This study re-examines domestic violence in contemporary African drama through the under-researched question of male victimhood, while maintaining the importance of scholarship on women’s experiences of gender-based violence. The study is organised into five major parts. The first establishes the problem, objectives, research questions, scope, significance, and qualitative methodology, positioning the study around the concept of the male victimhood gap. The second develops the conceptual and theoretical framework by examining gender, masculinity, patriarchy, domestic violence, silence, and victimhood, drawing particularly on Connell’s Hegemonic Masculinity Theory, Foucault’s theory of relational power, and Butler’s Gender Performativity Theory. The third applies these perspectives to selected Nigerian dramatic texts, including Altine’s Wrath, Rainstorm in the Desert, and Our Wives Have Gone Mad Again, to examine patriarchal domination, threatened masculinity, gender reversal, and shifting power relations. The fourth extends the discussion comparatively across African dramatic traditions, identifying similarities and differences in the construction of masculinity, domestic authority, vulnerability, and resistance. The fifth synthesises the findings and concludes that victimhood is relational and contextual and not permanently determined by biological sex. The study demonstrates that contemporary African drama can complicate the conventional male-perpetrator/female-victim binary by revealing how masculine expectations, interpersonal power, violence, silence, and resistance intersect to produce male vulnerability without diminishing the structural realities of violence against women.