The fundamental and standard stages of theatre production are well known. However, the applicability of these stages in practice is wholesomely complex and ultimately dependent on other related components. Among these are the objective and established goal of the performing troupe vis-a-vis the target community which is the destination of the performance. Therefore, while post-performance or post-mortem, constitutes a crucial component in theatre practice, the potential that is locked up in the exercise, reserves appreciable openings both for the community to appropriate the performance, as well as the promise of inclusiveness on the part of the troupe that owes it as a duty to the community. In essence, every theatre performance targets an audience, yet, whether or not the audience effectively takes ownership of the performance can only be measured from the quality and quantity of data obtained for post-mortem exercise. This is to say post-mortem is a veritable gauge and measuring yardstick for the certification of the depth of critical relation between the target and the performers. At this juncture, the place and role of post-performance go beyond applause, commentaries and any standing ovation or not, that sanctions the reception of a spectacle by its target audience. Otherwise, the postperformance exercise opens a leeway for an evaluation of the practical implication of the target audience in the performance. It is through this implication that the performers gain greater insights as to how the show effectively comes across or even how the performers access the needed feedback from the spectators who, by the same measure indicate to both the technical and artistic crews what aspects of the show require urgent amelioration This paper therefore undertakes an evaluation of both the problems as well as the prospects of post-production in theatre practice in Cameroon. The analysis enables comprehension of what is either missed or gained in the event of whether or not, post-production is reasonably upheld by a theatre company. After all, it concretely assumes that every post-performance also invariably constitutes a preperformance, albeit intrinsically or even indirectly.