Studies on Esiaba Irobi's Nwokedi and Cemetery Road have largely focused on the portrayal of politicians in modern societies. The studies have however neglected how linguistic metaphors have been utilised in realising ideologies. This is the gap the present study is set to fill using extracts from Nwokedi and Cemetery Road, which were analysed using insights from George Lakoff and Mark Johnson’s Conceptual Metaphor Theory and Teun Van Dijk's Theory of Ideology. The texts were subjected to quantitative analysis through the use of tables, frequency counts, and histograms. Five conceptual mappings: POLITICS IS A CONFLICT, POLITICS IS A SMALL CHILD, CHANGE IS A DIFFICULT PATH, POLITICS IS A BUILDING, and POLITICS IS A BODY, were observed from the linguistic metaphors, and their linguistic patterns, (lexical, morphological, and syntactical patterns), which project three ideologies: liberalism, progressivism, and radicalism. POLITICS IS A CONFLICT, and POLITICS IS A SMALL CHILD conceptual mappings are associated with liberalism, CHANGE IS A DIFFICULT PATH is associated with progressivism, while POLITICS IS A BUILDING, and POLITICS IS A BODY relate to radicalism. Thus, cross-domain mappings in Nwokedi and Cemetery Road, deployed through linguistic metaphors are motivated by the playwright’s ideological representation of Nwokedi and Mazeli as liberal, progressive, and radical ideologists.