Betrayal in the City

Mulili is Boss’s distant cousin. He is interested solely in his own advancement by any means necessary. He is willing to kill, lie, and finally, to betray Boss when he thinks that it will save his life. He is the personification of greed and disloyalty, demonstrating that there is no one less dependable than a mercenary so long as there is someone willing to pay him a higher price. Mulili illustrates that people who act primarily out of self interest often make disastrous public officials. 

Mosese is an academic, but he has been silenced. It is notable that his is probably the most proficient, analytic mind in Betrayal in the City, but he is committed to suppressing his views in order to ensure his continued survival. In this way, his perception aligns with that of Regina: if he is to be of use, he must stay alive, so that he can watch, adapt, and act—but not until the potential rewards outweigh the immediate risks. 

Rape has often been used as a humiliating, degrading weapon in war. Regina’s experience with Boss illustrates how devastating rape—or even the prospect of it—can be on a woman’s psyche. However, Regina is not simply a female prop in the play. She shows a mind that, like Mosese’s, is analytical and practical. She is able, for instance, to calm Jusper when he is hotheaded, as she is aware that they must continue to live if they wish to continue to fight. 

Doga is the father of Jusper and Adika, the son who has just been killed at the beginning of the play. His function is to serve as a reminder that there are still those in Kafira who observe ancient customs and beliefs. However, if his beliefs are of value to him, it can only be in the world after death. His rituals and traditions cannot save his son, or prevent him and his wife from becoming ghosts.  

Nina is Doga’s wife. Her role is nearly identical to Doga’s, except that it manifests in different ways. When confronted at Adika’s grave, she is not only prepared to fight, but also threatens to curse Jere and Mulili. The idea is either laughable or frightening, depending on one’s tribe, history, and beliefs. As with Doga, though, nothing she does in the play saves her son, or herself.