• Early works of dramatic criticism seeking to draw parallels between ritual and drama in Africa concentrated on examining the dramatic characteristics of ritual to see how drama evolved from ritual. However, a closer application of the theories of Girard, Schechner, Smith, Hubert Mauss and Turner reveal new perspectives on the interaction between the related phenomena of drama and ritual. Precisely, in the works of Femi Osofisan, the drama of the revolution seeking social change meets with the mimetic in ritual which is seeking to re-establish cosmic order. The researcher in this paper sets out to investigate Femi Osofisan’s blend of ritual and myth with revolutionary aesthetics and themes in two plays, Once Upon Four Robbers and Esu and the vagabond Minstrels. In the work, it is revealed that the playwright shows the materialistic push for wealth as a rough, immoral fight that forbids altruism and leads to desperation in seeking wealth. It comes to the fore that wealth when pursued this way remains elusive. He then seeks for a change in the socio-economic arrangement that makes people to unleash their efforts in a mindless, self-centered pursuit of material gain to the detriment of all. The way Femi Osofisan addresses this contemporary theme with a blend of Marxian aesthetics with myth and ritual is the focus of this paper.