Practitioners not patient enough to cultivate audiences – Oteh

How did the JRT begin? It started informally in 1998. I was discussing with my wife (also a theatre graduate) one day and the idea to start a theatre just cropped up. The one thing I noticed when I got to Jos was the fact that there were many of us from the Nigerian Universities […]

How did the JRT begin?

It started informally in 1998. I was discussing with my wife (also a theatre graduate) one day and the idea to start a theatre just cropped up. The one thing I noticed when I got to Jos was the fact that there were many of us from the Nigerian Universities Theatre Arts Students Association (NUTASA) and the Nigerian Universities Theatre Arts Festival (NUTAF) days in Jos. But we were all doing every other thing except theatre. I was selling food and owned some fast food outlets. The starting point was actually what we can do to revive theatre culture. We started with poetry readings, reading one act plays and staging plays in the school curriculum. But after a year, I think a lot of us simply got tired and moved on to more secure jobs. I continued and the rest is history. We started formal theatre work in year 2000.

Theatre/stage performances especially are not widely appreciated in Nigeria. What is it that has kept you going?

I think I can sincerely say that live stage performances have a very wide and large audience out there. We should not forget that looking at the demographics of those who can afford ticket prices, these were the group that enjoyed live theatre in the 1970’s and 1980’s when we had touring theatre companies visiting schools on a regular basis. I think again, that what has happened is the fact that a lot of us practitioners are not patient enough to cultivate our audiences.  And our work is not consistent enough for the audiences to trust that we will always be there.  Cultivation and consistency are key to our work.

We kept going because over the last decade we have been fortunate to meet with a lot of extraordinary people who share our vision and are willing to help and direct us to jobs. Also, our approach to the craft has been as a business. It is theatre but run as a business entity. This is very important and key to our strategic plans.

Most times, you are in the background, not taking part in the performances. Why is that so?

I set out at the beginning to be an actor. But I realised early enough that I am better at managing people and resources. In my final year in the University, I majored in directing. Also, the business of theatre in our clime does not allow you to have extra time to be an actor because you get to do so many things at the same time – you fundraise, you do the administrative work, you direct and adding acting to it is a bit too much.  In the last ten years, the only play I have acted in was as Dr. Bero in Wole Soyinka’s ‘Madmen and Specialists’. But it was tough. But again, the play is one of my most favourites. So, again it was fun.

A lot of your performances are adaptations of 17th, 18th, 19th and 20th century plays by Western authors. How do you manage with costumes and the acts?

We have a costume compliment for almost one hundred plays. We invest in costumes and we were also fortunate in the sense that when Collective Artistes of the Performing Arts under the leadership of Chuck Mike was relocating to the UK, they gave us most of their costumes for safe keeping.  We could use the costumes and we are talking of costumes from over 17 years of his theatre practice. But there are times we find that we do not have specific costumes in our stock so we have to make these. Like the costumes for Aime Cesaire’s ‘The Tragedy Of King Christophe’ were all made in Jos. Sometimes, the artistes also provide some of their costumes.

How much support do you get from government and umbrella theatre associations?

Absolutely none! But then, in fundraising, the government should as a matter of principle, be the last resort. A lot of our umbrella associations do not have the capacity to support other theatres. If you note the trend of government support for the arts, it is practically non- existent. I am not talking of the government support for NAFEST or the Abuja Carnival or the National Theatre. I am talking of a pool of fund that can be accessed by independent groups like ours either as grant or working funds. This to the best of my knowledge, does not exist. Except we start to think of the $200m that the government made available to the arts but then the disbursement of this is at best foggy, as well as the possibility of accessing it and also who can access it.

In the light of the crisis in Jos, how does JRT use theatre as a vehicle to bring about positive change?

The Jos crisis is sincerely a tough one. We try our little best. We are currently involved in creating a series of radio drama for Search For Common Ground (SFCG). We employ our artistes from the city of Jos. Our thinking is that it is important for young people to wake up and have a place to go where they can get alternative experiences. I still believe that in the face of massive unemployment, young people should be diverted to the arts. To the theatre specifically to learn directing, acting, costume design, make-up, etc that will enable them work independently and seek work outside the tragedy that is currently unfolding.

The security situation in Jos has somehow killed night life in the town with most performances being held at night, how do you cope?

This is another challenge. The last performance we had in Jos of August Wilson’s RADIO GOLF started at 3pm in the afternoon. We are presently programming performances at the festival to start at 5pm. The idea is not to stay still but we must continue to work and perform until the situation improves. If it becomes necessary, we will perform in the mornings.

As an artiste how challenging is it to have or be a part of a live stage performance?

I think it is one of the most exciting things to be involved in. It is simply exhilarating. And that is why no matter how accomplished an actor/actress is in film or comedy, they always want to come back to the stage. In its own way, the stage has its own magic that enables you escape from the moment and transport yourself into another realm. It is an extremely challenging work but deeply fulfilling if you strike the right chord with the audience.

Apart from stage performances what else are you/JRT involved in?

We do consultancy work. We advice other theatres on the ‘how’ of staying afloat in an economic climate that is as aggressive as ours. We are about to start the Centre for Arts Management which will take off next year. We advice on scripts and we are currently learning radio programming. We train amateurs in acting.  We have learnt not to sit still.

Where do you see JRT in another five or ten years?

The Arts Management Centre would have taken off and running on full steam. Our international touring department would have taken off. Our educational programming would also be a full department of its own. We would have an office and space in our nations’ capital, Abuja. Our development office would be able to fundraise a third of our annual income. Our individual membership would boast of ten thousand functioning members who will aide our growth.

Most of your patronage seems to be from the diplomatic corps and particularly in Abuja. Is it that they are the only ones who appreciate your art?

No. I think we have been able to strike a balance between our expatriate and Nigerian clients. When we started in 2000, our performances in Abuja starting from 2003 were slanted in favour of the expatriate community but this has balanced out. The expatriates are extremely helpful in the sense that they are coming from communities and countries where the live stage is in constant supply existing with other art forms. And also, they invite each other very easily to performances. They are a huge support base.  We are currently spending time cultivating our Nigerian base. We are getting positive support and some very engaging ideas.