea must play to win or loose everything.  But Hell hath no fury like a woman scorned.





November 7, 2008 Posted by | Reviews | Leave a comment

Katawere’s wife

By James Harry Obeng


Efiewura’s fearless legal luminary, lawyer Kwame Dzokoto, is guaranteed a good run for his money as an authority in marital law should he ever venture to summon Agya Afari before his court to face charges of maltreating his wife.


The legal dynamo will also compare to nothing less of a humiliated failure if he, out of any unexplained ambition, attempts to apply his judicial rubrics in testing the validity or otherwise of the good old aphorism “behind every successful man is a supporting wife”, using Agya Afari’s marriage as a case study.


In reality, lawyer Dzokoto will do nothing contrary to foregoing in the Efiewura compound with the landlord himself as the accused.  This is because if he ever did, he will not be far from forfeiting his tenancy status, aside the simple fact that the ‘learned’ lawyer cannot equal Agya Afari’s innate trait to circumvent every situation to his advantage.


Agya Afari simply represents a dictator, a thinker, a litigant, a chauvinist and above all an expert in womanizing.  He is also a stingy sponger whose opportunistic attitude knows no bounds.


These are only but a smattering of the qualities that Agya Afari brings to bear on his relationship with any person who desires to go by the tag “Mrs” Agya Afari.  And this is what also spells the dilemma that Madam Monica Sarpong, who plays the role as Auntie Adjoa (Agya Afari’s wife) in the popular ‘Efiewura’ sitcom, finds herself.


After fruitless love advances on Auntie ‘B’, a widow who is now adventuring a power-sharing deal with Naana over Koo Fori, Agya Afari takes onto womanizing which brings him into a sex-less relationship Yaa Yaa, a slim sexy-looking lady tenant.


Yaa Yaa will explore all ingenious antics within her power to suck the pocket of her sugar-daddy landlord dry, but will not be cajoled into responding positively to the sexual demands of Agya Afari.


With the passage of time, Yaa Yaa realizes the need to forgo dating aged Agya Afari, a situation which then necessitates the need to find a substitute to replace her place in the heart of her demanding sugar-daddy landlord.2.


Yaa Yaa then “connects” Ante Adjoa, her father’s sister, who readily welcomes the idea to re-marry after years of remaining a widow.


Agya Afari also throws in the towel to settle down in marriage with Ante Adjoa because he finds out later that his soon-to-be wife is quite “loaded”; her daughter occasionally sends her dollars from abroad.


Auntie Adjoa successfully becomes Mrs. Agya Afari, but not without being fleeced recklessly by her newly found husband who, unlike his new wife, sees the marriage as a golden opportunity to make hay whilst the sun shines; at least with the dollars occasionally sent from oversees.


SPEC: So what happened to the money that your daughter sent you to buy a taxi for commercial use?

A.A:  You won’t believe what happened to my dollars!


SPEC: Tell me, I’m all ears!

A.A:     Agya Afari, my husband, used a minute fraction of it to purchase a rickety taxi which has been painted to give it the look of a brand new one.  The car broke down few days before it could even be used for the purpose for which it was bought for.


SPEC:  What about the rest of the money?

A.A:     He used it in chasing small girls


SPEC: You don’t mean it.  Are you saying your husband is a womanizer?

A.A:    But this is now public knowledge.  Don’t pretend as if you don’t know about his womanizing character.


SPEC: May be you can’t satisfy him sexually?

A.A:     He is just being ungrateful.  I do my best behind closed doors.


SPEC: If what you are saying is anything to go by, then send him to lawyer Dzokoto’s court?

A.A:    (She laughs).  You don’t know what you are talking. What makes you think lawyer Dzokoto can apply his law on my husband?  He cannot stand Agya Afari for a minute, and Dzokoto will only be risking his eviction from the house if he even conceives such an idea.


SPEC: Then divorce him if that will give you peace?

A.A:    (She laughs again) You still don’t understand what you are saying.  I love him very much.


SPEC: Really?

A.A:    Yeah, it is my husband we are talking about here.


Ante Adjoa says divorcing her husband now is out of the equation.  She believes that all marriages share similar problems, and that it is how such problems are handled that brings the difference between good peaceful marriages and bad ones.  She therefore regards marriage as s school for improving character and nurturing growth.


SPEC: Since when have you been featuring in Efiewura?

A.A:    Oh, that was last year (2007).


SPEC: How do you see the relationship among your colleagues in the sitcom?

A.A:    We are a family.  Just that and nothing else!


SPEC: Who is your favourite colleague in the sitcom?

A.A:      I can’t pinpoint any particular person.  But I think Naana and Auntie ‘B’ are very good people to me.  They always act their roles with the needed professionalism to me liking.


SPEC: Future plans?

A.A:    I look forward to a bigger opportunity where I can teach the up-and-coming artistes with the few experiences I have gathered over the years in acting.


SPEC:  Any advice to these up-and-coming people?

A.A:     They should not joke at all with their education if they truly want to secure a     place in acting.


Monica Sarpong (a.k.a Ante Adwoa), a mother of three, was born on March 6, 1957 at Akyem Oda in the Eastern region.  With over 25 years experience in acting, she has featured in several films produced by Jacky Films Productions, including “Suro nipa” and “Oh mother”. She has also worked with several drama groups like Daakye Drama Group, Osofo Dadzie Group (where she is now the leader) and among the actors that first featured in Cantata on GTV.





November 7, 2008 Posted by | Reviews | Leave a comment

HIV/AIDS resurrects African showmaster

Review by: James Harry Obeng


GHANA’s success in chalking headway in her drive to slash the scary statistics and thus minimize the spread of the deadly HIV/AIDS has become a predictable cliché. The eccentric statistics that put about 300,000 compatriots as living with the HIV epidemic coupled with the national prevalence of 1.9 per cent drum home the exigency for an effective all-embracing national sensitization tool to curb the epidemic since there is currently no scientifically tested cure except for the use of anti-retrovirals which, aside its cost, guarantees no other assurance than ameliorating the epidemic; not curing it.


The anti-HIV/AIDS drive that recognizes the epidemic as a socio-economic developmental challenge has awakened the creativity and ingenuity of sociologists, dramatists, writers and musicians. The challenge is so serious that the once-upon-a-time Showmaster of Africa, Bob Pinodo has had to come out of retirement.


The multiple award-winning Showmaster who has not seen active gigs since the late 1980s, after rocking Ghana with his Sonobete dance and music creations, decided from his Winneba base in the Central Region that the world hasn’t heard the last on the HIV/AIDS pandemic.


His latest work, released on both cassette tape and CD, is titled “Get involved HIV/AIDS Campaign” and is sponsored by the Ghana AIDS Commission (GAC). The album combines the dual elements of education and entertainment in raising awareness about the epidemic; that is edutainment.

The four-track album encompasses such tracks as “Enka ekyir se yebeben Yehowa”, “HIV/AIDS is real” and “Joe Boy” in addition to the lead track, “Get involved, HIV/AIDS campaign”.


In a blunt but  humane approach, Pinodo in track two (HIV/AIDS Is Real) takes a swipe at attempts from certain quarters, especially a cross-section of the youths, to adamantly mythodologize the menacing disease, elucidating his standpoint with the argument that present-day scientific authentications sourced via doctors and scientists were ample evidences to break the myth surrounding the menace.


Additionally, couched in a corrupt typical Nigeria – like Pidgin English, Track Three tells the story of an incorrigible young man named Joe Boy whose numerous extra-marital sexual engagements put his innocent wife at the risk of the infection. The development subsequently provokes Pinodo, brother to Joe Boy’s wife, to become very vocal in the marital affairs of the couple as a way of restoring to normalcy the frequent beatings visited upon the wife whenever the voices concern over the husband’s amorous flirtations with other women.


As he puts it “you dey beat am, you dey cheat am oo! AIDS  dey oo! It dey kill people,” Pinodo offers an exegesis on the causes of the epidemic, dissecting into factors like blood transfusion, needle and blade cuts, etc, but with emphasis on sexual intercourse, especially unprotected extra-marital sexual escapades, which is a common characteristic of Joe Boy.


But in track four which he sang in Fante, Pinodo turns attention to the gospel as a way of reaching people with his message against HIV/AIDS. He contends that the advent of HIV/AIDS was partly a result of the sheer disregard for the word of God by humanity, giving the assurance that it was never late to draw closer to God, to wit, “Enka ekyir se yebeben Yehowa.”


Meanwhile, the title track of the album, “Get involved HIV/AIDS Campaign” comes with no less a description than a power-packed exhortation that commensurate its name. In a jazz-like instrumentation, Bob Pinodo re-emphasises the fact that AIDS was claiming million lives globally and prevails an all Ghanaians to stage the bold and decisive step aboard the campaign to halt the spread of the disease in the country.


Without a shred of doubt, the album should find itself into every home in the country to aid in materializing the worthwhile campaign of curbing the spread of HIV/AIDS in Ghana.



September 19, 2008 Posted by | Features, Reviews | Leave a comment