The book is presented in three parts and ‘Part one’ explores performance theories propounded by renown scholars which support the view that the art of storytelling has imparted theatre practice globally. ‘Part two’ codifies and presents solo performance as a sumptuous theatre delicacy, served the audience, by extraordinary artistes (stand-up comedians, solo actors and spoken word artistes). It presents solo performance as a flexible and innovative subgenre of folkist enactments that keep the theatre industry alive and vivacious. While ‘Part three’ presents the maiden edition of Solo Africa as a platform for the practical demonstration of indigenous theatrical aesthetics by Solo Performers. It also re-validates storytelling as a robust art form and medium through which the Performer displays his artistic prowess during the interface with the audience. I am persuaded by Agoma’s creative exploration of the dynamics of solo performance to recommend his work for theatre Scholars and adventurous artists for study and rumination.