The Whirlwind is a telling but poignant social commentary on the sordid state of the Nigerian society. It is a window into the decadent underbelly of the higher institutions of learning where many youths are irredeemably and intractably enmeshed in social vices such as rape, suicide, drugs, sexual abuse, cultism and gangsterism. The play, which is structured into twenty-four movements, is progressively knitted together chronologically and suffused with suspense, pity and terror as its dominant literary devices. Biola, the protagonist in the play, is a product of parental negligence that never enjoys the love and the care of parents. Besides, Biola is introduced to sex very early in life by Aunty Sowa, the family's housemaid who plays the role of his mother. To find relevance, he joins Geoffrey's gang in the University that is notorious for rape, sex, alcoholism and intimidation of students. From there, his life spirals out of control as he becomes trapped in a whirlwind that almost ruins his life beyond redemption. This is a play that gives hope to the hopeless, strength to the weak, faith to the faithless, joy to the despondent and light to those who sit in the shadow of death. Solomon Edebor draws our attention, very clearly, to the law of sowing and reaping and also to the place of repentance, reconciliation, forgiveness, salvation and transformation.The playwright reassures us that the dry bones can live again and that there is hope for a tree if it is cut down. This is a must-read for everyone who has lost touch with reality and is contemplating giving up. In this modern play, our attention is also drawn to the intercourse between literature and medicine and its restorative and therapeutic benefits which make it a compelling drama of the twenty-first century. This is a narrative drama that thrives tremendously on the copious deployment of analepsis as one of its major theatrical aesthetics. Its non-linear plot is classical; its theme is Promethean; its message is Brechtian.