SPOTLIGHT

One On One With Oluwatoyin Olokodana James in SARO The Musical.

In SARO, Oluwatoyin Olokodana James plays the role of recharge card seller, sales girl, and dancer. Oluwatoyin Olokodana James talks about her experience in theatre and her excitement for SARO The Musical.

Tell Us about Your Career in Theatre?
My career in theatre started as far back as 1994 when i joined a theatre group, but professionally, it started while i was studying at the Lagos state university where i acquired a diploma in theatre, film and television production ( 1999). I was introduced to a professional dance company at the national theatre by a course mate.

Who/What inspired you to join SARO The Musical?
Actually i was invited by the artistic director: Mr Uphopho Kenneth.

Which other project do you do aside acting?
i do a lot of things, such as singing, dancing, costuming.


What is the biggest challenge you've faced so far in Theatre?
I don’t think i have ever faced any serious challenge in this field

Who are your favorite plays or playwrights?
My favorite plays are Wives by Ahmed Yerima, oya by lekan Balogun, women of Owu by Femi Osofisan, Azagidi and Obaseki by Don Pedro Obaseki,

What role are you gonna be playing in SARO The Musical?
I am playing multiple roles in the play, aside dancing; i am also taking the role of producer, recharge seller, sales girl, dancer etc

How Far your Role in SARO does goes?
Like i mentioned above, i have more than one role, therefore i would say that my roles are quiet interesting and demands a high level of concentration and skill in order the distinctively play these roles. And i must say i am really excited playing these roles.


How do you feel taking part in SARO The Musical?
It’s a two way thing, first it’s an honor to have me on this production and at the same time, i feel honored to be part of this history making event, especially playing alongside these caliber of artist.

Where do you see yourself in 5 years?
5 years from now, hmmmm. Believe me, something’s are not within the jurisdiction of human brings to dictate or accomplish. So, i will be where God wants me to be.

What are your favorite inspirational quotes that you live by?
The world is a stage and all men merely players, they have their exits and their entrances. one man in his time plays many parts.
by Aristotle

Oluwatoyin Olokodana James has featured in  numerous stage productions and she has to her credit HUMAN CARGO BY FRED EGBEYEGE, OYA ORIRI DIRECTED BY STEVE JAMES, WOMEN OF OWU BY FEMI OSOFISAN, YEEPA SOLARIN NBO DIRECTED BY NIJI AKANNI, AZADIGI, IDIA AND OBASEKI DIRECTED BY DON PEDRO OBASEKI, ORISA DIRECTED BY STEVE JAMES, THE WIVES DIRECTED BY KENNETH UPHOPHO.

 She has also featured in many soap operas and films such as - GIRLS NEXT DOOR, BURNING SPEAR , SWEET REVENGE, SUPER STORY, THIS LIFE ( soap opera) CINDERELLA, HEROES, AIYE OKO LOKO, ABETILUKARA, ATELEWO OKU 

SPOTLIGHT: Meet Adesua Etomi One Of The Drama Cast For SARO The Musical Play.

Adesua Etomi started her acting career in 2004 in the United Kingdom.
She studied Physical theatre, Musical theatre and Performing Arts at the City College, Coventry before going on to study Drama and Performance at the University of Wolverhampton, graduating with 1st class honors and The foursight theatre award for best performance in a devised piece of theatre.

She has the following projects to her credit: Knocking on heavens door, Anatomy Of A Woman, Crystal Slipper, The Crucible, Fractal, Not my cup of Tea, The Millers Tale (August 2012, Edinburgh Fringe Festival), Jesus Christ Superstar (musical), Miss Saigon(Musical), Les Miserables (musical), to mention a few. Adesua Etomi also featured in a short film titled “The Call” produced by LowlaDee.

Her dream is to do Broadway and conquer the world of performance in the near future. Additional talents include: ice skating, physical theatre, singing, dancing and playing the guitar.

Meet Dolapo Ogunwale,One Of The Cast For SARO The Musical.

'DOLAPO OGUNWALE is regarded as "The Voice of Spoken-Word".
She has performed with Grammy nominated Maimuna Youssef of the United States and just recently concluded a mini-tour of Ghana which included a live on-air performance at Ghana's most listened to radio station y107.9fm.

Described by the legendary Taiwo Ajayi-Lycett as "a gift to the stage", she is a phenomenal spoken-word poet. She was selected as a semi-finalist in Endemol's International hit singing talent competition, "Idols West Africa" produced by MNET. Since then she's acted lead roles in sold-out on-stage productions like "Oluronbi: The Musical" and "Fractures," working with stage veterans like Yinka Davies and Jude Orhorha.

On World AIDS Day 2009 she performed at Chevron Nigeria Limited, Lekki, received a standing ovation and was subsequently invited back.

As a guest performer her spoken-word poetry was featured in iRep International Documentary Film Festival, Olu Jacobs and Joke Silva’s LAPA Production of “The Naming Ceremony” in 2013, Bogobiri's 10 year anniversary celebration concert and Unilever's top management staff dinner at the Oriental Hotel, Lekki.

She also performed spoken-word at “Conversations with Kaye Whiteman,” which celebrated a British author of a book on Lagos, and at cultural exchange programs in Alliance Francaise, Ibadan.

Among others 'Dolapo has opened for Ghana’s leading songstress, Efya, soft-rock's Ese Peters, toured with internationally acclaimed Beautiful Nubia and introduced to "Industry Nite" audiences by Modenine with the quote "she performs spoken-word like she is 8 feet tall!" She was also selected as guest performer at the event "Ladies First" which celebrated pioneer Nigerian female musicians in Hip-Hop. ‘Dolapo has been featured on several local and international TV channels and radio shows and performed both locally and abroad.

Furthermore, she has been featured in Badilisha Poetry Radio for African poets in Diaspora. She shares her time between performing, working as a TV presenter for EbonyLife TV on the show VVIP and running Inspired Motion Enterprises, a company that packages shea butter products, supplies event vendors and acts as a music agency. She holds a BSc degree in Economics from the University of Lagos.

DOLAPO also known as The Voice of Spoken-Word in Africa is a phenomenon!

A connoisseur of simple words skillfully woven to form lines that pull all senses wherever she chooses to take them. Delivered with a sultry, sonorous voice, 'DOLAPO transfixes all audiences.

Her stage performances are a blend of neo-soul musicality with a percussion based aesthetic, skilfully led by her powerful vocal delivery in both song and word. With this she infuses her original body movements giving the spectator a full round, total theatrical experience.

"SARO… WILL REDEFINE THEATRICAL PRODUCTION IN NIGERIA" ---Ade Laoye, playing Jane in the Musical

“The artistic team, the directors, the producers, the dancers and actors; everybody is just so talented. I am excited about what the finished product is going to be like. I am confident it is going to be a great play. We have no choice; it is going to be great.”

What is your role in the SARO-The Musical. What should be expected from you?
I play the character of Jane, an office assistant to Don Sito, who basically discovers the boys when they first come to Lagos. I am hoping to bring my fun to it, my voice and my sense of professionalism into the whole production; and hoping to have a lot of fun.

What is different about SARO…?
This will be the first musical that I have done in Nigeria. I have only been back for eight months now and I have done a stage play and a couple of other projects. It is great to be able to tell a Nigerian story using Nigerian music and I am really reconnecting to my culture. I think that is what makes a whole lot of difference.

Who is Ade Laoye?
Ade Laoye is somebody who thinks she has a sense of humour. Ultimately, I studied acting, this is what I love to do, and this is where I find my passion. I am very excited to be on stage. I am a very fun-loving, easy-going, out-going person.  I love music. I love to sing. Musical to me is that kind of my first love when it comes to performing.  I am a Christian, a daughter, a sister, an aunty and somebody who believes in going after your dreams; who takes risks. I love taking risks. Sometimes it may not pay off but, I just believe in living life to the fullest because, tomorrow is not guaranteed.

What have you gained from the rehearsals so far?
 I am working with a group of highly talented people -- amazing dancers, amazing singers and actors. For me, I love working as a team and seeing the dedication that other people have put into their crafts; especially, the dancers. I wouldn’t say dancing is my strongest point but I love watching dancers dance; the way they have control of their body; the way they move is very inspiring to me. It is something I could even apply to my acting; taking control or mastering my craft.

If this is going on tour, which country would you want it premiered?
Well, there are many places I have not been to. I moved back from the US; so, I am familiar with Broadway. I spent sometime in England; I am familiar with the UK as well. I don’t think which country it premieres in matters. I think what counts is the quality of the show we produce. We want to produce something that will be able to compete on the international level but, I feel the world is a very big place and very diverse; so, I don’t know if I should say; it should go to the UK first, or US. South Africa also has a big theatre presence. Wherever it goes as long as it is up to international standard, that is what matters to me.

Which other character catches your fancy besides the one you play right now?
I like the character of Ronke because I never get to play the spoilt brat. It must be fun to play a character that really has her way all the time. So, it would be really fun to play Ronke. I could just get to be annoying and fight for whatever it is that I want, do some temper tantrum and don’t care whoever that hurts. I feel like playing mean character always. Really fun…

How promising is SARO…?
Right now we are still in rehearsals but I have seen how talented everybody in this cast is. The artistic team, the directors, the producers, the dancers and actors; everybody is just so talented. I am excited about what the finished product is going to be like. I am confident it is going to be a great play. We have no choice; it is going to be great.

Do you think Terra Kulture is doing a great job coming up with this concept?
I definitely would like to commend Mrs. Austen-Peters. Stage in Nigeria seems to be undergoing some kind of revival and Terra Kulture has been a home to a lot of these smaller theatre companies looking for a place to showcase their works. The first play that I did, I did it here in May. I love how they have theatre doing a play for the whole month. They have been a home to a lot of people trying to express themselves creatively in a live action. Many people are familiar with Nollywood films and TV but I think stage is beginning to make a comeback though it never really went anywhere.  A lot of attention is being created and there seems to be this new generation of people who are reviving the stage. Terra Kulture has provided a home for that to happen and I am very excited about them doing this play and supporting other artistes to do theirs as well.

Motivation for your readers
One thing I love about being an actor is that, our profession is unlike every other. They say -- no business like Showbusiness; that really is true because we don’t follow same route everyone else does; and our process is very different. At the heart of it is following your passion and being wiling to fight for it.

Many times, I didn’t have any money and have to be in a play where they won’t pay me a lot but I did it because I wanted to be in that project. Ultimately, the life lesson is; fight for your dream. How much you fight for it determines how much you want it and; it is not always going to be easy or fun. I have cried a lot pursuing this dream but in the end it is always worth it. There is no where else I would rather be. 

"IN SARO…WE TAKE YOU THROUGH THE ENTIRE MUSIC AND DANCE LORES OF THIS COUNTRY" says Gbenga Yusuf, Dance Director

“Saro will be a standard for any play of its kind in the future. It is distinctive because this time in Nigeria, we are using these different genres of arts on thread system. Every aspect is peaked whenever on stage.”-- Gbenga Yusuf, Dance Director for SARO

For the past two hours, I have watched you dance and give instructions…

Yes. I am the dance director for SARO, The Musical;I am basically focused on body movement and stage direction, formation and adding to the duties of cast on stage... I help with bringing the music to life with body movement -- dances; creating beautiful movement on stage and so on. Aesthetics is very key in musicals and adding costumes with body movement with different formations add grace to the production. So, that is my primary function in this show.
What would be the impact of music and dance steps and formation in the overall beauty of the play?
Saro is a production that has the earnest theme of determination and this particular theme is expressed through the songs the audience would hear on that day; it is expressed through the words from the artists on stage, expressed through the kind of dances. Dance can be used for different purposes. This time around, we are using it to encourage the youths in the society to pursue that dream they believe in. We have people with gifts in different areas but are limited by the difficulties that surround them. Saro the musical would offer such people steel determination to break such barriers and realize their dream. You own it, turn it round and that gift will make ways for you.  Going back to your question, we are using different kinds of dance and different genres of songs, these two aspects of art combine together to pass across the message of Saro, The Musical. They cannot be taken away.

If you look at musicals everywhere in the world, you can’t take away music, you can’t take away dance. And, instead of using drama hundred percent, you have only few places/scenes where people are talking, the remaining aspects are done through body movement and music. And in that way, people can reflect the scenes or areas we are trying to pass across instead of using words over and over again.  They say, a picture is equivalent to a thousand words. So, music and dance are equivalent to a billion words. So, this can cover up for the importance of music and dance in this musical.

How is Saro-the musical different from what you have done in the past?
In the nearest future, Saro-the musical will be a standard in this country that people want to meet up. Why would I be so sure?  When you look at the hands coming together to make this a reality, I have no doubt in any way that we are about to set a standard. We have a producer whose mind is very creative and ready to do the impossible. We have directors whose works in the past show they are ready to keep pushing the limits. The casts -- the actors, the dancers and musicians are the best in the country in their field.

Saro will be a standard for any play of its kind in the future. It is distinctive because this time in Nigeria, we are using these different genres of arts on thread system. Every aspect is peaked whenever on stage. It is something everybody wants to see. It is something you wouldn’t want to miss. Something you wouldn’t want to be told. By the grace of God, we will keep staging this play over and over again to give people the opportunity to experience the life-changing production that will push them to always push their limits. They say, ‘sky is the limit’… I don’t even have a limit. Rather, I see the sky as s starting point. For me, I can’t wait to bring this show out to the public. I can’t wait to create more movements as you have seen in the rehearsals today.

Any time we move, I always think of, ‘let’s get out of our comfort zones, let’s push ourselves’. This was what we did yesterday. Can we do more today? How can we wow the audience?  How can we push the way they think? How do we break boundaries and barriers? This is what it is -- be it music, dance or dancer, this is what we are all saying… ‘let’s break barriers’. There is no limitation, except the one you create for yourself. We will keep talking because I am so passionate about this project.

Tell us about yourself and what you have been doing in the past two years.
 My name is Gbenga Yusuf.  I am the artistic director of Seeing Through the Arts Organization, an organization that creates awareness on social issues through the platform of the art. I use music as drama to create social awareness. Last year, one of my shows Patunga ran for eight times in August. Another one was staged at Eko Hotel & Suites, Lagos titled ‘Take Heart’ -- about heart disease.  

If you had seen any of my shows you would better understand why I am taking part in Saro because I express myself through music, through dance and through drama. Over times, I have worked with certain organizations. On the child trafficking, I was endorsed by the National Agency for Prohibition of Trafficking Persons and other Related Offences in Nigeria. After creating this awareness, we gave a certain percentage of the proceeds to the charity, to these children. The Patunga story is a true life story.  I interviewed the girl myself and incorporated the story into script, produced a big show that everybody kept saying was the best show they have seen in recent times.

My show that is staging at Terra Kulture this month, at the moment, the last reviews I got, people said, it was the best show they have seen at Theatre@Terra. I always want to push boundaries. I always want my today better than my yesterday. I keep doing what I love to do. I love dance, I use dance to pass across my message and I love music. I am a diehard fan of music if I can use that word.  
You want to know what I have been doing in the past two years? I have been dancing and using songs to pass across social messages.

What kind of songs are we looking at in Saro?
SARO The musical is going to use songs that transcend through the times of this country. We have Afrobeats, Jazz, Contemporaries, Highlife, we have waltz, and we have Caribbean Salsa, we have Cha-cha, we have worship songs in the church… name it. We have everything in this production.  When I say, everything, I am not exaggerating.  We are touching every sphere of music that has come into this country, that has come to stay, that has passed through it and those yet to be heard. This project is huge and I am enjoying myself.

What would you say to people out there who are enthusiastic to watch this play when ready?
For everybody out there, I know you have seen different musicals in the country and those imported into the country. I am back to just say that this is entirely from Nigerians; by the youths of this country, and our leaders in the art industry. Please, come with an open mind because we are about to open everything out and take you to the next level. Thank you.

"SARO… Will Change Our Theatre Landscape Significantly"says Kenneth Uphopho, Director (Drama)

"Some musicals that have come out of this country used dance as an accompaniment but in Saro, dance is an instrument of communication, telling that part of the story for that purpose -- not just going to be there for the aesthetics; it is going to tell a story."-- Kenneth Uphopho, Director (Drama) for SARO

Who is Kenneth Uphopho ?
My name is Kenneth Uphopho. I am an actor, a dancer, a theatre producer and director. I am an alumnus of the Lagos State University, Department of Theatre and Music.  I am the Creative Director of the Performing Arts Workshops and Studios (PAWS), an independent theatre outfit based here in Lagos. I have directed over 40 productions for my company and other independent producers. I have also been a part of over 100 stage productions as an actor, dancer, and as a stage manager. I have also co-produced some festivals and directed them. I am the current Artistic Director for the Lagos State Theatre Festival organized by the British Council for 2014; an ongoing project and I am also one of the Directors in SARO.

What aspect of Saro are you directing?
I am in charge of characterization and drama in the play. The play is a musical that brings together different elements of theatre: music, drama, dance, pantomime and mime, etc. So, I am in charge of seeing that other artistic qualities from the actors are carried out effectively in the general production. I am in charge of characterization and the framework of the play.

What is new and different about SARO The Musical?
A lot has been said and a lot will still be done about this groundbreaking, earth-shattering play we are working on. Never before in the history of this country has  such a production been. The uniqueness of Saro is in our mission; the play itself tells a story set out on a mission to change things around us, to change the artist, the level of theatre in the country and the general perspective of the theatre in the country as a whole.

What makes Saro outstanding to you?
Some musicals that have come out of this country used dance as an accompaniment but in Saro, dance is an instrument of communication, telling that part of the story for that purpose -- not just going to be there for the aesthetics; it is going to tell a story. For the music, we are exploring all genres of music and we intend to see the best come out of it.  We have the best of the bests in terms of the orchestrals to the best of the bests out of the instrumentalists. All of them on top of their games, all together to do justice to Saro. For the Drama, once Kenneth Uphopho is involved, drama is going to be spectacular. Now, interpreting the play: we all came together to talk about it -- though we had different things -- together with the creator or originator of the story; and then came out with a definitive artistic vision for this play -- to make this play what it is.

What’s your assessment of the actors and actresses in the play?
I must say that the actors/actresses we have here are among the best in the country right now; they can act, sing and dance which is an added advantage to Saro right now. More than this, their ability to understand and interpret roles has been at the top. They have been supportive in terms of how we have been able to harness their skills to do characterization. Don’t forget, they have also brought their high level of skills into this. Over the time of experimentation and all that, they know the play in-and-out and the vision is clearly followed. They are on top of their games right now. There is a good cordial relationship in the team. I don’t have a particular best actor/actress yet but I must tell you, the ones that are here are the best in the country right now. Sentiments apart, we chose the best through the auditioning process.

What would you say to the intending audience?
 I would tell them to come with an open mind. Saro isn’t just there to entertain. We will do that but, we will also inform, educate and liberate, so to speak. The notion is out there. Mentally, some people are still caged. It isn’t just the four walls of prison that hold you back from achieving your goals or dreams.  We will inspire you to reach for your goals.

Invariably, I would say, you are enjoying your work here at Terra Kulture!

Laughs!  Yes. I am a resident director here. We have had a lasting relationship and I am grateful to Terra Kulture and the executive producer, who happens to be the MD, of Terra Kulture for her support and being there for theatre producers and the budding practitioners to showcase their talent. You come here every Sunday, week-in week-out, you see theatre consistently here. This is the only place in the country that does that. I am at home.

"WATCH OUT... NIGERIANS HAVE NEVER SEEN ANYTHING MUSICALLY ACCOMPLISHED AS SARO" says AYO AJAYI, Music Director

"You see, from my experience in the music world, I know when something is marketable, I know when it is commercial; I know when people will appreciate things. When I sit down in my home to listen to music or see movies, I know which one is actually interesting or appealing to people… We are planning to do all genres of music -- synchronized it all together. Music is a universal language. If you are a Nigerian, you will understand it; a Ghanaian, you will understand, no matter where you are from in any part of the world, you will find SARO the musical interesting" -- Ayo Ajayi, Music Director for SARO

It has been pretty difficult to get a chat with you. you've been so busy???

Yes, I have been busy. SARO… is seriously a very big production; we are seriously into it. We have to devote our time.  A lot of commitment has gone into it, having an interview is actually something that comes at the background; not a major for us right now.

Saro- the musical. How great is Saro?
Well, Saro  is something that has never happened in this country before. Not as in the word but, with what we are bringing into it. According to research, Saro is a settlement… where former slaves who came back settled in an area of Lagos Island. In our own way, SARO is a big musical project, and that I can tell you boldly.                                             

As the Music Director, what is the effect of Music in Saro?

Well, I would have to take you back to history.  When we talk about the Saros, they are people who have traveled far and wide, so, they have a blend of all kinds of music.  They have listened to the music of the British, Afro Cubans… the Brazilian Samba etc.  The Saros have in possession these various musical backgrounds.  That is what we expect in the musical as well -- a variety of music/songs that will aid us in bringing out the purpose of the production…Individual quest for survival is the central theme of this musical. The protagonists leave the hinterland to the city of Lagos, how do you I.

Individual quest for survival is the central theme of this musical. The protagonists  leave the hinterland to the city of Lagos, how do you tie this simple narrative to music?

 Basically, we are looking at four guys in this musical. They have nothing, from the hinterland like you rightly pointed out. But they have one tool for survival; that tool is music. They have great voices. Laitan plays the guitar, Obaraku plays the drum and that is all what they have - beautiful voices. They believe that they could survive even against the hardest of difficulties. Don’t forget that the voice is a God-given musical instrument to make a way for you. So, they believe in their talent that it would make a way for them.  With strongwill and determination... look, you need to see this musical, I cant afford to tell you the end of the story! Seriously, music is all that they have, whatever they do, at anywhere, they are doing music. Everything in this play is surrounded by music; that is where music comes in. Besides the normal background sounds in most Nigerian plays/movies, this is seriously a musical; even some of the dialogue are rendered in songs. This is a new thing to Nigeria; a big project. The biggest I have ever been involved in.

So, we should expect frequent musical interlude in the course of the play?

Well, frequent musical interlude? When you say something is musical, it doesn’t have a musical interlude. Everything you do is music. Music tells the story.

Do you think Saro will meet the expectation of being exported...?

You see, from my experience from the music world, I know when something is marketable, I know when  it is commercial, I know when people will appreciate things. When I sit down in my home to listen to music or see movies, I know which one is actually interesting or appealing to people. We won’t come here when we have the likes of the main director -- Mr. Makinde Adeniran and plan something that is not marketable. Saro is marketable. We are planning to do all genres of music -- synchronized it all together. Music is a universal language. If you are a Nigerian, you will understand it, a Ghanaian, you will understand, no matter where you are from in any part of the world, you will find Saro-the musical interesting. We are, of course, able and going to export the motivation in this play to the whole world.

The four lead casts are young people. Is the message just for the young?

We are just taking these four people as a point of contact to every other person around.  You see, dramatically, it is better to make people of same age bracket to work together.  I think messages such as this should be directed majorly at the youths because; they are the ones struggling to survive. They are the leaders of tomorrow.  There is a message, however, for all age categories; adults and adolescent alike. There is a message in Saro for everyone -- perseverance, determination to succeed.

May we meet you ; especially what you have you been doing of recent?

My name is Ayo Ajayi. I have always been doing music all my life though I did some sciences.  I read computer science and then had a diploma in chemical engineering. But, since then, I have really delved into music. It has been my life right from my Secondary School days. I attended CMS Grammar School, where I was the school choirmaster/leader; school pianist. Then,  I had a little break. I am also the church organist for the Christ Apostolic Church, Yaba. I l teach diploma students piano playing at the MUSON School of Music. I have done a lot of projects. I have a band that organizes corporate shows around. I also consult for MTN -- the last being the lighting of the Christmas Tree  at MTN plaza. When Mr Kofi Annan came into Nigeria about  three years ago, I was to play a recital for him. I also played at Chief Olu Falaye’s 70th Birthday, among so many other great things. That is my career.

I have not got to the peak yet. I really want to take it to the next level and encourage contemporaries and people looking up to me. We can survive with music and shouldn’t leave it to mediocre hands. Music is not just for those who have the voice. People should get to know music beyond that. This is why the West has an edge; we import their songs here and don’t take our songs out because we don’t have what it takes; that educational background that we need musically. It is not something you just pick up, you have to love and study it.

My advice to people out there is, if you are really being led by the passion, go for it. Music is a way of survival for you just like the Saro casts, they have nothing else but music. They survived.

So, you are being paid to do what you love doing...

(Laughs). Yes, exactly. Dr. Maxwell says ‘ you have to do what you like to do. By doing what you like to do, you will never work for a day’. I enjoy doing it with all pleasure; not as if someone is compelling me to do what I am not enjoying. With Music, I have never worked a day.

"SARO… WILL BE A GAME-CHANGER FOR THE AUDIENCE, THE ARTISTES AND FOR NIGERIA THEATRE" says Diana Yekinni, playing Ronke in SARO the Musical

“SARO… is going to be a game changer. The show is going to be fabulous.
There are so many talented people in the cast; behind the scenes, in the scenes, everything. Definitely, it is a show to be seen and not heard”.

May we get to know you?
I am Diana Yekinni, based in London but from Lagos State, Nigeria... I am an actress who sings and dances well. I love theatre and have been doing films for a while now; but have just come back to theatre. My degree is in Theatre Arts. I went to school in the US and UK. I have been doing films for eight years.

How has it been like rehearsing this play, SARO The Musical?
It has been a lot of fun getting to know more people because I just moved here from London; and I don’t really know many people. It has been fun; it has been definitely a work on a lot of dance and music. It has been a great experience so far. I am looking forward to the rest of it.

Diana Yekinni And Saro Director: Makinde Adeniran.

How has the rehearsal hall been?
Very lively! You can’t put that many actors/singers/artists and others… in one room and expect it to be dull. It is fabulous. Very lively. Much energy. If you are not in this world, you will be a little overwhelmed but still have a good time. More energy and more flair when it comes.

How would you compare SARO… with your previous experiences?
It is different, I won’t lie. Considering Theatre in Naija is not theatre in the US or theatre in the UK. For me, it is a different experience, but it’s refreshing to know that we are getting there.  We are definitely neck-and-neck with the international market. So, it is exciting.  We are doing amazing things in Nigeria; the acting industry is getting better everyday. I am actually quite surprised, God forgive me, as to how good the theatre is here in Nigeria. I am sure the future holds amazing stuff for us here.

What role are you playing in SARO The Musical?
I play the lead role of Ronke. She is the daughter of Don Sito. Very outgoing, flamboyant, festive unforgettable character, who is an attention seeker; always trying to be seen, expresses herself. It is a front role. I am enjoying it.

If not Ronke, what other lead role would you have loved to take up?
To be honest, Ronke was very in for me. I am sorry; I don’t mean to sound like that.  I am not saying I am crazy but I do have some crazy tendencies. There are similar traits between me and Ronke. So, if I am to pick again, if I had a choice, I would pick Ronke. Not that I picked Ronke, it was picked for me. I would definitely like to pick Ronke either way.

What qualified you to be picked as Ronke after several auditioning?
To be honest, when you audition, something new comes up every single day; you can’t really say because you are not on the panel. You can only bring what you have to the table. You go in, during this audition, I was to sing, dance and act. I went in; I danced, sang and acted. It is really hard to say a word what was the reason I was chosen to play Ronke. I would say, it was based on my talent.

What do you have for your fans?
If there is anybody who sees my works and admires me, I would say, thank you. Everything is by the grace of God. Please, continue to support me on my journey.

Would you want your fans to come and watch SARO The Musical?
Of course!  It is going to be a game changer. The show is going to be fabulous. There are so many talented people in the cast; behind the scenes, in the scenes, everything. Definitely, it is a show to be seen and not heard.
And what would be their take home?
I didn’t know Nigeria could do this! That is it!

Could you specify the films you have acted in?

I was in Ije, The Journey. If you remember a specific, crazy prisoner, I was by then chubbier; quite a funny role. That is the most memorable.  But since then I have had other productions.  We are currently shooting one in Ghana called The Refugees, directed by Frank Raja.  It’s crispy, I believe; MMS Songs and other films called LagosSchool Girls, is coming up soon where I played lead role too. A few songs coming up soon this year... Theatre is my passion; this is what I love; my background and my everything. So, I am glad because I got my foot back in the door. Film is definitely still active for me.

SPOTLIGHT: Kenneth Uphopho - Director of Drama - SARO Musical Play

First spotlight of this week is Kenneth Uphopho, the Director of Drama for the musical play - SARO.

 Below is a brief spotlight on the director.

Kenneth Uphopho has worked with notable directors like Prof Wole Soyinka, Prof Femi Osofisan, Felix Okolo, Richard Klug, Ben Tomoloju, Steve James, Muyiwa Osinaike, and Wole Oguntokun. His most recent directorial credits include; Little Drops 2012 performed by LAPA and produced by Joke Silva, Ajigbe 2012 performed at the Lagos Live Festival organised by Goethe Institute before going on a month long tour of Europe and Shattered 2013 for the British Council organised Lagos Theatre Festival.

Kenneth has also co-produced and managed major events such as The Muson Festival, A Season of Soyinka, Black Heritage Festival, World Dance Day, International Theatre Day, Festival of Plays, and A Harvest with Soyinka.

He has designed and packaged summer camp programs for schools, trainings in theatre and role play resolutions for corporates, entertainment for events and a host of many others. He is an Alumnus of the Department of Theatre Arts & Music, Lagos State University and recently commissioned as Artistic Director/Producer for the 2014 British Council Lagos Theatre Festival.

Kenneth Uphopho has been part of the theatre renaissance in Nigeria for over a decade now.

As an actor, he has appeared in over 100 stage productions such as Ola Rotimi’s The gods are not to blame, Wedlock of the gods by Zulu Sofola, The Wives by Prof Ahmed Yerima, Chinua Achebe’s Things Fall Apart and a host of many others.

As a director, he has directed over 30 productions for PAWS and other independent theatre production houses in great theatres in Nigeria and beyond.

Kenneth is the Creative director at Performing Arts Workshop & Studio PAWS, where he trains actors, produces and directs theatre. Some of the plays produced and directed with PAWS are; Anatomy of a Woman, Rubiewe, Death & the King’s Horseman, Widow’s Window and the Wives.

For more information about Kenneth Uphopho;

Follow him on Twitter - @theatrenaija

Add him on Facebook - Kenneth Uphopho

‘THIS MUSICAL WILL BE A BOMB ON STAGE, WILL SHAKE NIGERIA... WATCH OUT..’ --- Anthony Offiong Edet, One of the protagonists in- SARO THE MUSICAL.

“I am looking at this project as my Saro. This is one of the biggest projects I have ever been engaged in since I started in the art.  It is coming out with all the genres of the art that I am involved in – dance, especially because most people know me more as a dancer. I am also given an opportunity to sing and open-act and play a very silly character but, that is cool and; I am looking forward to it. It will be the bomb!”

At first glance, one wouldn’t think you are a Nigerian.
I am a full-blooded Nigerian. Ok, my father is Lebanese but I was born here. Cross Rivers is that part I hold on to because my mother is from there!

SARO The musical is making the rounds.  You are one of the lead casts. What expectation do you have, or, what is your primary responsibility in the play?
I am playing the role of Obaro, one of the leads -- one of the four guys who leave their places of birth looking for redemption; looking for a next step to making life better. He is that guy that goes to anywhere the wind blows as far as it is interesting and there is fun and travel. He loves music and also wants to make a name for himself. He also likes the place to be exciting; he energizes the people by creating the liveliness the people like. His music also drives him as well.

Historically, I heard the people identified as the Saros migrated to Lagos; but we are looking at the drive in the word Saro, and not just the storyline. It is the drive that propels these four protagonists  to leave their places of birth in search of a better life elsewhere. 

I am looking at this project as my Saro. This is one of the biggest projects I have ever been engaged in since I started in the art.  It is coming out with all the genres of the art that I am involved in – dance, especially because most people know me more as a dancer. I am also given an opportunity to sing and open-act and play a very silly character but, that is cool and; I am looking forward to it. It will be the bomb! 

I am looking at it going international like the Broadway -- that is how far I can see it.

You know Nigerians, when it comes to creativity and coming on stage, we always give the best. Now, we have a platform, we are able to give much more than that to pour our hearts out for Nigerians and the entire world to see. This will be more than expectations, very sure about that.

Anthony Offiong Edet

The creator and producer of the show, Bolanle Austen-Peters, mentioned in an interview that, some of the cast members  have been on the international stage; are you one of such?

Laughs. Yes I am!  I have performed inside and outside the shores of Nigeria. Most of the works that I do have always been in Europe; so, in terms of experience on a larger stage, I have that. Every production that I do, I always take it as the first time.  I walk my baby steps, I learn… I am coming into this with all the experience that I have. I am like an open book ready to be written in so that I can learn more. The excitements are there.

I wake up very early in the morning at 5am, so that I can be here. I run down here. Drive. Since I was very little, since I got into the art, I have always looked at the possibility that one day, a production of this magnitude will come. When you put yourself into something and see a future in it; that is what wakes you up. It is the art that I believe in. Now, imagine using what you believe in as a spectacle on stage.  That is a double time to wake up.

How do you compare your past experiences with what is obtainable so far In SARO…?
As I mentioned before, everybody’s got a different point of view. I have other things that I look at… What I hope to improve on in every other production I have been part of; this time around, I am coming up with three majors that people know of which are -- dance, music and acting; and I am giving an opportunity to play a lead. Expectations are very high. I roll with energy that comes from my fellow artistes; what energy they give, because, the energy they give, prompts the next thing that I do. I can’t come out as a soloist.  It isn’t all about Tony anymore. It is about the story. I reckon, there must be somebody out there in the audience that will sit down to watch this play and it will become a pointer to his/her direction of life or how s/he sees things. That also is a driving force that I am looking out for.

Do you think SARO THE MUSICAL is something different from what you have been doing?
I like to speak positive. Saro-the Musical  will definitely be different, especially when you have the hands that we have in this production. It will be. We are given the chance to tell what we feel. The contribution is coming from all angles. In Terra right now, they are looking for that thing that will blow the mind of people; what will make them scream — eeeeeeh; what will make them go gaga. That is what they are looking out for. They don’t want to do something ordinary; neither do I want to do what has been done before. This is not a production that rolls for one year and then fades away. No! Even if it rolls for one month, it will be something that will be talked about for a long time to keep up the inspiration. That is what I am looking out for and I wouldn’t mind if it runs for 10 years. C’mon; who doesn’t want the money? Hahahaha!

What word of advice do you have for people out there, enthusiastic to come and watch this play when it is ready?
Speaking from money-making point of view, this is worth coming to see. Spend your money wisely. It is an opportunity for us to teach you how to come back into the art sector in watching staged plays. Criticize us, we need that! My word for you is; it is a true story, original; a story for today even though it is the story of before. We can always use the energy of before for the future. If you read the script, it is a normal thing. It happened, not in this direction. I won’t tell you more. Get the ticket; not expensive, come watch the play. Hey! I will be on stage. This is Tony!

How will you feel if eventually this play goes on a world tour?
Screams! That is the first word. I am excited! Actually, I have already seen the bigger picture. You know, they say, if you really put your money into something, you don’t look at it from that moment; you look at what becomes of it ten years from now.  That is your driving force, what makes you to do it in the first place. Everybody shouldn’t have same vision or goal but some people can key in there and when you get these set of people in there, the sky is the limit. So, we already have the set of people who are ready to put in all they got.  Why should we have all of these talents and opportunity comes for us to explode, it won’t go on tour? I am ready to go on tour.

Most people also have to change their mindsets about Nigerians. They have to... about the way we do productions. Thank God for someone like Mrs. Austen-Peters. I am not trying to flatter her. She has done a lot. I heard that some people do production in Terra and she doesn’t take a dime. Now she is painting a greater picture spending money on this… She probably might not read all this I am saying. Most people have the money and won’t think about this. I heard that some people brought Fela to this country and we all trooped out to watch and I will organize a show for free begging you to come and you won’t come! The highest you do is to give me a standing ovation. Someone is coming out to do this?  We should applaud every other person supporting this, it is because they key into the vision that they understand what we are doing.

One on One with Olumide Dada, ‘Azeez’ in SARO

Olumide Dada, known as 'Azeez' in the musical play SARO

In SARO, Olumide Dada plays the role of 'Azeez', the leader of four young performers who embarked on a journey in search of their destiny. The boys shake off the shackles of complacency and head for a land that promises limitless opportunities. Inevitable human emotions ensue, including love, fear, jealousy and the inevitable “success”. 

Freedom is what they seek and Lagos has the potential to offer these emerging artists an escape from poverty. A devastating experience lands them in the lap of destiny, success ignites them and love fuels them. Will their purpose be fulfilled? Destiny is always inevitable. 

Olumide Dada talks about his experience as the theatre world and his excitement for SARO.

Tell Us about Your Career in Theatre?

Well my career did not start in theatre; I’m more of a musician than of actor. But I’ve been doing live performances for a while. Sometime I work with others for theatre, other times I feature in operas, musical dance which I have to act, dance or sing. This is exactly how I started my career in theatre and my expirence so far has been worth a while.

Who/What inspired you to join SARO?

Sincerely, it was one of my friends, the Music Director of SARO Production (Ayo Ajayi) who referred me; he is also a music producer

  

What course did u study at the university?

I studied music, though not as my first degree…

What role are you playing in SARO?

I am playing the role of Azeez)…

How far does your role go in SARO?

 I’m playing the role of Azeez… Azeez is the leader of those (four) guys who came to the City Of Lagos for greener pastures.

What should your fans outside be expecting from you In SARO Musical?

Well, people know me to be a singer, and I don’t think they have seen me act or perform. What my fans should be expecting from me is that there is going to be a different me on the stage that day for SARO musical.

How do you feel taking part in SARO Musical?

Basically I have done some production; opera, musical…I feel great to an extent that SARO Musical Production crew are well organized.. The production is in order.

Which other special ability do you wish to discover?

I want to discover my broadcasting skill and I wish to take it up to a greater level, because it’s an opportunity for me to start something professional.

Interview by Tosin Olubanke

“I am Completely Emotionally invested in SARO -The Musical ” - Bolanle Austen-Peters, Creator & Producer, SARO

“My dream is this: to produce the best and the biggest stage production Nigeria has even seen. If it is going to cost $10m, $20m or more, I don’t know but it is not going to be less than $1million. Do I have it? No! Will I find it? Yes! That is the attitude”.--Mrs. Bolanle Austen-Peters, Creator and Producer of SARO

May we meet you; and what is your role in the project, SARO…?
I am Mrs. Bolanle Austen-Peters, founder of Terra Kulture. I am the producer and creative mind behind Saro- the Musical.You are a lawyer, how come this penchant for the arts? I think, most of us while in school didn’t know what we liked and we stumbled into most of the courses we did. If you look back in the 80s and 70s, there were few career counseling institutions; so most of us, if you were not good in Maths, you did law; if you wanted a professional course and if you were good in sciences, you did medicine. It was one of those things. I stumbled on law. With benefit of hindsight, if I grew up in a country culturally developed, I probably would have studied history, music, literature or dance. These are the things that make me happy.How did you conceive of the story of Saro…?
I am not going to over intellectualize this. I woke up one day and wrote the story, which I believe is very relevant to our society, and to our youths. I looked around me, what is the story of an average Nigerian? What is the story of the average settlers of Lagos? Most people here are not indigenous Lagos people. Most of us came here, just like America the land of Freedom; and that was what I decided to explore. If you look around, everybody wants to come to Lagos; there is something about Lagos. When they come into Lagos all of a sudden, they become Lagosians. And I wanted a story that reflected music and dance. It is that simple. So in showcasing our music and dance, I needed to weave a story around it.The most natural thing that came to my mind was to come up with a story of people that make up Lagos. In trying to do that, I said to myself, who best can represent a true Lagosian? There are different types of people that represent Lagos. You have the Saros, the Aworis, the indigenous Moslems, the Afro Brazilians etc. You know, the Saros spoke to me simply because they are free slaves from Sierra Leone. More importantly, my mother-in-law is also of that stock.So, it is just an easy way of representing who Lagosians are and also talking about the  free spirit that these people  brought with them. And being a music lover, I see music as a form of freedom. I express myself through music; I love to dance and I love to listen to music. In the writing of the story, I had to create emotions; that is why you have the love story, the success, the failure and just all that depict the everyday scene you find in Lagos, hence the beach, the police the motor parks… all those things that make Lagos what it is are all the facets we are going to feature in this play.

You plan to export the play to the international scene, what are the  ingredients that will make it of international potential?Looking at Nigeria generally, most of our educated people can thrive or succeed anywhere in the world. In Hollywood for instance, there are so many Nigerians under various pseudo names but acting or directing or doing all sort of things. Some of the cast members that we have are people who have worked abroad. We have one or two persons who have been in Broadway Shows. We did a very elaborate selection process.  It took us about a month or more to do all the auditions, to sift through the hundreds that turned up for the auditions. Ninety percent of the cast members are trained dancers, singers and musical artistes. They actually studied their vocations in school -- some of them in America, some in England and some in Nigeria. We are not dealing with rookies. They are not there by accident because we wanted to be sure we get the best and to get a theatrical package that we could roll around the world.

I am not looking at Lagos as the audience only that is why I am so particular about the interpretation of what I have written. It is very clear to me what I want to achieve.  It is very clear to me the quality of people I need to take to where I want to be. If you go through the CVs of the cast members, you will be so amazed at the quality of people that we have.

What does it take to achieve such an ambitious package?I do not know where I got the strength from. You know my belief? If you want to be great, you have to do great things. You cannot afford to be timid.  Running Terra Kulture has also taught me that, if you want to establish a business, you must have a certain level of strength of character. In an industry where it is not easy to come across money and in a situation like ours in Nigeria where you don’t get government funding, we have to internally generate our own funds to be where we are, nine years after; it is not a fluke.  This has built a sense of strength in me coupled with my belief in God. I am not somebody who shies away from big dreams. My dream is this: to produce the best and the biggest stage production Nigeria has even seen. If it is going to cost $10m, $20m or more, I don’t know but it is not going to be less than $1million. Do I have it? No! Will I find it? Yes! That is the attitude.
What are the other challenges besides finance?As I told you, you are as good as your team. In any company like Terra Kulture, I am as good as the members of staff that work with me. If they are useless and hopeless, we are not going far as an institution. Team building is extremely important and the quality of your staff. That was why I told you that the selection process was elaborate. Am I going to spoonfeed an actor on how to play his role now or the music director on how to arrange his music? No way. We went for the best. The music director, Ayo Ajayi, is the best.  The executive director, Makinde, is the best. The other directors -- Kenneth and Gbenga, I have worked with them, I have studied them over the years at our long riunning project Theatre at Terra, and they are phenomenal at what they do. Kenneth is good at stage and Gbenga is good at dance. Like I told you, the cast members are fine. We have partners that have come onboard since we started.
 Z-mirage Multimedia Company there is no other technical company in Nigeria that rivals them. The CEO, Alhaji Teju Kareem has agreed to be our partner because he shares the vision. This is something he has always wanted to do as well. Then we have a formidable media team directed by Jahman Anikulapo, which also is a pretty comprehensive body. Really, at the end of the day, if you have very intelligent, sophisticated people in terms of their vision, the sky is your limit. So, the only hitch that we might have is funding. We can be sure of that.

Musical theatre is rare on the Nigerian stage; what kind of music are we looking at; and how would this be realized on stage?
We have a musical director, we have somebody who is going to do the sound engineering and the sound direction, all of that is there in the technical bits. As a music lover, I have an ear for music. I selected 90 percent of the music that we are using. What I have done is: I have looked at our music over the years. Our music ranges from –Highlife, Hip-Pop, Afro-pop, Jazz and fusion of all kinds of music. Yes!  That is what I have done. I have tried to create different scenes that have the different forms of music. We try to celebrate the old plus the new. So, you will see music from Victor Olaiya, music from P-square, you will see music from Lagbaja, music from Sir. Victor Uwaifo. You are going to see even Ghanaian and Zairean music. You would remember a time they were dominating us in the likes of Awilo. There will be a performance in Saro that will fuse all these different kinds of music; showing us how our music has evolved over the last 20/30 years, but will be done through storytelling and dance!

What message do you have for your audience out there?
Fun! Come there, be blown away. I want to appeal to their sense of aesthetics. I want to appeal to their sights through the sounds. I want them to feel they are in an international performance. They could be in Paris, New York or anywhere in the world when they step into the theatre because we are going to alter everything. We are changing the stage to a revolving one. Don’t forget we are doing what has never been done in Nigeria that is why I told you that it is not for the faint-hearted. But we intend to do it right. People should just come and have fun.

However, is the gate going to be thrown open to public viewing?
Of course, No! if we did that, we won’t be able to do future productions. Going forward, we intend to do a lot more. Maybe every year or so. People have to learn to pay. To have anything good done, you have to pay. If people pay $50 or a $100 to see shows abroad, they should be able to pay for this. People paid to see Fela-on-Broadway and we are going to be better than that. So, what are we talking about? They should dig deep and get ready to savor a great musical.

Musical theatre is rare on the Nigerian stage; what kind of music are we looking at; and how would this be realized on stage?We have a musical director, we have somebody who is going to do the sound engineering and the sound direction, all of that is there in the technical bits. As a music lover, I have an ear for music. I selected 90 percent of the music that we are using. What I have done is: I have looked at our music over the years. Our music ranges from –Highlife, Hip-Pop, Afro-pop, Jazz and fusion of all kinds of music. Yes!  That is what I have done. I have tried to create different scenes that have the different forms of music. We try to celebrate the old plus the new. So, you will see music from Victor Olaiya, music from P-square, you will see music from Lagbaja, music from Sir. Victor Uwaifo. You are going to see even Ghanaian and Zairean music. You would remember a time they were dominating us in the likes of Awilo. There will be a performance in Saro that will fuse all these different kinds of music; showing us how our music has evolved over the last 20/30 years, but will be done through storytelling and dance!

What message do you have for your audience out there?Fun! Come there, be blown away. I want to appeal to their sense of aesthetics. I want to appeal to their sights through the sounds. I want them to feel they are in an international performance. They could be in Paris, New York or anywhere in the world when they step into the theatre because we are going to alter everything. We are changing the stage to a revolving one. Don’t forget we are doing what has never been done in Nigeria that is why I told you that it is not for the faint-hearted. But we intend to do it right. People should just come and have fun.

However, is the gate going to be thrown open to public viewing?Of course, No! if we did that, we won’t be able to do future productions. Going forward, we intend to do a lot more. Maybe every year or so. People have to learn to pay. To have anything good done, you have to pay. If people pay $50 or a $100 to see shows abroad, they should be able to pay for this. People paid to see Fela-on-Broadway and we are going to be better than that. So, what are we talking about? They should dig deep and get ready to savor a great musical.

‘SARO… is a liberating experience for me… for the people of Africa’ - Makinde Adeniran, Executive Director, SARO

‘SARO… is a liberating experience for me… for the people of Africa’ - Makinde Adeniran, Executive Director, SARO

"For the theatre practitioners, it is about learning, like I said, we learn new things. So it is about learning, all of us learning a new way to do certain things.  Because, that is the vision of the project; if possible stop our money bags from going abroad to bring entertainment into the country. There are people who can do it here.  All we have not been able to do is to act.  We keep talking and talking and not doing but the opportunity has been provided now by Terra-Kulture to do."--Makinde Adeniran, Executive artistic director for SARO

May we meet you sir?
My Name is Makinde Adeniran.

You are the Artistic Director, who wrote the play?
I am the Executive Artistic Director. I have other directors working with me -- Kenneth Uphopho, Gbenga Yusuf (dance), Ayo Ajayi (music). I have some consultants too. I have personnel who are young, vibrant and they are pushing the force to make this a reality. We have our Executive Producer, Bolanle Austen-Peters, who equally is the MD of Terra Kulture. She created the piece, the story.

In recent years, you seemed to have taken a break from the Theatre to work in the Media Industry…

Yeah, Media industry… that was a stint. True, in the media industry, we tried to do our best as you know; you know how that story ends. That was the bit I could do in the media. My forte has always been the theatre and that is what I am trained for and I have spent going to 25 years of my life doing. So, the terrain for me is the one that is inseparable from my personality; so it is like my comfort zone.

What have been the major events in your Theatre career this past 25 years?
In the theatre? A lot! A lot!! Both locally and internationally, I have done a lot that one can’t simply recount here. You can carry out the research. A lot… Internationally, I have worked round the world with internationally reputable directors. Even by myself, I have done quite some works locally and internationally. One keeps working. You know, 25years is not a joke. And working seriously!

One thing that I have always dreamed of becoming right from the time… even before I went to school is to become great in whatever I do. That has been my passion. Money is not the first passion for me; it is to become first amongst equals.  And that has been the driving force. Any opportunity that comes my way, I channel it in such thinking which has helped me seriously even in other areas of life. Been a broadcaster, this was instrumental even when I came there, I found the theatre there. The short time I spent in the media, I climbed the ladder as if I had been there for ever. It has been my life.  It has been my driving force.

Can you tell us about your most remarkable moment so far in the theatre, internationally?
Most remarkable moment? Hmmm! Which one na? Internationally I would say when I first came into the international scene as an actor in the premiere of Beatification of Area Boys,  written and directed by Prof. Wole Soyinka. I was in the premiere cast as Boyco. It was remarkable because it was my first time in that range as an international actor. I had been out before then performing as far back as 1992 (with Ben Tomoloju’s MujeMuje) going out of the country to perform. This (Beatification…) marked a significant change.

Was this like a career launch?    
Well, not necessarily a career launch. It was something that has to do with my vision personally. I want to fight for people. I want to be able to liberate people and if you recall, when that play happened it was during the time of Sani Abacha when Soyinka went into exile. The play was a campaign against the Nigerian government. It became a campaign channeled towards freeing the people from the grip of military dictatorship. So for me, it was that unique moment.  A moment I needed to prove that I could fight for my people; so, I threw everything I had into it including my freedom because, when we were on that tour, we couldn’t return to Nigeria.  The government was hunting for us. But for the passion and my fighting spirit to liberate people, my freedom didn’t matter to me as much as the play was able to free Nigerians from the grip of the dictators. It was a spectacular moment for me. A time in my life I will never forget. Even though the entire citizenries of Nigeria wouldn’t see that moment; I knew deep in my heart and with the atmosphere, that I did something. People could refer to it as drama but I refer to it as a fight of freedom for my people.

And now you are engaged in a major theatrical project; could you throw light on the project?  
We are working on Saro – the musical. It is a musical production with Terra Kulture. It has been another challenge in my career. When you are into this field, everyday you come in contact with new work is a new challenge except of course, you are not willing to move forward. It is a new opportunity for you to grow and learn because you come into contact with all kinds of people. Even if you are the director, there is a lot a director who is sensible, who is creative learns from the actor, from the people you work with; but you need to open your eyes very well and your spirit wide to be able to connect. It isn’t about me knowing it all; it is about us working as a team. And I enjoy that. That for me has been the focal point: that there is always something to take home.  

So when this kind of opportunity –Saro, being a large cast… and musical in this part of the world is not common. Even though we have a lot of people mouthing ‘I am doing musical’ but the nitty-gritty of knitting up a musical is a different ballgame in terms of finance and artistic, in terms of psyche, everything, it is a different ball game. So, if you found yourself within this leverage of opportunity, you just get to be happy and be honoured to do this.

In what way do you think this new play would impact the general public; or specifically, theatre practitioners and the theatre scene?
For the theatre practitioners, it is about learning, like I said, we learn new things. So it is about learning, all of us learning a new way to do certain things.  Because, that is the vision of the project; if possible stop our money bags from going abroad to bring entertainment into the country. There are people who can do it here.  All we have not been able to do is to act.  We keep talking and talking and not doing but the opportunity has been provided now by Terra-Kulture to do.  Until you are able to do, you don’t have a mouth to say anything to the government. Now we are able to do. We have done enough of talking, the opportunity has been provided to do.  And that is what this project is affording the theater practitioners and the country as a whole to do. And if the government cares to see, they will see the value.

The government has said they aree looking for how to change the Nigerian economy from oil-based economy; entertainment is one sure way. But they need to look deep and set the structures right.

What is happening to the entertainment industry in the country is: individuals are getting richer because the structure isn’t set by the government because they really don’t know the wherewithal and the so called experts who could show the way are busy getting into politics and enriching themselves. Until we get to that point where we say… ‘look, enough of talking!’ You see, Terra Kulture is doing something by exhibiting this and if we have run this place for nine years, we believe that the entertainment industry needs propelling for diversification of the economy. It is one potential, you can’t take it out, one potential because it carries people. Entertainment thrives only on people’s culture.

We have got the people. 160 million people; you know what that means? Entertainment can cut down unemployment if there is the proper structure because creativity is about everyday regeneration. There is a lot. And to the general public, it reduces the tension in the country; it can tame hostility.  People are afraid of everything from Boko Haram, general insecurity to even government itself. We need to see the other side of life. Psychologically, we don’t have the other side of life. We only know one side of life which is -- fear!  Nobody succeeds under fear. I have never seen the person. Even in the Bible; fear is the first thing God is warning you about.

We got a lot of issues that we need to see as a country whether as a people in government or as ordinary citizens. We have coloured ourselves so much that we are losing our good culture. Everyday a culture emerges -- regenerate. We need to be able to document it through drama, musicals, music and even in our dances. This is one of the ways. When we let all of this fly by saying –they have done it, no proper way of documenting it, no proper way of keeping it, who is losing?  We are losing because those things, when you document… what are the reasons for documenting? For history and for economy. It is only the information you have that you can tap into in the future to do something.  For purpose of history or to sell. Lots!  If we keep talking about this part, it keeps going. We can talk for days because; your experience determines what you know. I think my experience of 25years in this terrain locally and internationally, I have got a lot. Yeah, we are doing a lot of mistakes here.

What makes Saro- the musical of international standard?.
When they brought Fela-on-Broadway here, with foreign cast; it was disheartening!  Is it that we didn’t know we could do that?  No! We are negligent! We knew we could even do better but we are negligent. Same way we are negligent about several other things. Until the western world will come and show us, we neglect that which is us!  We really need to wake up. That is why this project cannot but get to that level of exportation.  If you are doing anything now that can’t be exported; any entertainment package that is not fit to be exported, that means, the person has not started because Nigeria is getting big everyday. Even in entertainment, you can see, the artistes are getting big every day. Unfortunately, it is the finance and security that constitute major challenges. Because where there is no policy that secures your creativity, what do you have? You are afraid.  You would rather take it out to a place where there is security for it than staying here. Corporate sponsorship is one thing that is lacking and it is because of lack of proper policy. Security is lacking for entertainment packaging. So, those who are not investing into it, what they are running away from unconsciously is the security of it.

Nigerians are vast! But they don’t know how valuable they are. That is the problem. I don’t know. God has created us differently and I say that very boldly. I say it with confidence. But we don’t value ourselves. So, there is a problem. How can somebody be so golden and doesn’t know he is golden? We have a lot of good cast members both experienced and inexperienced but potentially alright. From beginning to the end, the cast is all Nigerians!

You mentioned Fela-On-Broadway; a musical where the promoters had to import artists to play the role of Fela. And, this Saro the musical, is it indigenous like the name-Fela. What is the history behind such a name?
Saro, is Nigerian. If you know the story of freed slaves that returned to Nigeria, the Sierra Leoneans, who returned during those days to Africa; any port that was black they entered. The same determination they carried  to everywhere they went is the same determination we have in the four guys who are the protagonists  in Saro…  they came from the hinterland into the city, in pursuit of their dreams. They were resolved that: ‘look, we will make it; with this gift that we have, no matter what, we will make it.  And they came into the city.

We are simply saying, the youth, it is not about signing off – ‘I want to be rich’… signing off your life over a meal of porridge. Your determination and your gift will make you to excel. In other words, what we are saying is, the rebuilding of the Nigerian or African space is not actually on the land mass; it falls on the head of the people, especially the youths. The reconstruction of any nation falls on the human capacity and then, their determination propels it into manifestation. So, it is that determination the Saros who first came into the port of Lagos,  the same determination helped them to own a part of Lagos up till date. There is no way you want to talk about the history of cosmopolitan Lagos city that you wouldn’t talk about the Saros or the Brazilians, Portuguese and the original owners -- the Aworis.  There is no way you won’t mention the Saros! So, it is that same determination they brought -- that we are going back home, even though we can’t go back home anymore, because we don’t know the place, but we know that people here  in this port are blacks. They came in and made name for themselves. Their names still ring bell up till date. That is the determination we are working on; the connecting theme in the play. The four guys in the play -- Laitan, Obaro, Efeh and Azeez -- who left their villages , came into the city to make names for themselves. With that determination, they confronted all kinds of ups and downs. They were arrested, put in the cell, but their determination pushed them to the height of it. That is the connection, the beautiful thing. We are only projecting into the future that Nigeria got a future that the youths have to open their eyes to see it.

How is it handling such an ambitious project?
For me, it is all about liberating people. My personality resonates all through in the play. For me, if this is the kind of play that will channel the minds of the youth towards future and freeing themselves from economic slavery, from all kinds of slavery, you will see that, it is still my fight. My fight is still on course. That is what the play hopes to do; that is what I hope to do. From here, I hope to go further about myself. I know the musical is not going to be one of those rehearsed for two months and then, performed for six days.  No. We want to do this the proper way. What it should be. It can run as long as the opportunity lasts. That is what we are looking at for this.

Tomi Odunsi -SARO Musical

Tomi Odunsi popularly known as “Salewa” in one of Africa’s biggest TV series “Tinsel”
gets out of her zone to pursue a music career also in acting and song writing.

Tomi odunsi has loved performing ever since she was little. She started her acting career in 2002.


She decided to pursue her passion and graduated with a degree in  Linguistics and African languages from University of lagos, 2004. Tomi was motivated by the love she had for art.

Tomi OdunsI

She is currently a recording/performing Artist on Cgt Record and also an actor on Mnet leading series Tinsel.

Additional talents include: singing, dancing and been able to deal with the business of her Talent.