Entertainment
Play lovers thrilled at ‘Ghana Must Go’ apremiere
It was a moment of joy and excitement as individuals filled the auditorium to watch the premiering of the “Ghana Must Go”, at the Accra International Conference Centre (AICC) in Accra on Saturday.
The play kept the audience glued to their seats as the cast deliver some spectacular performances to communicate and present the rich Ghanaian cultural values and identity.
“Ghana Must Go”, a stage play meant to promote the Ghanaian culture through storytelling featured captivating performances and musical interludes.
Written by Latif Abubakar, a renowned playwright, the play, is expected to be showcased globally. It served as a powerful expression of the Ghanaian identity and a catalyst for the economic through the arts.
It also highlighted the power of theatre as a tool for cultural expression and national development.
Speaking to the media after the premiering, Mr Abubakar said he was not surprised by the massive attendance recorded at the premiere.
This, he said, was because those who had bought tickets to watch the premiering were assured of consistency, a good storyline, and entertainment.
Mr Abubakar said that although he was excited about the growth of the theatre industry, there was a lot more that could be done to improve the industry.
“We need to be able to tell our stories. We need to find a creative way of attracting tourists and investors into our country, and I feel theatre will do the magic,” he added.
For his part, Mr Adjetey Annan, one of the cast in the play, emphasised the need for collaboration between players in the creative arts industry in promoting the cultural values and identity of Ghanaians through storytelling.
By Eugene Ampiaw
Ghanaian music icon, Akwasi Poku Addae, known in Showbiz circles as Kwaisey Pee has honoured his promise to children suffering from cancer.
Ahead of his 25th anniversary event held at the D’ Icon Event Centre at East Legon last year, he made a promise to donate some funds to children suffering from cancer.
True to his word, the musician has recently made a donation of GHC50,000 to the Paediatric Oncology Unit of the Korle-Bu Teaching Hospital.
He told the Ghanaian Times that children are so dear to him, and was optimistic the support would go a long way too impact lives.
The music dynamo also promised that the gesture will not be the last,” it will be a continuous feature from me.”
He also called on Ghanaians home and abroad to lend a helping hand to children suffering from cancer.
According to him, children with cancer have many needs, and a helping hands will go a long way ease the suffering.
“Cancer treatment is very expensive, and leaving that to parents of the children alone, will be a huge burden, with support from you and myself, we can make some changes in other people’s lives,” he concluded.
By Edem Mensah-Tsotorme
In the ever-evolving journey of Ghanaian music, there are individuals whose contributions transcend the spotligh.
There are always men and women who work quietly yet powerfully to preserve culture, nurture legends, and keep the soul of the music alive across generations and borders.
One such figures is Jerry Amoah, widely known and affectionately called Nana Kobo.
This year, Ghana Music Awards-USA honours Jerry Amoah for his unwavering commitment to sustaining Ghanaian music, both at home and in the diaspora.
It is a recognition long deserved, a celebration of decades of passion, sacrifice, and cultural stewardship.
Jerry Amoah’s journey has never been about personal glory. Instead, it has been anchored in service: promoting Ghanaian sounds, advocating for artistes, and ensuring that the richness of Ghana’s musical heritage continues to resonate beyond national borders.
Through his tireless efforts, many Ghanaian musicians have found platforms, audiences, and renewed relevance, especially within Ghanaian communities abroad.
Central to his legacy is his steadfast support for gospel music and, in particular, his enduring association with legendary gospel icon Yaw Sarpong.
At times when gospel music needed champions, Jerry Amoah stood firm—protecting its values, amplifying its message, and honoring its pioneers. His respect for Yaw Sarpong is not merely professional; it reflects a deep appreciation for music as ministry, heritage, and moral compass.
Colleagues often describe Nana Kobo as a bridge—connecting generations, genres, and geographies.
He understands that Ghanaian music is not just entertainment, but identity. Through festivals, promotions, mentorship, and behind-the-scenes advocacy, he has helped ensure that Ghana’s rhythms, lyrics, and spiritual expressions remain relevant in a globalized world.
As Ghana Music Awards-USA prepares to bestow this honour, it is not simply recognizing one man—it is saluting a lifetime of dedication to culture, faith, and music.
Jerry Amoah’s story reminds us that true impact is measured not by applause, but by legacy.
And in the story of Ghanaian music, Nana Kobo’s legacy is written in bold, enduring notes.
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