Amuta (1989) describes Femi Osofisan as one of a breed of African Marxist writers who propose revolutionary alternatives to the continent’s problems and whose strategy is to align theatre with the ordinary, marginalised victims of social inequalities. This Marxist imperative suggests the de-stabilisation of those patriarchal constructions and narratives that repress the poor and women, a theatre in which normative gender classifications and roles are de-constructed and replaced with a collective developmental agenda that values the contributions of all sections of society equally. A critical analysis of his plays reveals that while Osofisan’s dramaturgy is profoundly Marxist, the presentation of his women characters is less revolutionary than the men whom he endows with radical and ideological vision. His women are generally trapped in mythological, conservative gender constructions and although their actions may be redemptive, they are usually less ideologically convincing and insufficiently revolutionary in action. This chapter interrogates Osofisan's women in Morountodun, Once Upon Four Robbers, Another Raft and The Oriki of a Grasshopper. It uses women's surrender of revolutionary platforms to men to interrogate the extents of Osofisan’s Marxist credentials.