First, it was the ultra-modern Lagos Theatre in Oregun opened by President Muhammadu Buhari in April. It was followed by the unveiling of the Igando, Epe and Badagry theatres in May. The former Governor Akinwunmi Ambode administration, which planned six of such theatres opened those four before leaving office on May 29. Assistant Editor Arts OZOLUA UHAKHEME writes on stakeholders’expectations in the operation, programming and maintenance of the theatres.
This is more or less a fulfilled day for me. If there is anything for me to say, it is that I am fulfilled that a day like this can come in Epe. I mean, four days to go; in four years, we have turned things around. God has given us that grace that we can come back here and actually spend my last weekend here with my people.
‘’Two, I believe strongly that the vision to actually bring out the best of the talents of our younger ones is part of this structure that you are seeing here.”
These were the words of ex-Governor Akinwunmi Ambode during the inauguartion of the Lagos Theatre in Epe few days to the end of his tenure. Given the enthusiasm that greeted the opening of four theatres across he state, stakeholders in the creative sector are anxiously waiting for the operation of these facilities, which are first of their kind in the country.
More importantly, the initiative to construct the theatres across the state was borne out of the vision to create a framework to bring out the creativity and innovative skills of talented youths, as well as serve as a platform to scale up communal bonding.
Four months after, stakeholders are anxiously waiting to see the theatres in full operation. Among them are award-winning multi-talented artist, playwright, producer, director, musician and former Deputy Editor of The Guardian, Ben Tomoloju, who has been a strong advocate of community theatre for years, shares his thoughts on the four community theatres; CEO, Terra Kulture Arts Centre, Lagos, Mrs BolanleAusten-Peters and actor, movie producer Kunle Afolayan.
Ben Tomoloju
What is your take on the four theatre projects inaugurated by former Governor Ambode in April and May?
I believe that the inaguration of the four theatres is a positive and salutary response to the yearning of members of the Lagos public, particularly the professionals in the theatre sector. I would like to place it on record, with every sense of modesty that I have been in the forefront of the advocacy for this initiative since we proposed the strategy for the implementation of the Cultural Policy for Nigeria in 1988. And this is with due acknowledgement of other leaders of thought who formulated the policy 30 years ago. In my paper published in THE CONSTITUTION, an academic journal of the Centre for Constitutionalism and Demilitarisation (CENCOD), I used Lagos State as a possible model where we could have a neighbourhood theatre in every local government area as pilot projects. Details are in the book. For now, one must commend Ambode for making a promise and fulfilling it even in part. What is crucial at this stage is to implore the administration of Governor Babajide Sanwo-Olu to sustain the initiative in view of its economic and socio-cultural advantages in terms of job and wealth creation.
How meaningfully will the project be put to use?
Firstly, it has to be approached as a strategic project in the exploration of the theatre and allied disciplines in the performing arts as viable means of boosting the economy of the state. More talents in the creative industry will have the opportunity to exploit their skills profitably. Secondly, the project will challenge stakeholders to demonstrate their capacities in terms of enterprise. Thirdly, the project will improve the level of socialisation that already exists in the state. Fourthly, it will have a multiplier effect with the emergence of subsidiary enterprises alongside the mainstream performing arts. One would like to warn, however, that the administrators of the facilities should not allow any aspect of the creative activities to dwarf the others. The advocacy for neighbourhood theatres was prompted by the poor response of the public to watching drama as a primary manifestation of theatre. It will be absurd if, in the long run, the administrators prefer to turn the theatre to a cinema or music hall to the detriment of live theatre. They should promote regular performances of literary and popular plays across the various sub-genres.
What arrangement do you deem fit to run the project?
The implementation should be handled by tested professionals and not through political patronage. We should remember that the success of the Premier League is not brought about by the British alone. Arsene Wenger is French. Klopp is German. Pochetino is Italian. Lagos is eminently cosmopolitan and the Lagos theatre circuit should reflect same without, in any case, relegating the culturality and its indigenous manifestation. I also suggest that there should be established a board for each of the theatres to oversee the management and staff. The management should not be turned into the kind of bureaucracy that is common to the typical Nigerian public service. They should be provided with a reasonable take-off grant after which they would be self-sustaining, but accountable through the board to a relevant agency of Ministry of Culture and Tourism. The theatres should also evolve a system where shows can move from one to another. My paper envisaged a situation where one show can move weekly or so from one LGA’s neighbourhood theatre to others all year round. That’s a way of optimising the profitability of the repertoire.
Given that the project is community-based, what will form the thrust of the programming and content?
To begin with, programming should cover every possible theatre-based area of the performing and allied arts – live drama, movies, dance, musicals, stand-up comedy, opera, etc. Administrators should resist the temptation to turn any of the theatres into event centres. That would be counterproductive to the real essence of promoting the arts. In terms of content, the indigenous manifestations of the performing arts, especially with regard to the language of expression, should be given a reasonable local content quota. I cannot talk now about censorship except to align with global best practices, which is articulated in the Constitution of the Federal Republic of Nigeria.
What form of partnership is ideal for the running of the theatres?
Since, in my humble opinion, the theatres should be self-sustaining after working with the take-off grant, the management should be free to adopt any commercially viable form of partnership under a strictly secular arrangement. Companies can provide grants solely for enjoying lasting corporate benefits, such as naming individual halls after them with added advantage in branding. Management can also form a partnership with advertising agencies in a bid to attract outdoor, indoor, screen and publication advertisements for the facility. It is also possible to run joint studio activities with TV production stations and companies that will bring regular returns to the theatre. Theatre production companies with the means can block-book the hall with rebates given as incentives but not to the extent of alienating other users.
Generally, it depends on the innovativeness of the management within a free-market business environment.
What should be the input of the communities in the promotion of theatre-going culture?
The input should be patronage, more patronage and a commitment to the promotion of cultural legacy, which the theatre represents for the community. I imagine that their young ones will be positively influenced through the activities of the theatre to hone their own creative talents and have their capacities enhanced in the process. And is, in essence is suggesting that each of the theatres should endeavour to include a measure of non-profit, educational, talent-development programme in its schedule for greater relevance.
‘Local art communities will grow’
Bolanle Austen-Peters
What is your opinion?
I am truly excited about this project. And I almost became emotional because it was just a whisper. I saw the governor one day and I said: ‘Why don’t you build theatres around Lagos so that our youths and people in the communities can have access to such recreation facility. And he said: ‘Why not?’ It was just like that.
And later on, they started talking to us. This was two years later. Now we have four theatres. Imagine what this theatre will do for Ikeja axis. All the people that used to drive all the way to Victoria Island now have a base at Ikeja. If you look around, we have a 400-seater theatre. We have a screen, stage, visual art stage, a restaurant and lot of rooms for workshops. Arts and crafts, students will be coming for excursion.
I noticed that this theatre is designed after Terra Kulture Arena. Is it accidental?
No! It is not accidental. As I said earlier, I proposed the idea. It is only what you know that you can give. We said we need a small space. You don’t need to build 1,000-seater theatre. There are community theatres of 150-seater across Europe. We were looking for that perfect balance and I think this is good even for government. They can use it for all their little meetings. So, we just took our model and plant it.
What will be the long-term impact on the creative industry?
One, We have decentralised theatre facilities. So, everybody doesn’t have to go to Ikoyi or Victoria Island again.
Two, the local arts communities will grow. No matter what you say, it will be better because they now have a base. Jazz night can happen. Comedians who are looking for space to perform can use it. Also, musicians, artists, thronged Terra Kulture for space. Last year, we had about ten. Now, they can come here or go to Igando. So much is going on. I believe jobs will be created.
What of the content and running of the theatre?
They will decide what to do. I think there is a limit to what the private partner can do. Let the government be the one to decide so that nobody puts pressure on anyone.
Kunle Afolayan
How do you look at the future of this theatre?
For me, this is a very good innovation. I look at this beyond arts and entertainment. It is a hub—commercial hub. Some of the problems we have been facing even as practitioners is the fact that it is difficult to monetise our contents. And in this case, it is win-win for everybody. At the moment, we have quite a few cinemas. But, those cinemas cannot double as theatres. And this is the first time we are having theatres that can double as cinemas in Lagos State.
The only spot that used to keep this type of service and view was the National Theatre. And, since the National Theatre has been grounded, I think Eko Theatre will win the minds of the people because I have been advocating for community cinema. And this is like community cinema/theatre because a lot of people who live around here don’t even need to drive here. A housing estate is right behind and thousands of people live there. The theatre will have a park, laundries, eateries etc. So, I think quality recreation is back in Lagos.
What is your take on security for the theatre?
I think that will take care of itself because Ikeja Mall is right there. And 40 per cent of people who patronise Ikeja mall really don’t have anything in particular to do there except that the ambience there is good and they will go there and stay till 1am and they go to their house.
Nigerians are looking for places that give some level of comfort and, of course, at the same time secure. And, I don’t think there has even been any report of robbery cases or bandits in places like this.
To a large extent, the Lagos State government has taken care of security. And this place, I believe, will also be secured by the people who live within this community because there is easy access and whatever goes on here, you can easily see and monitor. So, I don’t think that should be a problem.
How will this help in film distribution?
I am not sure yet what they structured for running this place. But, I know to, a large extent, that whatever it is you’re getting at the private theatre, it will probably be gaining more than half of that coming here because this is for the people. So, if ticketing in Victoria Island is N5,000 for example, the rest stations will be N2,000 or less because this is for the people.
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