This dissertation interrogates the role of Nigerian theatre practitioners in relation to Nigeria’s democracy, directing critical attention to how theatre is used to stimulate and enculturate stronger democratic habits. It pays attention to how playwrights and theatre practitioners have engaged the law, used theatre to protest State abuses of the law, and explored how theatre can be used to overcome legal barriers to citizen participation. It envisages and conceptualises an interface between Nigerian theatre practice and the legal system in a manner that could engage Nigerian citizens in the process of lawmaking. The theoretical framework undergirding its interrogation of the intersection between theatre and law revolves around how citizens live the law in performance using myth and play. Using a multi-pronged methodological approach which triangulates a contextual and historical-critical reading of dramatic writings, a qualitative sociological study of theatre in developmental policies and governance, and a practice-informed investigation of the potential and pitfalls of the Legislative Theatre methodology, the dissertation unravels the manner in which the Nigerian theatre has served as platform to explore the unwelcome impact of some Nigerian laws on the socio-economic and political lives of its citizens. The research fills the gap in Nigerian theatre history of the 20th and 21st centuries with respect to theatrical approaches to making, changing and implementing laws. It connects the dots between diverse theatrical forms in Nigeria: folk opera, modern(ist) plays and TfD, and from that interplay introduces the Legislative Theatre methodology. Evident in the dissertation is an interest in the participatory model of democracy. In that regard, the dissertation proposes the revival of the use of political theatre to interrogate laws, the realignment of participatory theatrical engagements in a manner that accords prime importance to the voice of citizens and allows citizens to participate in fashioning the laws to which they daily yield. The dissertation views play as a crucial politico-theatrical tool that facilitates the citizens’ participation in lawmaking and in living the law in the theatre.