National Arts Theatre: Salvaging A National Monument

 National Arts Theatre: Salvaging A National Monument

Lagos, dateline 2005 About a year ago, the National Theatre was one big leaky edifice. None of the culture parastatal located within the complex was saved the rain’s furious bashing year after year, until now. More ironic was the fact that the office occupied by Bitrus Piyo, as general manager of the National Theatre in 2005, was affected by the porous roof and rugs in the office had to be yanked off the floor to preserve them from rainwater.

Years of rainwater flooding the cultural edifice is not without its effect. It had gradually ravaged the main bowl (where seats turned wobbly and the ambience dank and dark), as well as the cinema halls, where the air conditioners have also failed due to lack of maintenance.

Interestingly, the decay of the National Theatre complex reflects on the landscape. The lawns, which used to have well-manicured beds of flowers and shrubs, were overgrown with weeds and the links roads also boast of craters.

The lapse into decadence of the complex which once hosted several countries during the second World Black Festival of Arts and Culture, FESTAC, has been attributed in part to inadequate funding by successive government since the 1980s, and dereliction of duties by its managers, also appointed by government.

Reverse however seems to be the case in the last few months. Rehabilitation of the National Theatre which is expected to gulp about N2.4billion has more than crawled forward, with the total re-roofing of the edifice: a reprieve from the rain’s fury for the culture parastatals domiciled at the National Theatre.

The 25 year old sprawling cultural edifice, which covers 23,000 square metres and stands over 32 metres tall, has not had it so good, even though, the much older Bulgarian National Theatre, after which the Nigerian edifice was fashioned remains a source of pride to Bulgaria. It certainly fares better.     

Presently, the President Olusegun Obasanjo led government, which had hitherto drawn the ire of culture workers over plans to sell the National Theatre, has however committed over N1billion to the renovation of the once glorious edifice (it should be recalled that the same Obasanjo built the National Theatre in 1977, as military Head of State).

While government driven renovation continues on the structure regarded as a national monument by culture workers, the appointment of Ahmed Yerima (the performing artistic director of the National Troupe), as chief executive officer of the National Theatre, was announced.

Yerima, as the new helmsman of the National Theatre is burdened with bringing back to life a comatose parastatal and monument in ruins.

New management, new vision

More than his predecessors, Yerima has more onerous responsibilities, since he combines his headship of the National Troupe with the job of breathing life into the National Theatre. He took over from Bitrus Piyo, Deputy General Manager of the National Theatre who had been on acting capacity at the Theatre since Professor Femi Osofisan left in August of 2004.

Yerima’s appointment by Franklin Ogbuewu, Nigeria’s former Minister of Culture & Tourism, has been considered one of the best decisions that Ogbuewu has taken, in the interest of the culture sector before leaving office last week: since the same bookish Yerima, it is, that made the National Troupe of Nigeria what it is today (a vibrant organization).

 

An optimistic Yerima, who is reputed to possess strong managerial skill, has unveiled the programme of action, through which he hopes to put the facilities of the theatre into proper use, while total rehabilitation work is going on. Specifically he hopes to convince the Culture Minister to provide funds so that the complex would be re-equipped so that security, lighting, cooling and power supply will no longer be a problem.

Defending the vision

In order to sell his vision on how to turn around the moribund theatre complex inherited from his predecessor, Ahmed Yerima met face to face with members of the art/culture community at the special Arthouse Forum organized by Friends of the Arts, Lagos, FOAL, where he presented and defended his programme of actions.

It was a no holds bared session, where the seven programme of actions contained in Yerima's statement of intent were taken up against him. He had pledged to ensure that the National Theatre serves as: a platform for the presentation of quality artistic productions for the National Troupe of Nigeria, as well as other private production and cultural outfits; a revenue generating organization; an internationally recognizable cultural symbol for the promotion of Nigerian arts and cultural heritage; an outstanding edifice and bedrock of international tourism interest in Nigeria; a base for the discovery and showcasing of talents of the children and the youths of Nigeria; a forum for the creative display of music, dance, drama and motion picture and as a structure for the practical demonstration and fulfillment of bilateral cultural relations between Nigeria and other countries.

Yerima disclosed at the forum that he drew up these functions to guide his management because since the National Theatre became a parastatal in 1991, it has had no (well defined) functions. He however expressed confidence that they are attainable, in as much as there is a change of attitude on the part of all stakeholders in the culture sector.

He stated that the theatre has lots of avenues to make money: "We are going to use commercial functions to drive funds for the theatre because for now budget has been passed and there is no way we can get funds from government till next year."

To him, government cannot fund the total rehabilitation of the edifice alone, and that any collaboration arrangement would be subjected to government approval because management does not have the powers to do so.

Raising the stakes

Even though Yerima stated his commitment to revenue generation and making the National Theatre self sustaining, he said his management will also remain committed to the promotion of arts and culture in the country, implying that both artistic and commercial considerations will be taken into cognizance.   

It is in view of meeting this that the fee of any of the two cinema halls for artistic performances are now pegged at N150, 000 each. The theatre boss said his management has given the cinema halls a facelift by providing air conditioners to justify the new rate. He also said wedding receptions have been banned in both halls.

And that for now, while Cinema Hall 1 will be for strictly stage performances. Hall 2 is for screening of films with their two new projectors. Yerima also said that tickets for all events in the halls would be sold from only one entrance.

To ensure high artistic productions, the new management of the edifice will see that such productions are previewed before they are put on stage, he said.

Also, a quarterly programme of events expected to run in the theatre would be produced in advance to guide both tourists and clients to the edifice.

Article first published in 2005.