GBENGA ADENIJI reflects on the glorious past of the nation’s National Theatre undergoing renovation for a robust energy
In 1978, the future held bountiful hopes for Nigeria’s cultural monument and arguably home of entertainment; National Theatre. It was a year after the monument located in Iganmu, Lagos, hosted the remarkable Festival of Arts and Culture in 1977 between January 15 and February 12, otherwise called FESTAC ’77. The event drew participants from 56 African countries and beyond who exhibited art, music, song, literature and other artistic expressions. The edifice was completed in 1976.
Consummate cinematographer, Tunde Kelani, was among the culture advocates and movie buffs who missed the inauguration of the edifice and eventual hosting of the festival. He was out of Nigeria at the time, studying in the United Kingdom. Kelani couldn’t wait any longer to return to his beloved country upon the completion of his studies at the London Film School. He was eager to tour the edifice and feast his eyes on the cultural dome whose outer part in design bears a semblance to a military hat.
Recalling the moment of his arrival in the country during an interview with our correspondent, the film-maker said he was amazed by the architectural masterpiece.
He said, “I was surprised when I saw the National Theatre. I knelt down and kissed the ground when I entered the main bowl. Years later when it started deteriorating with visible leaky roofs, I became sad. I am aware of the projections about what the National Theatre can become. My prayer is that it would be achieved in my lifetime. I will be very happy about it.”
History of a grand entertainment hub
Accounts regarding the iconic National Theatre have been documented in publications which included The National Theatre: The Sleeping Mounment, by Claude Opara, The Nigerian National Theatre At Iganmu: the Legacy of A Festival, A Challenge to the Future, by Dr Ahmed Yerima, Architecture in Global Socialism, by Lukasz Stanek, and The Cold War from the Margins–A small socialist state on the global cultural scene by Theodora K. Dragostinova.
Several accounts narrated that in 1966, after her star performance at the first edition of the World Black and African Festival of Arts and Culture, Nigeria was selected to host the second edition.
They indicated that the Yakubu Gowon government wanted to build a befitting structure as the main venue, so it set up a team, led by the late Chief Anthony Enahoro, the then Federal Commissioner for Information.
The team were said to have visited Europe and the United States to look around and get ideas. In 1972, the delegation was said to have visited Bulgaria, and was highly impressed by the Palace of Sports and Culture (completed in 1968) in Varna, a coastal city like Lagos, and decided to build a similar structure in Nigeria.
The accounts indicated thus, “A swampy area in Iganmu, Surulere, Lagos, the nation’s capital then, was chosen as the location because Iganmu was almost of equal distance between Victoria Island and Lagos Mainland.
“On April 24, 1973, the government signed the contract to build the National Theatre. The main building contractor was a Bulgarian company called TechnoExportStroy, one of whose board members was a Nigerian, Sule Katagum.
“This company also built Eko Hotel in 1977, Bauchi Hotel in 1983, and some other well-known buildings in Nigeria. The chief architect was Stefan Kolchev, the same person who designed the Palace of Sports and Culture in Varna, Bulgaria. Because of the marshy soil in the location chosen for the National Theatre, 400 piles were laid for the foundation.’’
They disclosed that the company completed the building and handed it over to the Nigerian government on July 5, 1975.
“It was opened on September 30, 1976, by General (Olusegun) Obasanjo, who was then Nigeria’s Head of State. Five months later, from January 15 to February 12, 1977, it hosted The Second World Black and African Festival of Arts and Culture,’’ the accounts read.
On the similarities and differences between the Bulgarian structure and the National Theatre, it was gathered that the National Theatre in Lagos was four times bigger than the Palace of Sports and Culture in Varna, covering 23,000 square meters. Also, it’s said to be taller, rising seven storeys, more than 31 meters into the sky, compared to 15 meters of the one in Bulgaria.
They explained further, “However, the two buildings are reinforced concrete structures and share a similar design: both are shaped like a saddle. Because the Nigerian Coat of Arms above the main entrance of the building in Lagos makes it look like the peaked cap worn by Nigeria’s military leaders like Gowon and Murtala Muhammed, Nigerians called the design “General’s Cap” or “Fila Gowon”(after General Yakubu Gowon, the head of state when the building was completed in 1975. He was overthrown two weeks later, on July 29, 1975), and later “Fila Murtala” (after General Murtala Muhammed, who took over from Gowon).’’
Our correspondent gathered that the saddle-like design of the Palace of Sports and Culture in Bulgaria had been copied by architects around the globe, noting that Scotiabank Saddledome in Calgary, Canada, and the Peace and Friendship Stadium in Piraeus, Attica, Greece paraded a similar design. Besides, the lovely buildings were said to look alike, like brothers from the same parents.
The start of the rot
The National Theatre received diverse entertainers, artists and actors who flocked the edifice regularly to showcase their works and talents. It became a go-to theatre hub for stakeholders in the creative industry. But decades later, the monument witnessed noticeable deterioration with efforts by stakeholders to ensure its overhaul. Many art experts and enthusiasts have consistently noted that mismanagement, lack of maintenance and underfunding robbed the theatre of its shine and prestige. The interest culture advocates had for the centre waned considerably as cracks, leaky roofs and outages dejectedly became trademarks of the once famed edifice.
Amid the messy outlook of the National Theatre, Obasanjo, who was the then president, muted the idea of privatising the theatre but the idea was roundly rejected by stakeholders. After several years of examining several options to revive the theatre, the Federal Government in 2021 handed over the renovation of the edifice to the Central Bank of Nigeria to the tune of N21bn.
On February 14, 2021, stakeholders met in Lagos on the project. Speaking at the event, the Lagos State governor, Babajide Sanwo-Olu, said he witnessed the signing of the Memorandum of Understanding between the Bankers’ Committee and the Ministry of Information of Culture on the investment plan to revive the National Theatre and build a new creative city at Iganmu.
The governor expressed confidence that the investment would significantly boost the creative and tourism economy not only in Lagos but across the country. He said that it would create talents and young people seeking opportunities in the sector.
In his contribution, Governor of the CBN, Godwin Emefiele, said the project would generate about 25,000 jobs upon completion and create 10,000 direct and indirect jobs during the construction.
He noted that for the National Theatre to retain its ambience, the Ministry of Information and the Bankers Committee would ensure its management by a top-notch facility manager appointed through skilled consultants.
Also, the Information and Culture Minister, Alhaji Lai Mohammed, said the kernel of the MoU was to launch the restoration and upgrade of the centre and improvement of the premises, adding that it would be Africa’s number one event centre when completed.
Culture advocates, centre’s DGs recall good old days Mufu Onifade, a visual artist and former Chairman, National Association of Nigerian Theatre Arts Practitioners, Lagos chapter, told Sunday PUNCH that he had beautiful memories of the National Theatre beginning in 1982 when, as students, they were led by their art teacher to witness the permanent art exhibition of the National Gallery of Modern Art.
Onifade, is also an ex-convener, Coalition of Nigerian Artist(e)s, which coordinated the fight against the sale of the National Theatre during the Obasanjo administration.
He said during the exhibition, seeing beautiful works of Abayomi Barber, Bruce Onobrakpeya, Yusuf Grillo, Sina Yussuf, Irein Wangbonje and others was simply amazing and nostalgic, recollecting that the moment redefined a solid path to his career as an artist.
The artist recalled, “About two years later, going to the National Theatre to watch films and plays became a pastime. I have since become addicted to the National Theatre. My first performance at the National Theatre was in 1985 when I took part in the dance musical, Ori (Destiny) written and directed by Funmi Odusolu and staged by the Lagos State Council for Arts and Culture. It was an awesome experience. All the appurtenances of the theatre were complete and we, actors and dancers, enjoyed ourselves thoroughly. I have since 1985 taken part in many major performances whether as a dancer, actor, playwright or producer. My two major plays, ‘Love is Blind’ and ‘Lami-Lami’ shook the National Theatre to its foundation especially with the magnitude of the audience pool. So was Femi Osofisan’s ‘Yeepa! Solaarin Nbo!!’ which I co-produced as chairman, NANTAP, Lagos State chapter; and later as an independent theatre producer.’’
He stated that as an actor, taking part in a play on the National Theatre stage was akin to a footballer playing in the National Stadium, adding that such experience was the height of professionalism.
Onifade stated, “It was something that many actors eagerly looked forward to. Being on stage with such big names such as Olu Okekanye, Omokaro Okonedo, Sola Onayiga (Ireti), Edmond Enaibe, Segun Olusola, Biodun Ayoyinka (Papa Ajasco) and many others, was a hallmark of a thriving theatre career.
“The National Theatre remained our best cultural edifice from 1977 until 1989/1990 when it began to deteriorate. As of 2005, it had become so bad that many artists stopped staging their shows there. They started opting for alternative performance spaces. The National Theatre was abandoned, but people like us stayed glued to the venue. In 2005 when I produced a play, “Lami-Lami,” staged at the National Theatre in celebration of (the late) Ambassador Segun Olusola during his 70th birthday anniversary, my audience almost choked due to heat because the cooling system had completely collapsed. Some of the chairs were also in bad shape while the rugs emitted a terrible stench. All the same, the audience could not leave the hall due to the power of the play. As of 2008 when Prof. Ahmed Yerima became the Director-General of the National Theatre/National Troupe of Nigeria, sanity started to gradually return to the edifice because that was the period the government decided to renovate and exhume the edifice from its appalling state.
“When the regime of President Olusegun Obasanjo decided to sell off the National Theatre in 2001, we fought against it and organised an effective protest, not because we were happy at the state of the National Theatre, but because we could not open our eyes and allow a national cultural symbol of that magnitude sold off. We simply had it rough with that regime because they were adamant, but we still overcame. The late President Umaru Yar’Adua came in later and placed an embargo on the idea of the sale or concession of the National Theatre.’’
He further said that when the culture/entertainment sector had a rare meeting with the then President Goodluck Jonathan at Eko Hotel prior to the 2011 general elections, one of the agenda they raised was the preservation of the National Theatre.
He stated, “The president promised that the National Theatre would not be sold. But sadly, Kabir Yusuf, who was brought in as General Manager of the National Theatre, working in collaboration with the then Minister of Information, Culture and National Orientation, Chief Edem Duke, had concluded plans to sell off the National Theatre in 2014. In fact, they had organised a road show to the effect of the sale in Dubai (United Arab Emirates), where they had probably been able to secure buyers. It took the loss of the 2015 elections to turn things around. So far, (the) President (Major General) Muhammadu Buhari (retd) has shown that he is willing to preserve the National Theatre based on his antecedents and actions.
“The current state of the National Theatre is no longer as appalling as it was in 2015. A lot of work has been done, which required huge funding. Now that the government has latched on to Public-Private Partnership) policy by bringing in the Committee of Bankers to renovate, restore the National Theatre to its sparkling state and hand it over back to the government, isn’t that something cheering?’’
He explained that the calm in the sector was due to pledges of the information and culture minister that after renovation the theatre would be handed back to the government, ruling out selling or concessioning.
The artist added, “As for those of us who are practitioners in the sector, we eagerly look forward to a renewed National Theatre after its renovation and restoration.’’
Also, an ex-Director-General of the National Theatre and award-winning playwright, Prof, Ahmed Yerima, said during his tenure with God’s grace, the then President Olusegun Obasanjo, some of his ministers and the centre’s staff members embarked on rescuing the dilapidated theatre.
Yerima noted, “The Bureau of Public Enterprises had sold it (National Theatre) to a consortium. With the help of the National Assembly, the general artistes’ body and (NANTAP) National Association of Nigerian Theatre Arts Practitioners led by Jide Kosoko, CORA (Committee for Relevant Arts) and our late distinguished elders such as Steve Rhodes and Chief Olusola we were able to change the mind of the government to remove it from the BPE list. After that, we set on a rehabilitation process. Lights and security were restored, water was restored and we went on to repair the halls of the theatre. Business returned as we were able to convince Coca cola and Nigerian Breweries to join in the dream of restoring the lost glory to the National Theatre. I left in 2009, leaving behind a National Theatre that needed the main bowl’s roof to be fixed.’’
To Yerima, it appeared that the cost total for refurbishment was too high for the government to handle alone. He also stated that recent developments in the entertainment industry meant that new demands were expected of the National Theatre. “For these reasons, the agreement to work with the private sector is a great alternative. My only worry is that the cultural essence of the National Theatre as a monument is not totally done away with,’’ he said.
On his part, founder/artistic director, Arojah Royal Theatre, Jerry Adesewo, who described the National Theatre as Africa’s pride, warmly remembered that his visit to the magnificent edifice was in 1986.
He stated that as a young child then he visited the centre with his dad from Agege to Iganmu to see a show in which his elder brother, Fayaman Adesewo, was part of the cast.
Adesewo said, “It was breathtaking and I could not resist its lure as I would escape from home a couple of times to visit the theatre, and immerse myself in the ‘abé igi’ experience even though I knew nothing about theatre then. The National Theatre no doubt was one of the influences that lured me into theatre. Then, I left Lagos for the Federal Capital Territory, Abuja, in 1992 where till today I live in the hope of a befitting national theatre in the nation’s capital.’’
The actor recounted that in 2000, he returned to the theatre for the Festival of Nigerian Plays organised by NANTAP where he played a hunchback character in a play which was Abuja’s entry for the festival.
“Though the edifice had started deteriorating then, one could still see traces of its magnificence. One could see the excitement in the artists coming to the theatre for the first time. It was like a footballer being called up to the national team. The next 10 years unfortunately continued the steady decline of the edifice with no conscious effort to address the situation. Then I returned again in 2013 with my own production for another edition of FESTINA, ‘Call for me My Osheni,’ a play by Dr Seyi Adigun which I produced as Abuja’s entry for the festival.’’
Noting that the state of the theatre then was quite deplorable, he hailed efforts being made to reverse the situation.
The actor added, “Compared to my previous experience then, the theatre had become a shadow of itself. The main bowl with the rotating stage was completely down and clothed in dust. I think then it was the banquet hall and two other stages that were only hurriedly refurbished for the festival. Patronage dropped and the sea of happy people; both artists preparing for productions and cinemagoers reduced considerably. The theatre then had completely lost its glory.’’
Noting that his last visit to the theatre was in September 2019 and the deterioration remained, Adesewo explained that he sneaked into the back stage and took photographs of the ruins it had become.
He further said that the most annoying aspect then was that wedding receptions and other events were held at the edifice more than theatrical shows because artists sought an alternative in better managed private venues such as Terra Kulture and MUSON Centre.
Adesewo noted, “Efforts at reviving the theatre through private partnership appears the best at the moment for the edifice to witness a proper turnaround.’’
The turnaround
Delighted with ongoing work at the National Theatre, its current General Manager, Prof. Sunday Ododo, said a week after assumption of office, he led his team to tour facilities in the edifice for six hours, disclosing that he wept after the exercise over its dilapidated state.
Ododo said, “I assumed office on September 1, 2020. Barely a week after assumption of office, I did a comprehensive tour of the internal facilities in the edifice. We started at 8am and it took us 2pm to come out of the edifice. I wept because it’s an edifice; a bowl of riches but underutilised because of failing functionality of the installed facilities. The air conditioners were no longer functional and the lifting system no longer working. One could see visible cracks on the floor and the cooling system not working. The general aura of the space was not conducive and attractive. The essence of an event facility is to give one comfort and an unusual ambience of congeniality that prepares one to get ready to partake in an event.’’
The GM told Sunday PUNCH that some of the engineering resources were also not working, disclosing that the amount spent to keep the place going in that dilapidated state was huge. He added that there were leaky roofs such that whenever it rained, the leakage destroyed some of the facilities.
Ododo explained, “We tried to take measured steps and angles to avoid pools of water. The thing is that it could have been worse but for the doggedness of the managers of the National Theatre over the years including myself. You get overhead and 90 per cent of it went into maintenance of the facility and it was like a drop in an ocean. Electricity bills rose and other things. It’s a saving grace; this ingenious idea of partnering with a credible body like the Bankers’ Committee facilitated by the Central Bank of Nigeria and endorsed by the Federal Executive Council. The dogged commitment of Mr President and my ever-standing minister of information and culture pulled this and work began in earnest in April last year.’’
On his thoughts regarding work level at the edifice, Ododo, who said he would quote the minister of information and culture, noted that with what had been done so far there, they had crossed the Rubicon.
The professor of Performance Aesthetics and Theatre Technology told our correspondent, “We will invite artists back to have a feel of a world-class event centre and cultural zone. Soon, work will be on the entertainment hub opposite the centre for IT, music, fashion and film to complement the new edifice.
“These four verticals would give the youth ample opportunity to hone their talents in IT, music, fashion and film. You will agree with me that these appeal more to our youths’ ingenuity. Nigerian youths are creative. Look at the waves they are making in music and in Nollywood. I tell you that their ingenuity will become top-notch in IT. In a few years, we will get Nigerian youths who will come up with applications and solution-oriented software that will compete well anywhere. There is a huge market for the fashion industry because Nigerians are fashionable people. The aim is that the youth will learn, establish their businesses and engage others. The multiplier effect will be huge. We encourage the creative industry and culture workers to get ready because the sky will be the beginning. There is much to do. They should lace their creative boots and get ready to explore.’’
Both the minister of information and culture and the CBN governor echoed last week during an inspection tour of work done so far at the facility that it would be completed and inaugurated by November.
The CBN governor expressed satisfaction that the project estimated to cost the banking sector about $100m was also attracting foreign investors.
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