‘The trouble with tying theatre performances to embassies’ – Adesewo

What attracted you to performing arts? Growing up, I watched a lot of television plays and so, especially Hindi (Indian) movies and got fascinated by the exploit of such legendary actors like Dharam Deol (Dharmendra), Amitab Bachan and Mithun Chakraborty (of the Disco Dancer Fame). And of course the likes of Dejumo Lewis and Sam […]

What attracted you to performing arts?

Growing up, I watched a lot of television plays and so, especially Hindi (Indian) movies and got fascinated by the exploit of such legendary actors like Dharam Deol (Dharmendra), Amitab Bachan and Mithun Chakraborty (of the Disco Dancer Fame). And of course the likes of Dejumo Lewis and Sam Loco Efe later on when performing arts in Nigeria became more popular and accessible. 

However, the credit for my attraction to performing arts beyond being an audience would go to Ben Tomoloju and his Kaakaki Performers who took Lagos by storm in the early eighties. That troupe included two of my brothers, Toyin Adesewo (Natty) and Bayo Adesewo (Fayaman), who is currently the Director of Productions of Arojah Royal Theatre. Though I was no better than an errand boy in those days, but the seed was planted before I know it and there has been no looking back ever since.

How did Arojah Theatre concept come about?

It was a child of necessity that came with the need to fill a void in the entertainment life of the nation’s capital. About ten years ago, an entire calendar year would pass with only one or two theatrical shows, mostly by troupes from outside Abuja. I considered this a slap on those of us with theatre background, walking the street in other professional callings. So, I decided I was going to quit journalism for theatre, especially to provide a platform for the hundreds of theatre graduates and other talented artistes walking the streets of Abuja, doing nothing. So in 2007, I put together a handful of friends, under the guidance of my big brother, Fayaman under the auspices of Jesad Productions which later became Jesad Royal Theatre and eventually, Arojah Royal Theatre as we have it today.

A lot of theatre performances in the FCT are tied to celebrations of embassies or are sponsored by them. Are the embassies the life line for theatre in Abuja?

My honest response to this question would be a capital yes! As we attempt to rebuild the theatre culture or what we know as commercial theatre, where theatre pays for itself, the focus has been to build theatre audience and that is the opportunity that the embassies and international development partners provide us. 

Since most of the performances are sponsored, supported or commissioned by the embassies, the beneficiary theatre outfits usually don’t have to bother about cost of productions, publicity or how to break even from gate-taking. The gates are thrown open courtesy of the funding from the embassies, who also invite members of the diplomatic community and others. These set of people eventually become the first line audience since you now have them in your database, to begin the audience development process.

What would you be doing if you weren’t performing?

If there is any game I have never liked, it is the game of ‘ifs’. If I am not performing, I would be performing (laugh). I would probably be pastoring (well, I still do). If I am not producing, directing or performing, I would probably have risen to the top of my career in journalism. Or better still, advocating for a better Nigeria. Truth is, if I was not performing, there are a lot of other things I could have been doing.

How much do you practice when you get a new part or a new piece to perform?

There is always a timeline for every production and that ranges from two to eight weeks. In the days when I acted, I am guided by the production timeline. That is, if we are scheduled to go on stage in two weeks, then I know I have to improve my work rate, as against when I have eight weeks to work with.

In recent times, you have been more back stage than on stage. Why is that?

That is because without the back stage, there can be no upstage. The guys at the backstage are the movers of the guys onstage. Most times we are never seen. At the moment, producing is my forte. I have discovered the difficulties of acting, directing and producing. So, I said to myself, there is need to stick to a one-and-a-half ministry – producing and directing, in other to give room for our young colleagues to do the acting. That is not to say I have given up acting though. I still make cameo appearances.

What are three things that you look forward to before getting on stage?

If what you mean is how I prepare for a stage performance, all I do is ensure I have given my best in terms of all that is expected of me by the play and the director. That is, characterisation, interpretation and what have you. 

However, before getting on stage I like to and would like to see my artiste get into character ten minutes before the first scene. Secondly, I like to forget about every other thing other than the show at hand and finally, I look forward a theatre full of exciting, appreciative audience.

What do you look out for when picking your cast?

I look out for the suitability of the artiste(s) for the role(s), dexterity and commitment of the artiste. Every other is jara. [sic]

Which has been your most difficult performance yet? What was the experience like?

In terms of acting, my most challenging performance would be, double casting as Olohun Iyo in Wale Ogunyemi’s Langbodo sometime in 2000. I didn’t eventually get to play that particular role as I was only a double cast but it was a challenging experience that has remained memorable even now. I was young and almost inexperienced but yet saddled by the director, Prof. Ayo Akinwale with playing such a role, and alongside very experienced artistes.

As a producer, my most challenging performance was the late Adinoyi Onukaba Ojo’s The Killing Swamp. I was initially meant to direct the play and so, selecting my cast became a very troubling experience. I did not plan to hold an audition, so I was looking for how best to pick the right cast for the lead role – Kenule, which is a Ken Saro Wiwa character. From a shortlist of four, I eventually settled for my senior colleague, Patrick Otoro whose dexterousness and interpretation of the role wowed everyone. The play was eventually directed by Chidi Ukwu as I had to face the business of chasing funds and audience, in addition to coordinating the entire production process. 

Please share with us what it was like one time you have had to improvise on stage in the middle of a production?

That should be in the production of Fred Agbeyegbe’s play Woe Unto Death where I played the character, Eyinmode and had to render the lines of a fellow cast, Common Cold as part of mine. He had forgotten his lines and jumped almost about eight to 10 pages or more ahead because of the similarities in his lines, which was capable of ‘capsiding’ the entire play. So, all I had to do was bring us back online by picking up his forgotten lines which helped him return on track and salvage the production.

What’s the hardest role they’ve ever played, and why?

The one challenging role I have played is still Eyinmode in Fred Agbeyegbe’s Woe Unto Death and that was because though I was bubbling with youthfulness. The director decided to have me play the role of a seventy-year-old Ilaje Chief. Men! that was challenging but I did pull through. Worst-still, I had to play directly opposite my big brother Adesewo Fayaman Bay who was also a Chief but whom I had to antagonize every now and then. It was challenging at first but it turned out to be one of my/our best outing. It was one hard nut in my acting career, but I did crack it.

Who is your favourite actor?

Sam Loco Efe of blessed memory remains my all-time favourite actor.  Then you have the likes of Olu Jacob, Dejumo Lewis and Ramsey Noah while from the female folk I adore Aunty Joke Silva first of all and others like Omotola Jolade Ekeinde, Rita Dominic, Genevieve Nnaji, Mercy Johnson and of course, Funke Akindele. 

Where do you see yourself in five years’ time?

Five years is not very far away though, but you see, in five years, I look forward to have achieved a couple of things. First, to have a theatre space of my own, where I could put up performances every day of the week and also host production by other troupes within and outside the city, country. In five years, I wish to have achieved my dream of staging the first ever International Theatre Festival in Abuja. Work is already underway it will be known as Abuja International Theatre Festival and Awards (ABITFA). In five years, I hope to have nurtured Arojah Royal Theatre into a world standard theatre brand, thereby becoming a theatre-preneur worthy of note.

What is your greatest accomplishment?

There is still a whole lot to achieve. So, I don’t consider it appropriate to start listing achievements. However, if I must answer your question, I think that venturing into this theatre business against all odds, and remaining there regardless of the myriads of challenges, is a huge achievement. A lot of people still wonder how we do it. Those who foretold doom for me/us when starting out are still wondering how Arojah Royal Theatre has been able to re-invent the theatre culture in Abuja, to the point that Abuja residents now desire theatrical productions. We have been able to create a product and we are attracting patronage. I think that’s a great achievement.