<p>&ldquo;When a pen which drips woman, academic, mother, wife, teacher and administrator proposes to visit the stage, we expect the product to be as complex as the person. And we will be entirely justified in our expectation given that the stage more often than not is that place which captures and dramatizes our core selves in all their complexity. <em>Thorns and Roses</em> is produced by just that kind of pen. But in spite of her multi-layered identity, Frida Mbunda has succeeded in writing a play whose greatest attractions lie in its unassuming, down-to-earth appeal. It is the story of a single-parent home where a mother dedicates her life to her loving but vulnerable single daughter. As its title suggests, the play employs the allegorical archetype to colour the stage with characters and issues of immediate relevance. Womanhood is at the centre of Mbunda&rsquo;s dramatic quest. She knows that being a woman means being exposed to the attractions of shortcuts to happiness.&rdquo; - Professor George Nyamndi, novelist, playwright and literary scholar, University of Buea, Cameroon.</p><p>&nbsp;</p>