The forest, in Wole Soyinka’s play, is an allegorical space central to examining the complexities of human identity, history, and culture within postcolonial society. This paper investigates the forest’s significance, not merely as a setting, but with reference to its cultural implications and emphasizes the author’s vision of harmonious coexistence between humans, nonhumans, and nature. It argues that the forest setting elucidates the intersection of past and future, shaping characters’ interactions and influencing the plot. This shows how the Yoruba myth considerably helped Nigerians’ struggle by relevantly advancing social justice and promoting indigenous moral values in society. To what extent does Soyinka expressively depict the forest setting to delve into post-independent socio-cultural and political realities? How does he effectively use elements of nature to delve deeper into the human condition in a depressing reality? How does the forest denote a place of redemption? These are questions that the paper analyses through a Marxist approach, aspects of Western drama mixed with traditional rituals, archetypal characters, symbolism, elements of orality, ecocriticism, dialectics, and repressive radical prejudices to highlight the representation of postcolonial identity, which biased independence movements in Nigeria and Africa.