THE THEATRE OF THE ABSURD: Rejection, Delusion, and Oliver Fejiro’s Obsession with Governor Oborevwori

In the grand theatre of political discourse, there exists a peculiar breed of critic whose opposition transcends legitimate dissent and descends into the realm of pathological obsession. Such is the case with Oliver Fejiro and his inexplicable fixation on Governor Sheriff Oborevwori of Delta State. What we are witnessing is not merely political disagreement, but a carelessly woven charade, an opaque rehearsal to systematically undermine the Governor's solid accomplishments, except when such alignment conveniently serves Fejiro's personal interests. It is time to peel back the layers of this performance and expose the delusion for what it truly represents.

The concept of the Theatre of the Absurd, which originally applied to post-war drama, finds an unlikely yet apt application in contemporary Delta State politics. In this theatre, actions lack logical consistency, characters exist in a state of incomprehensible contradiction, as meaning dissolves into meaningless spectacle. Oliver Fejiro has positioned himself as the lead actor in this absurdist production, where the plot changes according to his whims and caprices, while the script is rewritten daily to suit his fluctuating fortunes. His obsession with Governor Oborevwori has become so pronounced, so all-consuming, that it borders on the infantile, a tantrum-throwing child unable to accept that the adult in charge will not be moved by his theatrics.

At the heart of this charade lies a pattern so predictable it has become comical. When Governor Oborevwori achieves something remarkable - and there have been many such achievements worthy of celebration, Fejiro's response is not to acknowledge progress but to search frantically for shadows to cast upon the light. Infrastructure developments that transform communities, policies that uplift the vulnerable, initiatives that create opportunities for Deltans or Strategic partnerships with Federal Government, all are met with the same reflexive dismissal or, worse, cynical misinterpretation designed to diminish their significance. This is not criticism born of principle or ideological conviction; it is opposition for opposition's sake, a desperate attempt to remain relevant by positioning oneself as the perpetual antagonist, thereby drawing the attention of the naïve to himself.

Yet here is where the absurdity reaches its zenith: Fejiro's so-called principles prove remarkably flexible when his own interests hang in the balance. The same voice that rises in indignation against gubernatorial achievements falls suddenly silent, or worse, transforms into praise, when there is something to be gained. This transactional approach to political engagement reveals the hollow core of his entire enterprise. It exposes the truth that his criticisms were never about the betterment of Delta State or its people, but about personal advancement and the desperate need for attention. When alignment with the Governor serves his purpose, the critic becomes the sycophant; when distance proves more advantageous, the sycophant transforms back into the critic. Such shape-shifting would impress if it were not so transparent, so pathetic in its opportunism.

This brings us to the question of delusion. How does one explain an individual who continues to rave against a Governor whose popularity and achievements grow stronger with each passing day? How does one account for the persistence of criticism in the face of overwhelming evidence of effective governance? The answer lies in the psychological phenomenon wherein rejection breeds delusion. Having been rejected - whether politically, socially, or psychologically - the individual constructs an alternate reality in which the opposition is meaningful, their voice influential, their presence consequential. In this constructed reality, the Governor's accomplishments become threats, his popularity becomes manufactured, and his mandate becomes illegitimate. It is a coping mechanism, yes but one that has spiraled into public spectacle.

Governor Sheriff Oborevwori, meanwhile, continues about the people's business with the focused determination of a leader who understands that governance is not about responding to every agent provocateur but about delivering results. His administration's achievements speak for themselves: infrastructural renewal across the three senatorial districts, empowerment programmes that reach the grassroots, policies that prioritize the welfare of the ordinary Deltan and strong synergy with the Federal Government. These are not talking points for media consumption; they are lived realities for communities that had long been neglected. While Fejiro performs his absurdist theatre in whatever arena that grants him audience, the Governor works silently, steadily, building a legacy that will outlast the temporary noise of his detractors.

The tragedy in all of this is that Delta State deserves better than the theatrics. The people deserve a political discourse elevated above personal vendetta and infantile obsessions. They deserve critics who hold power accountable from a place of genuine concern for the common good, not individuals who use criticism as a weapon for personal relevance. They deserve opposition that challenges the government to be better, not opposition that reflexively dismisses every achievement because acknowledging success would mean acknowledging one's own irrelevance. The absurdity of Fejiro's position is that in his desperate attempt to remain relevant, especially to his sponsors, he has rendered himself exactly that – Irrelevant to the serious business of governance and development.

It is time, therefore, to see this charade for what it is. Oliver Fejiro's puerile obsession with Governor Sheriff Oborevwori represents not principled opposition but the rantings of a politically irrelevant actor seeking a role in a production that has no need of his services. His opaque efforts to undermine accomplishments while opportunistically aligning when beneficial, reveal a character devoid of ideological consistency or moral backbone.

The Theatre of the Absurd must close its curtains, for the audience has grown weary of watching a performance that serves neither the interests of Delta State nor the cause of constructive political discourse. Let the work of governance continue without the distraction of those whose only contribution is noise. Let the people of Delta State focus on the real progress being made under Governor Oborevwori's leadership. And let Oliver Fejiro confront the painful truth that in the theatre of serious politics, his antics have become worn-out, his script exposed, and his performance rejected by the only audience that matters – the people whose lives continue to improve while he performs his empty rituals of drumming to his own amusement.