This study interrogates the maxim that “it is easier to play the devil than to play god.” It particularly examines the dramaturgical challenges inherent in portraying morally-ideal or divine figures (colloquially termed “playing god”) in Nigerian theatre. The research focuses on selected Nigerian plays, which were purposively chosen and qualitatively reviewed. Drawing on Stanislavski’s system, Sam Ukala’s folkism, and postmodern African dramaturgy as theoretical frameworks, the study explores cultural, performative, and philosophical reasons why villainous characters often overshadow their virtuous counterparts in dramatic works, and the extent to which moral idealism has been sustained in Nigerian plays. The findings reveal that moral roles often lack the narrative elasticity and emotional dynamism required to sustain audience engagement. The study recommends a nuanced reimagining of the “god role” to balance theatre’s dual mission of reflection and transformation