THE ARTS THEATRE, UNIVERSITY OF IBADAN, 1955-1985: 
A STUDY OF THE ORIGIN AND DEVELOPMENT OF A 
THEATRE CENTRE IN AN AFRICAN UNIVERSITY
BY:
REMI ADEMOLA ADEDOKUN
— B.A. Theatre Management (P.P.C. Pittsburgh), 
M.A. Theatre Arts (Ibadan),
F.I.M.S. (Fellow, Institute of 
Management Specialists), England,
Dip. Drama (Ibadan).
* n:.
A Thesis in the Department of 
THEATRE ARTS
Submitted to the Faculty of Arts, 
College of Arts,
Social Sciences and Law,
In partial fulfilment of the 
requirements for the Degree of
DOCTOR OF PHILOSOPHY 
OF THE
UNIVERSITY OF IBADAN.
November, 1992.
UNIVERSITY OF IBADAN LIBRARY 
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ABSTRACT
The aim of this research is to highlight the historical 
significance of the contributions of the Arts Theatre, 
University of Ibadan, to theatre development in Nigeria.
A remarkable landmark in theatrical development was 
reached in 1955 by the commissioning of the Arts Theatre - the 
first well-equipped modern theatre in Nigeria. It is 
significant because, hitherto, the professional theatre had 
been sftedred at in Nigeria and had only flourished as a 
peripatetic vocation tenously sustained by the enthusiasm of 
Hubert Ogunde Dance Theatre Company and the nascent Yoruba 
travelling troupes. But today, theatre has become a household 
phenomenon, about which the Arts Theatre has disseminated 
positive information in the last three decades.
The educational pLrogrammes incepted at the Arts Theatre 
in 1963 have matured into full university degree programme.
The success of this initiative has further inspired the estat/e
lishment of similar programmes in many other Nigerian 
Universities. Today, students take degrees in Theatre Arts 
and fill high level manpower positions in government and 
private enterprises after graduation. The Arts Theatre has
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ii.
also bred frontline playwrights, distinguished scholars and 
accomplished theatre practitioners. The Arts Theatre also 
remains the main source of inspiration for new theatre struc­
tures and resident university theatre troupes.
This thesis examines fully the implications of the 
fact that the Arts Theatre was the first architectural 
archetype designed for the serious promotion of theatrical 
activities and which has made the theatre a respectable 
profession in Nigeria, We conclude that, though beset by old 
age, the Arts Theatre is capable of further active contribu­
tions if properly refurbished, maintained and efficiently 
administered.
We set out by introducing our aims, our research methodo­
logy and definition of terms. Here also we identify our 
problem and define our scope of study.
Chapter I contains a review of relevant literary works* on 
reputable Arts Theatres in the world, the origin of theatre as 
academic subject and the structural attributes of the Arts Theat­
re,
Chapter 2 traces the purpose of the university, origin and 
development of the Arts Theatre, theatre forms, the early 
dramatic activities of Randall Hogarth and various other 
contributions made by Geoffrey Axworthy, Wole Soyinka and Joel 
Adedeji,
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Chapter 3 focusses attention on systematic theatre 
education at Ibadan highlighting its workshop origin, evolution 
of academic programmes and associated amateur student and 
staff production; children's theatre, yoruba Travelling 
theatre and film.
Chapter 4 deals with the promotion of theatre profession 
in Nigeria focussing on the implications of the University 
Acting Companies and promotion of African writings, 
International Productions and Foreign Visiting Artists and 
workshop.
Chapter 5 contains a retrospective review of fields 
covered in the work and results achieved. It is also the 
concluding chapter.
The Appendices and the plates have been carefully selected 
principally to provide objective insight into the various Arts 
Theatre activities. Interview with Professor Fola Aboaba 
for instance touches on a wide range of the Arts Theatre
events# ■ - . ..; „ fs ■.
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ACK NOWL E DG EM E NTS
In the realization of this goal, my indebtedness goes 
to a lot of sources, people and institutions. Foremost is 
the Almighty GOD, who rescued me from a devastating motor 
accident in 1987 to enable me complete the uncompleted 
assignments. For this unmerited grace and infinite mercy 
I confess and ,praise Him.
The Osogbo City Theatre Centre, my fourteen - year
experiment in Community Theatre practice (1974 - 1988),
which stimulated my interest in playhouses and resident
troupes has been a_r/ e.w ardinegxperience for which I am grateful.
Being student House Manager and subscription Secretary of the 
Pittsburgh Playhouse (under the direction of Point park 
Colege), provided insights into the mystique of theatre 
buildings.
The privilege of a three-month British Council Fellowship 
Award in Arts Administration which enabled me to observe *  
Geoffrey Axworthy at work at Sherman Theatre, University 
College, Cardiff, Wales and also study Repertory Theatre 
System in Great Britain in 1986 was so providential in my 
research, that I feel very grateful.
My former supervisor Professor Joel Adedeji deserves 
great honour for being helpful in the choice of title for 
this thesis; and especially for being the inspiration behind
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a lot of the indelible achievements of the Arts Theatre.
I wish to mention here that this project whs transferred 
to Professor Femi Qsofisan in 1986 when Professor Adedeji 
was going on Sabbatical and was almost certain of his 
subsequent voluntary retirement.
I express profound appreciation to Professor Femi 
Qsofisan, my indefatigable supervisor and Head, Department 
of Theatre /\rts, whose critical observations and painstaking 
guidance have pruned and directed this work to its focus 
and modesty. His learned direction ha-e made certain books, 
information and materials accessible to me® for all these,
X am grateful.
Professor Michael Hudson of physic Department, Ibadan, 
was a rich source of information who suppliec me over one 
hundred pictures of the past Arts Theatre productions. 
Professor Fola ^boaba's house was my second home for he /
identified most of the people in pictures for me and made 
himself available for interview. 1 am very grateful. Members 
of the Department of Theatre Arts have been very helpful to me 
for which X express profound appreciation.
For finance, X depended helplessly on government sources, 
friends and private savings. I am especially grateful to 
both the Federal government and the Cyo dtate government for
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scholarship awaros. buch invaluable frienu as Mr. t\ivi 
Aremu, Manager, United oank for Africa, Molete, Ibadan, 
encouraged me ceaselessly to complete my Ph.iy and also 
assisted me financially, tor his love and unflinching 
support I am grateful.
Finally, my appreciation goes to my wife victoria 
dubusola Kikelomo Adecokun and my children - r'olasade, 
omolara, iemidayo, Adeolu and /\detokunbo, whose support is 
inestimable in the realization of this ambition, vihen the 
tempests raged and the vicissitudes of life ravaged, they 
remained the impregnable anchor of my soul.
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CERTIFICATION
I certify that this work was carried out by 
far. Remi Ademola adedokun in the Department of Theatre 
Arts, University of Ibadan.
i
*
Date Professor Femi osofisan
(supervisor)
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viii
DuuIC/VflUh
To the glory of God, the omnipotent MYsTuKY; to 
the committed staff of the State nospital, osogbo; to 
the Gsoqbo City Theatre Centre; to a devoted wife, 
loving children and loyal friends who nursed me back 
to health and made this dream a reality.
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TABLE OF CONTENTS PAGE
Abstract ....... i
Acknowledgements iv.
Certification vii.
Dedication .... viii.
Table of Contents ix.
Plates «. • «• •«< xii.
Appendices. XV.
0. INTRODUCTION
0.1 The Arts Theatre, University of Ibadan,
Statement of the Problem ... ... .. 1
0.2 Purpose and Scope of Study.. ... .. 4
0.3 Methodology........  ........  .. 4
0.4 Definition of Terms . ... ....... 5
CHAPTER 1
1 . 0 A REVIEW OF RELEVANT LITERATURE 8
1.1 Reputable foreign Arts Theatres in the world 4
and the Ibadan Arts Theatre............ . 8'
1.2 Theatre-in-Education ... » * * • * • 22
1.3 The Subject matter .... • » • » • • • • • • 31
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Table of Contents Contdo Page
CHAPTER 2
2»0 THE UNIVdKSITY, BlKTH a Nd DUVti.OPMc.NT Op THU
ARTS THEAlRE ... ... ... ... ..... 40
2.1 Purpose of the University ... ... ....  40
2.2 Theatre Forms ... .....  ... ....  47
2o 3 Choice of Proscenium atage for the Arts Theatre. 5Q
2o 4 Early Dramatic Activities and Randall Hogarth.0. 60
2.5 Arts Theatre structure and the idea of an Open
Air .Theatre ... ... ... ... ........ 64
2 .6 The Arts Theatre Development ana the Management 
Committee ... ... ... ... ... .... 66
2o6.1 The Arts Theatre ana the school of Drama. 71
2.6o2 The Role of Geoffrey Axworthy..........  75
2.6.3 The arts Theatre and the Departments of
Theatre Arts ... ... ... ... ... 1̂
206.4 wole soyinka and the struggle for the
Arts Theatre ... ... ... ... .... 94
2.6.5 Joel Adedeji and his expansion Programmes. 99 /#
CHAPTDK 3
3.0 THEATRE EDUCATION; THU PHILOSOPHICAL PERSPECTIVE. 113
3.1 The Philosophical latitude....... . ... ... 113
3.2 The Development of Production styles ....  ... 121
3.3 Types of Productions over the xears: 1955 - 1985. 125
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Table oc Contents Contd. Page
3o 4 Academic Integration of the yoruba 
Professional Travelling Theatre ... ... 130
30 5 Amateur Tehatre Troupes; 135
3.5.1 The Arts Theatre ^roauction Group
(aTPG) ... ... ... ... .. 135
3.5.2 University College Ibadan Dramatic
Society ... ... ... ..... 145
3.5.3 Miscellaneous Troupes ... .... 154
3.5.4 student Productions .... .... 164
3.5o5 Film shows and film study. .... 174
CHAPTER 4
4.0 IBADAN THEATRES MOVEMENTS: CONCEPTS aND 187
PARADIGMS IN PROFESSIONALISM.
4.1 The University Travelling Theatre (UTT) ... 188 
4.2 The school of Drama Acting Company ... ... 197 
40 3 University Theatre Arts Company (UT/\C) ... 201 
40 4 Unibadan M^sgues ... ... ... ... .. 204 
4.5 Unibadan Performing Company (UPC) ....... 21 O' 
40 6 International Productions ......... . ... 215
4.7 Foreign Visiting artists/Proouction 
workshops ... ... ... ... ..... 219
CHAPTER 5
5.0 CONCLUSION ........ 226
5o 1 Field covered .... 226
BIBLIOGRAPHY 234
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Xll.
Table o f  Contents Contd. nage
PL ATBS
PLATE 1: The Arts Theatre, University o f  Ibadan. . . .  xv i
PLATE 2 A Scene from Wole Soyinka's The Lion and 
the Jewel. Obed Ada as Bale Paroka in the 
scene £1958/59") Courtesy o f  Prof .  G. Ax worthy,
C a rd i f f ,  Wales, 1986. . . .  44
PLATE 3 Kola Ogunmola as the "Drinkard " in his eternal
search f o r  palm wine. A scene from the Palm
Wine Drinkard Pix Courtesy G. Ax worthy, 19&6 . . .  89
PLATE 4 A scene from Aristophanes, Lysistrata ,  ATPG 
Production (1961).  Pola Aboaba standing at 
the extreme end o f  the stage on the l e f t .  Note 
the subtle a e s th e t i c s  o f  the production, in 
symetry, set s o l i d i t y ,  the columns and costumes 
that reveal i t s  Roman se tt in g .  The fa n c i fu l  
costumes o f  the women also  provides insight into 
the lewdness o f  Lys is trata  Pix courtesy o f  
Pro fessor  Mich iel Hudson, Dept, o f  Physics,
University  o f  Ibadan). . . .  138
71 ,:i 5: Scene from Amahl and the Night V is i to rs  
j o in t ly  produced by the Ibadan Operatic Society 
and the Music C irc le .  The actors in costumes 
could not be id e n t i f ie d  by members o f  the 
cast who are around due to lapses in memory.
But in th is  p a r t icu la r ly  Africanized production, 
records reveal that Christopher Oyesiku and Late 
Femi Johnson played the ro le s  o f  turbanned Chiefs.
(Pix Courtesy M. Hudson). 143
Scene from Outward Bound. UCIDS production 
1956/57 with Pol a Aboaba, Tony Adegbola, Raph 
Opara and Vincent Akobo in the scene. (Pix 
Courtesy Prof .  Fola Aboaba o f  the Dept, o f  Agric. 
Economics, University o f  Ibadan). 144
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Table of Contents Contd. Page.
PLATE 7: Dress Rehearsal for La Belle Helen# 1.0.l .
1964 Production in which the wigerian 
members include (standing from left to 
right), Lanre Ggunlana (as Ajax I, king 
of salamis), t'emi Johnson (as Jupiter), 
Elizabeth Ighrakpata (as bacchis, 
servant of nelene), and tola Aboaba (as 
ajax II, King of tocris). Michael Hudson 
in s tripped toqa played Menelaus, king of 
sparta and Jenetta Mayer (standing on the 
right of Hudson with overall over grown) 
played Helene. Others could not be 
identified due to space. (rix courtesy 
M. Hudson) . « « * . «« ••• ... ... 157
PLATE 8 The Orchestra group in La belle Helene cond­
by Lucy Parker (in white flowing gown) ucted
with two Nigerians Mary Adebonojo (next 
to the left of Lucy Parker), playing 
Violin and oolomon Pitan (first from 
right in the front row), playing 
violincello. Others could not be 
identified aue to space. (Pix courtesy 
M. Hudson).....  ... ... .... IS,8
r w\TE 9; a Scene from The Koyal Hunt of the sun. 
aTPG. rroouction, 1967. Harold Preston 
(University bursar) in the centre of the 
two opposing forces. There is no 
programme notes to identify the rest 
characters and our source could not 
confirm the character H. t-reston was 
playing, our interest in this picture is 
cne high sense of creative imagination 
cisple/ec in set design and stage decor. 159
(Pix courtesy ri. Hudson).
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Table of Contents Contd. Facje.
PLATE 10: Cast of 1964 ahakespeare Festival by the 
University Travelling Theatre. Cast on 
the mobile stage of the Theatre-on- 
wheels after performance in front of 
Trenchard Hall, University of ibadan. 
standing are k-aul worika, business 
Manager, 5th from right in flowing 
white qown; jonny Oti, in grey coat,
8th from left; wole Amele, 6th from 
left and *ibert £gbe, 2nd from left 
(in black suit) among others (Fix 
courtesy h. Hudson). 191
PLATE 11: icene from Shakespeare's Comedy of
errors by UTT, 1964. 192
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Table of Contents. Contd. Paqee
APPENDICES
Appendix Is Dimensions ana Facilities of the Arts 
Theatre, Programmes and suggestions 
by Geoffrey Axworthy................. 244
Appendix 2 : Arts Theatre Productions
•• ••• ••• ••• •• 250
Appendix 3; Interview with Chief wale ogunyemi.... 265
Appendix 4: Interview with Professor Femi Osofisan. 271
Appendix 5: Interview with Hr. Val. ulayemi....... 284
Appendix 6: Interview with Professor tola Aboaba... 292
Appendix 7: Arts Theatre production
Group Productions 1957 - 1973....... 318
Appendix 8 : Department of Theatre Arts 
Fxtra-Hural Theatre workshop Handbook., 321
Appendix 9: Hini Festival at the Arts Theatre..... 329
*
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m  m  f
■
m m *  ■;
The Arts Theatre
PLATE 1: The Arts Theatre, University of 
Ibadan.
UNIVERSITY OF IBADAN LIBRARY 
0 INTRODUCTION
0.1 The Arts Theatre, University of lbauan: 
statement of the Problem .
One of the major results of the intensified 
nationalist agitation for inaependence in the post 2nd 
world War Nigeria was the founding of the university 
College, Ibaaan, in 1948. Prior to the war, there had 
been acrimonious ctavinq for higher education in colonial 
West Africa, and the cemand had reached such an uncom­
promising height that the rulers had no option but to 
set up two arbitrating commissions known as the Clliot 
and asquith Commissions (1943; to study the educational 
requirements of the colonial territories and make 
adequate recommendations. The outcome of this was the 
inception of the University College at Ibadan.
Among the facilities that came in the flux was the
Arts Theatre in 1955o The Arts Theatre has mace tremen-
♦
dous impact on the socio-cultural development of Nigeria 
as amply demonstrated by the C. _ crop of virtuoso
artistes, playwrights, directors, actors, troupes, etc. 
that gtew out of it. henowned theatre practitioners 
like trank nig-Imoukhuede, oames Iroha, wale wgunyemi 
and scholars like Professors Vole Doyinka, Joel Adeaeji, 
Uapo Adelugba, Femi ©sofisan, oonny Oti and a host of
others, were nurtured? at least partly, at the Arts Theatre.
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However, very little has teen written or is known
about this contribution of the arts Theatre to the growth
of theatre in Nigeria. This makes true appraisal of
its historical significance rather difficult. Ahe little
that is known consists ironically, of mordant criticism
launched against it by its three successive directors,
Geoffrey Axworthy,.wole aoyinka and Joel Adeoji. To
compound this problem, precise information about its
origin and the specificity of its purpose is lacking.
For instance, Geoffrey nxworthy, the founding director
of the Arts Theatre only provides us vague hints about
its oricsin by saying:
The founding fathers of the University 
College showed unusual foresight 
in this direction - that they built 
the Arts Theatre the best theatre in 
Nigeria, what thought lay behind 
this action is it seems, already 
lost in the mist of time..... 1
(emphasis mine)o t
Furthermore, the arts Theatre has also been engulfed
in virulent intellectual controversy regarding its
objectives, architectural 2 and cultural relevance to 
the African society. It was even once slated for 
demolition, as can be reao from the minutes of the Annual 
General Meeting of the department of Theatre «rts held 
on Sunday June 29, 1975:
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The Vice-Chancellor’s decision to 
schedule the Arts Theatre for demolition 
was mentioned. All members of staff 
agreed that this was regrettable and 
that protests should be made in the 
most effective way possible.
rhe above reflects mixed sentiments about the Arts
Theatre, for while the Vice-Chancellor scheduled it for
demolition, the staff of the Department of Theatre Arts
opposed the move. One wonders here what prompted the
Vice-Chancellor to want to demolish the theatre and one
is even more surprised at the resistance launched by the
Department whose staff were the most critical of the
structure. coupled with these conflicting attitudes is
the notion that the Arts Theatre is old and represents
significantly the European cultural vision rather than African
perception. The persistence of this criticism suggests the
likelihood of future discardment of the Arts Theatre. 
Adedeji,for instance, once proposed to build a new Theatre 
Arts Complex incorporating a thrust stage theatre at the 
present location of the University gymnasium in 1977. rhe
conflicting views about the Arts Theatre have consequently
so stirred our imagination that we are inspired to find
responses to ±o~~> questions mat have ut-c-i* raised about
its origin, purpose and development.
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Go2 Purpose and Scope of study
The purpose of this work is to demonstrate that 
the Arts Theatre, generally mistaken for a colonial 
instrument of indoctrination has in fact been responsible 
for the widespread vitality and prestige which Algerian 
theatre enjoys todayQ
This study aims to stimulate academic interest in 
theatre buildings, by highlighting the historical 
significance of the contributions of the Arts Theatre to 
theatre education ana practice in Nigeria, our concern 
is to demonstrate the uniqueness of its services to theatrical 
development in Nigeria.
0.3 Methodology
Out* approach will be empirical, namely to assemble 
documents and data hitherto scattered ”, „>
and use them for a detailed analysis.
We adopted this approach because of the privilege / 
which our involvement with the Arts Theatre has afforded 
us, first as a student and later as the business Manager 
of the Department of Theatre Arts. The study begins 
therefore with a critical appraisal of the arts Theatre 
architecture and its purpose. Then, the documents connected
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5
with its facilities, programme literatures, posters, 
productions and Box @rrice records are properly studied 
and analysedo
scholarly articles, theses and dissertations 
relevant to this work are also scrutinized, uecorded 
operas of Kola Ogunmola and uuro-Ladipo are evaluated. 
Interviews are conducted with people directly or indirectly 
connected with the Arts Theatre Management and productions 
from 1955 to 1985.
Finally, a visit to Professor G. Axworthy and Martin 
Banham in Great Britain was undertaken in 1986 to assist 
us in balancing opinions ana making certain cor.clusionso 
0.4 Definition of Terms
Arts Theatre: ’Arts Theatre' in this work stands for the 
entire physical structure of the nets Theatre at ibaaan 
or its homogeneous kind in this research.
Theatre Centre here means a repository of theatrical *
/
culture, where all variety of theatrical entertainment is 
presented. It is synonymous with playhouse and performing 
arts centre.
Theatre shall connote ’theatre buildinq', or ’a troupe of 
performers', or 'theatre as artistic creation in terms of 
drama, music, dance, variety show or as may be implied 
in specific or collective terms.
UNIVERSITY OF IBADAN LIBRARY 
Production means play, Opera, music or any creative
material prepared for performance before an audience. 
Literary Theatre refers to theatre performing scripted 
plays written in English.
Professional theatre refers to theatre which engages in 
full time production of plays and which does not rely 
on subsidies for its livelihood.
Subsidy means an annual or periodic financial assistance 
given to a theatre by government, university etc. to 
assist in implementing its artistic programmes.
Educational Theatre connotes theatre in an educational 
institution.
Amateur Theatre Group means a group of theatre enthusiasts 
gathering together occasionally to present plays for
interest sake and not for financial or career benefits.
f,
Children's Theatre connotes (in Nigerian context) a troupe 
(amateur group) of children actors (under the supervision o 
adults or drama teachers) producing plays specifically for 
children audience, with themes drawn from folklore, myth 
and fantasy.
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Theatre-in-dducation otherwise called *Drama-in-education' , 
refers to 'theatre' or 'drama' as an instrument of 
instruction or unit in education.
Arts Theatre Playwrights refers to all playwrights who 
have worked in the Arts Theatreo
Notes and bibliography
1. Axworthy, Go "■‘■he Arts Theatre and the school
of Drama" in xbadan 
(Ibadan: IUP, 19b4j: 62
2o dee Plate 1.
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CHAPTcK 1
1 o 0 A Ku\/i£W Or' Be,LbVANT LITukaTURD
1.1 Reputable foreign Arts Theatres in the world and 
the Ibadan Arts Theatre*.
The ’Arts Theatre* nomenclature presents a fascina­
ting perspective from which to disentangle the Ibadan 
Arts Theatre from its controversial background. xf we 
consider that the xbadan Arts Theatre eouid have alter­
natively been calleu any of the following names, viz: 
'The playhouse', 'University Theatre centre’,'Cuitural 
Centre', 'Performing Arts centre', or 'Drama atuoio'$ 
then we are likely to question the rationale behind the 
choice of 'arts Theatre' as a name. Architecture, 
we observe is a metaphorical representation of purpose, 
beliefs, customs and history of the people that built it 
similarly, a name or nomenclature is compendious of 
functions anu circumstances of the person, place of *
thing which bears i t .  This idea impels us to  examine 
the o r ig in  and purpose of reputable Arts Theatre in 
th e a tr ica l  history*.
There are not many 'Arts Theatres' in the world.
The only three we know and which are internatio
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y -
lly are the Moscow Art ’iheatr(eM 'Nt 
f1v8 9'8X , Arts Theatre,
Cambridge (1926), and Arts Theatre Club, London (1927).
The Moscow Arts Theatre (MaT) was founoed by
Stanislaviski and Nemirovich-Danchenko in 1898 to
provide alternative theatre to the artificial and
insipid theatre of the imperial Russia. Harold Clurman
observes that: "besides its purely professional reforms,
the Moscow Art Theatre in 1898 declared its purpose to
be the creation of serious art for the people". 21 by 
the "people", Clurman makes it explicit this aoes not 
refer to the rabble or the commoners but chiefly to the 
Middle-class intelligentsia and the educated working 
class. The declarec intentions and practice of MAT 
portrays it as an elitist theatre as the Ibaaan Arts 
Theatre is.
The MAT engagec in promoting new Russian plays, .
•* ./ 
reviving old ones ana experimenting in world classical
drama. It introduced naturalistic staging enu solveA
the problem of finding the right stage form for Russian
Drama, a dilemma still confronting Rigerian theatre and
in which the Arts Theatre has served as a model to others.
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- 10
The early efforts of MAT were aevoteci to the plays 
of Maxim Gorky, Alexey Tolstoy ana rtnton Checkhov. Among 
many plays directed by Stanislavski are Chekhov’s master­
pieces , The seagull, Uncle Vanya, The Three sisters, and 
Cherry orchard and Gorky1s The bower depths*
with its own professional drama school, MAT was able 
to build a uniquely dynamic and creatively stable 
repertory troupe that toured curope ana America on many 
occasions. From various experiments in acting and 
production at MAT Stanislavski developed his famous 
'Method' acting. He also wrote books such as: My eife 
in Art (1924), an Actor Prepares (1926), Building A 
Character (1949), which propagated his acting philosophy.
The Moscow Art Theatre is a leadership theatre of 
the bourgeois whose influence penetrated the upper and 
lower classes of Russian citizenry. Lenin's support of the 
MAT illustrates the degree of its popularity and its ,* 
politico-cultural relevance. This theatre was particularly 
a specialist theatre committed to dramatic presentations 
aloneo This probably accounts for its retention of a 
singular 'art' instead of the common plural "arts" 
that implies 'many'.
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11
The achievements of the Moscow «rt Theatre is better
' sc.nr>£ •tV>ejCk̂ re_
summarized by the commentaries of observers. Thomson
N /A
and bglgado for instance say that ".... the Moscow art 
Theatre was the home of experiment".^ Phyllis Hartnoll 
observes that "This famous theatre ... is the best known
of all Russian theatrical organizations outside the USSR, 2
while Clurman is of the view that "There can be no doubt
that the Moscow Art Theatre occupies a central position in
the soviet and perhaps in the world theatre of our time." 3
In 1968, the MAT moved into a new and larger theatre built 
on the site of the old one with capacity for 1,800 people.
The Arts Theatre, Cambridqe (CoA.T.), another famous 
homogeneous type of theatre, was the initiative of an 
individual, we are not sure of when it was built but there
exist Khistorical evidence that the "Footlights", a profe-
ssional Acting Company, was housed there from 1926. Th*ere
are also traces that certain famous actors/directors (/i.e. 
Peter nall, John berton, etc0) had association with the 
Cambridqe Arts Theatre. we are also certain that the 
"Footlights" was founded in 1883 but without knowledge of 
where it was originally housed or performed. It is specula 
ted that the Arts Theatre must have existed before 1883
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12
when "Footlights” was founded becuase it began production of
Greek classical plays in 1882. The concise Oxford
Companion to the Theatre records:
The Arts Theatre, which since 1926 has 
housed the footlights, was built and 
presented to Cambridge by John Maynard 
Keynes and his wife, the former ballet 
dancer Lydia Lopokovao Under George Hylands, 
it continues to do good work®
'Productions of Greek plays in the original 
began in 1882 with Sophocles Ajax, a year 
later came Aristophanes Birds, with music 
by Perry and then a production triennially.
The future Provost of Kings, CT.T. Sheppered, 
was responsible for ten of these, 
begining with Aeschylus Oresteia and 
ending with Sophocles' Oedipus Coloneus.
For each of these a modern Lnglish composer 
was commissioned to write or arrange the 
music, an excellent precedent which is still 
followed.4
The emphasis here is on the fact of succession of 
Keynes by Hylands and the residency of the "Footlights" 
Company in 1926. It is established that the Arts Theatre
was built and handed over to Cambridge by Keynes. The /*
association of Rylands, a University lecturer, suggests 
■i— * - xr- _ - that "Cambridge"
here implies "Cambrdiye university" ana not Cambridge 
County Council.
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13 -
This assumption is strengthened by the fate of
Cambrdige Festival Theatre (1926 - 1933) foundeu by
Terence Gray. The Cambridge Festival Theatre, a private
tneatre which was described as "tne centre of new movement
in theatre design in Britain" was "sold to the Cambrdige
Arts Theatre for use &s a workshop ana costume store."5
From this development we Can deduce that the Cambridge 
Arts Theatre was a flourishing community-orienteu project 
with stable and reputable professional outfit. George 
Hylands, who at the same time as director of CaT was 
governor of the famous London Old Vic and who had had 
outstanding relationship with school acting and amateur 
productions of the late 19th century, was fully committed 
to the development of Doth amateur and professional 
theatres. ■ '7r -kt . — ». - ' - -j
/
Borne outstanding features of the eambrdige Arts 
Theatre are:
1. it specialized in production of Shakespeare 
plays and original Greek plays.
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- 14 -
2. It had association with the British 
Council. 6
3. It established an amicable relationship with a 
university lecturer who might have explored the
ot theatre in his illustrative 
productions for the amateur/dramatic ciubs 
and his students.
4. It experimented with classical Creek drama 
and introduced modern English music.
5. It achieved national recognition as its 
director/chairman George Hylands was invested 
with national honour.
The coming into residence of the "footlights" in 
1926 invigorated the activities of tne Arts Theatre, 
Cambrdige, so much so that a coteries of theatrical artists 
got inspired and formed the London rtrts Theatre Club in
1927. George Rylands, being governor/chairman of the *
/
London Old Vic (Britain's national theatre until 1977), 
wielded such great influence in theatre circles that his 
personality attracted theatrical luminaries to the 
Cambridge Arts Theatre. The London limitation was as
vigorous and eventful as the Moscow Art Theatre and
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15
the Cambridge Arts Theatre ana left its indelible 
footprints in theatrical annals. About this Lonaon Arts 
Theatre, the concise Oxford Companion to the Theatre notes
Arts Theatre, LONDON, a club theatre 
for staging of unlicenced and experimental 
plays, which opened on 20th April, 1927 - 
In 1942, Alex Clunes took it over, and 
for ten years made it a vital centre, 
producing a wide range of plays and 
achieving as one critic $>aid, the status 
of "a pocket national theatre...."7
The period that the Royal Shakespeare Theatre resided 
there was especially remarkable because of the magnitude 
of work done and the galaxy of theatrical luminaries 
involved viz: Peter Hall, Peter ^rook, Michael St. Denis 
etc. Peter Thomson and O. salgado recall that f̂ eter Hall 
became famous for his productions at the Arts Theatre, 
London, in 1950s as a result of which he rose to the 
directorship of the National Theatre, London, in 1973 and 
was kniqhted® in 1977.
Essentially therefore, the Arts Theatres have been 
fertile breeding places for theatrical luminaries. They 
enqaged in myriad experimental works that gave directions 
to new theatrical movements, innovations and resident 
professional troupes. They won international acclaim
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16
and were regarded as pace setters in the theatrical arena. 
Finally, they stood as symbols of national dignitv and 
vision to the extent that both the governments and the 
culture patrons accepted tnem as outstanding cultural 
institutions, and structurally, they were all proscenium 
theatres with naturalistic/realistic style of proauction.
This, perhaps is one of the reasons why the colonial 
administration in Nigeria decided to include an Arts 
Theatre at Ibadan. Since its objective was to set standards 
for the emerging African nations, the Arts Theatre must 
have been visualized as a vigorous institution through 
which cultural goals could be achieved with encouraging 
results.
Another factor to examine is the extent of the British 
Council participation in the cultural future of the 
University College, Ibadan, a careful examination of the 
British Council sponsorship of Hylands' tour of Australia, 
of his recording of all Shakespeare's plays and of his 
preparation about 1944 - 45 of a one-man recital Ages of
Wan 9 presupposes that the bntish Council was actively 
involved in the planning and execution of educational and 
cultural projects in colonial Africa. At Ibadan, the
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17
involvement of the British Council in the cultural life 
of the college, most especially the Arts Theatre, was 
vigorous evident.
Our is that the leadership in theatrical
profession and scholarship which has been rightly 
attributed to Xbadan came not because of the extra­
ordinary talents at Ibadan and lack of these elsewhere,
but rather to the fact that a modern playhouse was available
K
to foster and nourish the talents.
It is apposite here to recall that the Greek writers 
of the 5th century BC (Aeschylus, sophocles, suripides 
and Aristophanes) have become familiar legends because 
of the work they did at the theatre of Dionysus on 
the brow of Acropolis in Athens. In a similar vein, 
Shakespearean classics were popularized at the Globe 
theatre, while the Drury uane theatre made for the success 
of Garrick. In modern theatre history, Chekhov and *
Stanislavski were products of the Moscow Art Theatre. The 
Abbey Theatre, Dublin, produced W.B. Yeat, J.M. Svnge, and 
Sean O'Casey, while the Theatre am Schiffbauerdamm, East 
Berlin, nurtured Bertold Brecht, and it was antoine andre's
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18
"Theatre Libre" which promoted new plays and playwrights 
in Paris in the early fl.Oth century. The list is endless.
The Arts Theatre, like its foreign counterparts has 
served as workshop for talents and in the process bred 
Nigeria's frontline dramatists and theatre scholars.
The heritage of written drama in Nigeria ostensibly 
began in 1956 with the publication of 3ames fine Jienshaw's 
This is our Chance.1 1̂ This was followed subsequently by his 
Medicine for Love (1964), Children of the Goddess (1964), 
Dinner for Promotion (1965), and Jewels of the shrine 
(1965). The initial impetus of a pioneer and the ardent 
reception accorded his efforts by school Dramatic Societies 
resulted in his prolific output, as a medical doctor, he 
had a knack for drama and must have been imbued with some 
sense of commitment.
But before Henshaw, there had been remarkable antece­
dents in dramatic productions and a craving for a public hall* 
for the promotion of entertainment as demonstrated by the 
aspirations of the Brazilian Dramatic Company11 of Lagos 
in the 1880s.
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19
Henshaw's pioneering dramatic upsurqe was followed
by Soyinka's Arts Theatre debut in 1958# From then onward,
playwriqhts and scholars began to germinate and flourish
at the Arts Theatre in their variegated species. They
had been faithfully committed from the outset to the
promotion of the African worldview and personality in the
footsteps of Wole Soyinka who set the pace in African
literary theory and practice. Adedeji followed suit in
the historical research and documentation on the "Alarinjo"^12
the Yoruba traditional theatre. The thesis traced the
origin and development of the versatile masque dramaturqv
from 1700 A.D. to the evolution of a more ebullient yoruba
popular travelling theatre led by Hubert (Jgunde. The
work was a pioneering effort in theatre scholarship. This
was followed by Dapo Adelugba's dissertation 13 which, 
to this writer, is an attestation to the role
of the Ibadan arts Theatre as a cultural indicator in 
Nigerian Rationalism and the evolution of a National 
Theatre. Adelugba's work is rendered from the perspective 
of a participant in the Ibadan dramatic activities from
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20
1957 to 1964. His impression about the Arts Theatre 
is however better appreciated in his later treatise 
where he declares:
We have played host to several performing 
troupes and artists from various parts 
of the world. We have organized lectures, 
seminars and symposia on various aspects 
of theatre arts, the participants itx which 
are well-known personalities in Nigeria 
and in other cpuntries. Our curricular 
programme has been enriched by all this.
In addition, the Arts heatre has been the 
home of the many amateur dramatic, operatic 
and musical groups in Ibadan and during 
their rehearsals and productions: these 
include the professionally oriented 
Arts Theatre production Group, which aims 
at showing its audiences the best in 
World Theatre....14.
From the above, the achievements of the Arts Theatre
can be assessed and qualified. When the School of Drama
sprang up from the Arts Theatre in 1963, all the academic
and professional programmes of the school ended up in the
Arts Theatre where theoretical classwork was given practical
*
demonstration. The same theatre has served as the labora-' 
tory for all the theatrical experimentations of the Depart­
ment of Theatre Arts since 1970, as witnessed Adedeji:
"The Arts Theatre, through its regular productions, provides 
a •workshop* for students in which they acquire first hand 
experience in every aspect of theatre practice. A great
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2 1
variety of plays are presented in the theatre every session 
by both professional ana semi-professional qroups from 
within the community".1  ̂ The Arts Theatre productions 
have since then expanded beyond the 'community' to embrace 
international communities and international presentations.
Producers and directors of plays over the years have
learnt to ignore the structural hindrances and adapt the
proscenium in the most covenient manner that would
complement their production aesthetics. Playwrights have
themselves sidetracked the trappings and inhibitions 16
of the proscenium which Soyinka describes as "the static
imposition of the Arts Theatre" 17 and Axworthy refers to
as "the appalling 'hole-in-the-wall' stages now being used. 18
In spite of all its failings, axworthy was able to extol
the cultural consequences of the Arts Theatre by saying:
The existence of this theatre, with all
its defects, in a large university, given
even a little oraanization, was almost ,
bound to produce an outburst of dramatic
activity. In nine years, Ibadan audiences
have been offered plays of all tvpes and
periods...19.
Axworthy in this article elucidates the artistic activities 
of the Arts Theatre, citing productions ranging from the 
classical to the modern, Aeschylus to ^oyinka and embracing
UNIVERSITY OF IBADAN LIBRARY 
22
the Absurdist plays. The Ibadan theatrical life became 
extremely productive with diversified programme of activities 
because of the facility of the Arts Theatre and the ever 
surging ssest of theatre practitioners and audiences.
1.2 Theatre-in-Education
Theatre as an academic curriculum at Ibadan was 
a fortuitous occurence, especially if we consider the pace 
of academic integration of theatre in Europe and American at 
the time. In Europe and America theatre came into 
academic planning not as an independent dramatic art, but 
as an effective means of teaching elocution, rhetoric and 
declamation.
Theatre, in its evolution as a profession after
the Dionysiac dramatic festivals, suffered unsteady growth
*
due to consistent persecution by the rulers and the 
church. History informs us that the best recognition
that was ever accorded theatre, (before Sir Henry Irving) 20 ,
was in Greece at the emergence of drama and at the time 
of Thespis's innovation (534 BC). The Dionysia dramatic 
competitions and the honours bestowed on actors, playwrights 
and choregoi (financiers) were the best that ever 
happened to theatre as a branch of humanities before
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23
1800 a .0. Thomson and ^algado explain:
The acting profession too, in contrast 
to later periods, enjoyed a high 
social status. Actors were exempted 
from military service and had special 
permission to travel through foreign 
lands even in war time. The actors 
travelled from Athens to Macedonia at 
the time of the war against Philip of 
Macedon and actually helped with the peace 
negotiation.21.
Sir William Tarn and G.T. Griffith offer us a
more detailed information in their exhaustive study of
Greek History. In their book, Hellenistic civilization,
they write about the uionysiac artists as follows:
"In their palmy days the bionysiac artists were almost
an independent state, sending and receiving ambassadors;
on them were lavished honours, privileges, immunity,
safe-conducts; they were subsidised by kings and cities,
and the Athenian association had the right to wear the
purple; it would seem that it was better to amuse people
than to govern them". 22 What other state honours supercede 
these except the crowni Permission to wear "the purpJfce" 
was regal, which put these artists just on the rung next 
to the monarchy. This prestige had fto recurrence in 
history until England knighted Henry Irving (1895) and 
subsequently Laurence Olivier (1947), Tyrone Guthrie
UNIVERSITY OF IBADAN LIBRARY 
- 24 -
(1961) and Peter Hall (1977). $y their immeasurable 
contribution to theatre these artists became revered 
personalities but were by no means as doted upon as the 
Dionysiac artists.
The fact was that shortly after the Dionysiac festivals 
diappeared and the empired crumbled, actors declined in 
social significance, most especially at the conquest of 
Greece by Home, 300 BC. Disrepute, violence and sexual 
aberration creDt on to the Homan stage which infuriated 
the Christian crusaders in the Park ages (7 BC - 700 a D).
In spite of this, however, literary theorists like Plato
and Aristotle emerged to establish critical foundations.
Aristotle (384 - 322 BC) wrote the Poetics 23 and Plato 
(427 - 348 BC), The Republic, which establish the 
fundamental judgements on literary activities. While 
Aristotle explored all the realms of tragedy and presented *
complimentary views of arts in Poetics, Plato's theory 
contrasted sharply with Aristotle's vision of the dignity 
of the arts.
Plato's The Republic described artistic endeavours 
as a deceitful imitation lacking originality, and the poet
UNIVERSITY OF IBADAN LIBRARY 
as an imitator of superficiality, possessing no knowledae
of his subject, thereby confusing his ignorant audience
with his debased art. He reqarded the arts in general as
inferior and of no consequence in statesmanship because
they appeal to passion instead of rational principles of 
life. 2. 4 Plato's unpleasant theory perhaps aggravated the 
hostility of the rulers and other enemies of the 
theatre.
Let us take a cursory look into the integration of
theatre as an academic curriculum in America and Britain
at its earliest beainnings. william C. Young informs us
adequately about the prejudices encounted. 25 The university 
theatre programme is recorded to have been pioneered in 
America by George Pierce j|aker at Harvard and Radcliffe 
College who started by holding classes in playwritinq 
in 1903. A full four-year deqree programme was initiated 
by Thomas Wood Stevens at Carnegie institute of Technology 
(later Carneqie - Mellon university), Pittsburgh, in 1913, 
training students in acting, directing and desianing. Thus 
if considered in general terms of deqree oriented theatre 
programme, Carnegie institute of Technology has the pride 
of place in initiating a four-year deqree programme in
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2b
America. Elizabeth Kimberly throws more light:
Thomas Wood Stevens founded and 
developed the first degree - giving Drama 
Department in this country, where theatre 
training combined with a College curriculum.
There was no precedent for this, or examples 
to follow when Carnegie Institute of Technology 
established its famous theatre course....
The Department of Dramatic Arts opened on 
February 9, 1914.2'
Stevens, as accounts indicate, was a thoroughbred
theatre devotee. His mission in Pittsburgh was to "work
out a plan for a school of stagecraft" but being a "dreamer"
and "practical man of theatre" 16 , he overturned the table 
by changing the concept completely. This is germane to the 
work of Geoffrey Axworthy in Nigeria, George Pierce Baker 
(later) in Yale and Frederick Henry Kock in North Carolina 
University. Although their contributions might individually 
stress different aspect of theatre, their vision and impact 
promoted theatre development significantly. *
The variation in emphasis were wide, some innovations 
came in the direction of architectural design; some of 
these pioneers extolled the dignity of creative writing 
to widen theatrical curriculum, while others considered 
the practical application of theatre in proauction and
administration. At Vale for instance, Young informs us that:
UNIVERSITY OF IBADAN LIBRARY 
27
... the University theatre is a part of 
the school of Drama and an adjunct to the 
teaching and administering of all the arts 
connected with the drama and theatre, 
including everything from the writing 
of plays to the actual production thereof.
It is not public theatre in any sense, but 
is more like a laboratory, for a selected 
audience, and everything that takes place 
in the theatre being a part of the work of 
the Department. But being a laboratory 
theatre, it is arranged and equipped to give 
actual working conditions under which plays 
would be mounted and presented. It is in 
no sense a place for amateur performances 
though such may be given, but it is a 
serious ecsrtaabflti0s2h8ment of absolute standards in stage 
In Britain, the pace of academic integration of theatre 
was rather slower than in America where it started. The 
enthusiasm with which theatre curriculum took off in 1914 
in America was not simultaneously echoed in Britain. The 
British attitude was rather circumspective and conservative. 
I^artnoll informs us about the beginning of theatre studies 
in Britain as follows:
In England, the gradual acceptance of the 
theatre as a subject for academic study 
resulted in the establishment in 1946 - 7 
of the first Department of Drama at Bristol 
University. Since then, similar departments 
have been established at Manchester,
Hull, Birmingham and Glassgow.
Most universities now have a theatre 
open to the public.29
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- 28 -
Accepting theatre as a subject was not as easy as
Hartnoll has put it. for Professor Gleynne Wickham, the
first Professor of Drama in Britain, and the man who
started its Drama Programme at Bristol, the experience was
a bitter struggle. In his essay "Drama as a study", he
describes fully his bitter encounters in pushing drama
through as an academic discipline. Wickham describes the
situation as follows:
Drama, in short, was not a subject: 
simply a collection of fragments, more 
or less interesting, and all peripheral 
to sounder disciplines already in existence.... 
the charge levelled against drama of being 
'no subject' had the ominous appearance of 
being derived from either plain ignorance 
or from fear....30
Here, one can still identify Plato s influence which 
up till the present persists in academic circles. The 
integration of theatre into the curriculum in Britain was 
therefore comparatively young and still a continuing 
process at the time Ibadan had its theatre in 1955. 'The 
theatre attached to the University College, London for 
instance opened in 1968. The Sherman Theatre of the 
University of Wales, Cardiff was founded in 1970. It 
therefore demands explanation why the University College
UNIVERSITY OF IBADAN LIBRARY 
29
Ibadan, an affiliate of the University of London up . till
1962, had a theatre building in 1955, a school of Drama
in 1963 and a Department of Theatre Arts in 1970. we can
only but guess now that the Arts Theatre was included in the
academic ambit of the colonial administration in response
to the gradual integration of theatre into academics as
begun at Bristol University in 1946-70 Most of these
theatre were open to the public, a tradition similar to
the Arts Theatre practice. It is rather an irony of history
that Great Britain which produced lliam Shakespeare,
Garrick, olivier, Brook, Wall etc. was so suspicious of the
theatre profession as to delay its academic recognition
until three hundred years after the death of the world's
greatest dramatist. James Koose Evans hinted that Henry
Irving's fcniqhthood in 1895 (followed in sequence by those
for Squire J&qncroft, Charles Vjyndham, John Hare, Beerbohrn
Tree, Arthur Pinero and George Alexander) set the seal of *
respectability upon London's theatre. 31
Geoffrey Axworthy, the founding director of the «rts 
Theatre and its offshoot, the school of Drama, writes about 
the humble beginnings of drama and theatre at Ibadan thus:
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30
How do you teach dramatic literature to 
students who have never seen a professional 
production of a play or often, anything 
like a real theatre? This was the 
question which faced me when 1 first went 
to Nigeria in 1956 - and 1 didn't realise 
how many questions it beaqed. I found 
two concepts of the western theatre 
prevailing, one based on school 
productions of Shakespeare; 
the other, not very different, on 
'realistic' 'modern' productions, 
usually by expatriate amateur groups0 
There was no need, in this context, to 
labour the case for an extension of 
horizons through practical work and less 
difficulty than there might have been at 
home in persuading the parent university 
of London to accept Theory and Practice of 
Drama for the B.A. degree the place of 
a course called English life and institutions 
The University happened to possess a very 
adequate theatre, (emphasis mine) in it 
we endeavour to .^assemble the artistic 
technical resources of the community to 
demonstrate the wider possibilities of 
theatrical enjoyment.32.
By this assertion, it is abundantly clear that 'drama 
and theatre' were integrated as illustrative tools for 
dramatic literature. The course 'Lnglish Life and Institu- ' 
tions' makes it less presumptive to suggest systematic 
acculturation of the community in Eurocentric values through 
literatures and civilizing ethics of the academic society.
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\
i. 3 The Subject Matter:
The structural necessity of a theatre building is 
unAfrican and its integration into cultural para­
phernalia is a rarity introduced by western education.
Oyin Ogunba and Abiola Irele inform us thus:
Prior to the advent of the Whiteman,
Africans did not have "theatre” 
in the western or oriental sense.
Nobody in Africa built structures 
specially designated "playhouses" 
which served the purposes of entertain­
ment or dramatic instruction and nothing 
else.33
African traditional theatre was undefinable in the 
context of European criteria at the advent of colonialism 
and had remained unyeilding to the western theatrical 
traditions despite the preponderant influences of the 
latter - (a rarity in theatre architecture).
The popular Nigerian Yoruba Travelling Theatre, the 
hybridal outgrowth of the African and European cultural 
interaction, has however been more influenced by the latter. 
Inspite of the long association with the proscenium stages 
which most theatres in Nigeria provide, African performan- 
ces have remained unyielding to the rigid proscenium sett­
ing, the major obstacle being in spatial limitation. Afric­
an drama is ever flowing in spectacles through curves and
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- 32
circles that manifest the metaphysical realm of the
African world view. Martin Banham in his discussion on
African theatre buildings examines the restrictions posed
by the proscenium to an African performance which he
describes as "fluid and free ranging." 34 All that 
African theatrical performance requires is an untrammelled 
space that expands and contrasts as desired and where the 
audience have the convenience of surrounding the enactment 
without caring at all about sight lines.
The Arts Theatre, our subject matter, is 
worth researching into because it has been one of the 
most dynamic media of theatre promotion since 1955.
The discussion of this «ork is based on three 
factors that are inextricably related. These are 
colonialism, education and architecture. The Nigerian 
culture has been deeply influenced by colonialism, 
which is not just a system of government, but is also an 
inhuman stratagem to enslave physically and intellectually 
those who were conquered.
The major antipathy of crj tics -against the Arts 
Theatre is its proscenium stage whose restrictive nature 
is incomparable with the convenience of traditional
UNIVERSITY OF IBADAN LIBRARY 
33
African theatre-in-the-round. The critics believe its
structure is based on a colonial point of view i.e0
intellectual parochialism and socio-cultural manipulations,
and that its inflexibility is a deliberate negation of
African dramatic aesthetics. These critics also argue
that since Margo Clones had popularized arena stage by
1943, and the thrust stage had equally been accepted
in the theatrical culture at the time, there must have
been some ulterior motive for choosing a proscenium stage
which was a heritage from Teatro Giimpico in Vicenza,
(1585), for Ibadan. But it can be arguecj that the reason
for this choice was purely due to what Allardyce Nicoll
describes as '.... an influence exerted by the "classical"
upon the "modern". 35 Certainly, the eleqance of the Arts 
Theatre and the confidence the building radiates show 
that it was done with sincerity of purpose, aesthetic 
devotion and foresights
Architecturally, the arts Theatre displays the 
essential characteristics of 20th century theatre buildings 
and presents a charming example of what was in vogue in 
Europe and America at the time of construction. Some 
critics who visualize the Arts Theatre as the epitome of
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34
the culture of the people (which it ought to be) contend 
that it ought to take cognisance of the people's need 
ana have affinity with its creative environment, spatial 
relations and cultural aspirations, '■‘■his would have 
conformed with Richard and Helen t*eacroft's view that;
Theatres represent the built environment 
resulting from a number of actor- 
audience relationships which are varied 
by many condition.36.
The i*eacrofts see theatre in the totality of its 
environemtal mood and motion. If structures have meanings 
according to the conception of their utility, critics 
wonder why these are not evident in a theatre meant for 
Africans. John Gloat observes the veracity of buildings 
when he says:
Buildings cannot lie; they tell 
the truth directly or by implication 
about those who made and used 
them and provide veracious 
records of the character and 
quality of the past and present 
civilization.37
If the above is true, the criticism against the
physical structure of the Arts Theatre may be considered
logically valid. -Sir Leonard iVoolley,38 the famous
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35
British archaeologist supports the above point of view 
and strengthens his argument by saying that building 
style is neither an accident nor an arbitrary thing, but 
a natural growth answering to the condition of life. 
Apparently the Arts Theatre does not reflect or rouse the 
sentiments of African cultural need, but adequately 
serves the cultural and educational purposes of the 
Europeans who built it. It goes without saying therefore 
that the structure was meant only for educational purpose.
AS a medium of education, the Arts Theatre by its 
presence heightened people's theatrical awareness and 
sharpened their critical ability. The Arts iheatre 
provides a forum for a general education in Theatre Arts 
and a sound knowledge for It has
given prominence to the works of African writers and 
promoted a balanced international repertoire.
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36
CHaPTBK X
Notes and Bibliography
1. Thomson, Peter and Gamini Balgad®. The Bveryman
Companion to the Theatre: (London: J.M.
Dent, 1985), 103*
2. Hartnoll, Phyllis, Ld. The Concise Oxford Companion
to the TheatreT (London; OUP, 1972), 366.
3. Clurman, Harold. The Nakea image: Observations on the
Modern Theatre. (New York: Macmillan, 1966), 
279.
4. Hartnoll, Phyllis, Bd. Oxford Companion to Theatre, 82.
5. Thomson and Balgado. Bveryman Companion to Theatre,
81 - 2.
6. The British Council is the Corporate arm of the British
Government whose major responsibility is to 
promote British cultures and understanding 
abroad, It encourages cultural and academic 
exchange programmes with nations. Nearly all 
commonwealth nations have British Council 
agents in their capital cities.
7. Hartnoll, Phyllis. Bd. Oxford Sompanion, 25.
8. Thomson and dalgado, Lveryman Companion, 223 - 224.
9. Thomson and Balgado: 470.
10. Banham, Martin with Clive wake. African Theatre Today 
(London: Pitman, 1970), 49.
UNIVERSITY OF IBADAN LIBRARY 
37
11. Lcheruo, M.J.C. "Concert and Theatre in Late 19th
Century Lagos" in Drama and Theatre in 
Nigeria, bd. Yemi Ogunbiyi. (Laaos:
Nigeria Mauazine, 1981)0 364.
12. Adedeji, J.a . "Alarinjo: The btudy of a Yoruba
Theatrical Art from the earliest beginnings 
to the Present Time." Unpublished Ph. u. 
Thesis, University of ibaaan, 1969.
13. Adelugba, Dapo, "Nationalism and the Awakening National
Theatre of Nigeria". Unpublished M.a . 
dissertation, UCLA, 1964.
14. Adelugba, Dapo. "The Professional ana Academic Theatre:
A Twelve-Year Kelationship at ibaaan,
1963 - 1975." Maske Und Kothurn.
(Wien: Hermann, 1984), 354 - 355.
15o Adedeji, J. a .  Department of Theatre Arts; an
Information bulletin issued on the Occasion 
of the 25th anniversary of the university 
of Ibadan, 1948 - 1973. (Ibadan: Olotu 
Press, 1973), 11.
16. i>ee interviews with wale ugunyemi and Kemi UKOfisan
in Appendices 3 and 4.
17. Soyinka, vJole. "Towards a True Theatre" in Drama and
Theater in Nigeria. Ld. Yemi Ogunbiy,
459.
18. Axworthy, d. "The Arts Theatre and the school of Drama, *
63.
19. Axworthy, 0. "The Arts Theatre". 63.
20/ Sir Henry Irving (1838 - 1905). Lnglish Actor -
Manager was the first actor to be knighted 
for services to the theatre (1895).
21. Thomson and Salgado. Everyman Companion, 30.
UNIVERSITY OF IBADAN
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- 38
22. Tarn, William (Sir) ana G.T. Griffith. Hellenistic.
Civilization., (London: Methuen, 1978), 115.
23. Aristotle, poetics. Translation ana Analysis by
K.a . Telford. (Chicago: Henry Regnery Co., 
1970), 1 - 2 .
24. Plato. "The Kepublic" C. 373 B.C. in Dramatic Theory
and Criticism Greek to Growtoski. Bernard F. 
Dukore. (N.Y. Holt, 1974), 27.
25. Young, C. William. Documents of American Theatre
History, Vol, 2, Famous American Playhouses,
1900 - 1971. (Chicago; American Library 
Association, 1973), 190.
26. Hodgson, John and Martin ĵ anham, &d. Drama in education
3: The Annual Survey. (London: Pitman, 1975),43.
27. Young, C.W. Documents of American Theatre History.
187.
28. Young, C.W. Documents. 197 - 198.
29. Hartnoll, Phyllis. Oxford Companion, 568.
30. Wickham, Gleynne. "Drama as a Study", in The uses of
Drama. Ed. John Hodgson, (London: Methuen, 
1978), 168.
31. Evans, James Koose. London Theatre: Prom the Globe
to the ISlational. (Oxford: Phaidon, 1977),
119.
32. Axworthy, Geoffrey,"Developments in the Nigerian
Theatre, 1957 - 1967" - n paper based on a 
talk given in April, 1968, to the Annual 
Conference of the society of Teachers of 
Speech and Drama in London. (A printed copy 
was . given to me by Prof. AXwOrthy while I 
was on a British Council sponsored Fellowship 
training in Arts Administration at sherman
UNIVERSITY OF IBADAN LIBRARY 
39
Theatre, University College, Cardiff in 1986)
Prof. Axworthy is the foundina director of the 
University Theatre (Sherman Theatre) which was 
built from the inspirations gained from the 
Arts Theatre.
33o Ogunba, Oyin and m . Irele £d. Theatre in Africa 
(Ibadan: IUP, 1978), 90
34. Banham, Mar tin with Clive wake. African Theatre Today.
(London: Pitman, 1970), 4.
35. Nicoll, Allardyce. The Development of the Theatre
(A Study of Theatrical Art from the Beginning 
to the Present Day. Kvsd. &d. (London: G. Harrap, 
1956), 81.
36. Leacroft, (Richard and "elen. Theatre ana Playhouse.
(London: Methuen, 1985) Preface, IX.
37o Gloat, John. The Architectural Interpretation of 
\flistory. (London: AQam & black, 1975), 1.
38. \woolley, Leonard (sir)o Digging Up the Past.
(Pelican books, 1963), 76.
UNIVERSITY OF IBADAN LIBRARY 
CHAPTER 2
2,0 THE UNIVERSITY. BIRTH AND DEVELOPMENT 
OF THE ARTS THEATRE
2*1 Purpose of the University
The immortal declaration "Here shall be the
University of Nigeria"^ by Sir William H. Fyfe on
December 28, 1946 marked the culmination of the
nationalist's agitation for Higher Education and
the inception of a new social order in the British
West Africa. Dr* Kenneth Mellamby was appointed
Principal designate of the University College, Ibadan
in 1947. In his lecture at the Glover Memorial Hall,
Lagos, on 22 April 1948, Mellanby succinctly explained
the mission and vision of UCI by saying:
The University College is being 
established with the primary object 
of producing a West African University 
which will be a centre of learning and 
culture, and which will make the 
maximum contribution to all aspects of 
the development of the country. The 
standards of the University College 
must be equal to those of the best 
universities of any country but the 
college must also have an African 
bias, and while not neglecting any 
branch of learning must concentrate 
on subjects, of special interest and 
importance to Africa.2
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-  41 -
In Mellanby's vision the University was to be "a 
centre of learning and culture” which suggests that the 
Arts Theatre had a central purpose in the cultural and 
academic conception of the University planning. We 
are reliably informed and historical evidence shows 
that the theatre facility was originally conceived as 
an Open Air Theatre, for communal cultural activities 
which structurally would have been adaptable to African 
needs. But there were frequent structural and locational 
changes when the erection of buildings commenced in 1951. 
The Open Air Theatre which for example was to be located 
on the Western side of the stadium disappeared and an 
Arts Theatre was substituted.
On 20th October, 1947, a Committee of Colonial 
Office and Inter-University Council (IUC) including 
Dr. Mellanby interviewed a number of distinguished 
British architects for the building of the University 
facilities. Maxwell Fry and Jane Drew group of architects 
were selected. The architects immediately set to work 
and produced a layout plan of the permanent buildings.
But as Mellanby informs us, ”on 3rd October, 1949, the 
layout and plans submitted by the architects were
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42
examined by the Academic Board* It was unanimously 
resolved that they be not approved"4. Subsequently, a 
Building Committee was appointed to "revise, reject or 
accept plans and give directions to the architects in 
the name of the Council"5. The ground on which the 
design was rejected was that it was so diagramatic that 
it would be impossible to realize practically.
Mellanby makes it clear that the architecture was 
not an imposition from London but a choice made by the 
colonial administrators in Nigeria. Ironically, frequent 
changes on the plan made the London authorities doubt the 
competence of the Building Committee in Nigeria. Of 
course, there seemed to be genuine reason for changes.
The vision of the University College, Ibadan, was 
to achieve the totality of all that amounted to civilized 
values in all academic disciplines and Western culture 
and discerningly adapt them to accelerate the technological 
and socio-political transformation of the agrarian Africa. 
The significance of UCI's pioneering role and the eventual 
production of outstanding scholars and leaders for the 
young nation in transition cannot be overemphasized.
The leadership role of Ibadan continues as its products 
get appointed as Vice-Chancellors of fifew Nigerian 
Universities thereby perpetuatung standards in scholarship
UNIVERSITY OF IBADAN LIBRARY 
- 43
and relevance in educational needs. The dreams of 
Mellanby have been translated into reality as Tekena Tamuno 
observes:
The proud image of UCI in the academic 
world was in many ways a product of 
the dedication and care which the IUC 
gave the emergent University in Nigeria^.
The reference point for the new Nigerian 
Universities in theatre traditions, curriculum develop­
ment and scholarship was the University College, which 
became autonomous in 1962. Its autonomy became a 
political issue in 1960 when Nigeria became Independent.
For such an instrument of progress to remain tied to the 
apron string of the University of London did not show 
intellectual maturity and true political freedom, so the 
autonomy was proposed in 1960. In 1962 UCI became the 
University of Ibadan, a proud product of the University of 
London, awarding its own home manufactured degrees. The 
same year three other universities - Lagos, Nzukka and 
Zaria were established with great inspirations from the UCI.
Although the foundation of Nigerian development was 
colonial in all ramifications in that all academics,
UNIVERSITY OF IBADAN LIBRARY 
44
PLATE 2 - A Scene from Wole Soyinka's
The Lion and the Jewel (Obed Ada 
as Bale Baroka in the Scene) 1958/59
Photograph Courtesy Prof. G. Axworthy, 
Cardiff, Wales, 1986.
UNIVERSITY OF IBADAN LIBRARY 
45
architecture, ethics etc. were based on the archytypal 
British standards as proposed by IUC, graduates were able 
to adapt their skill to suit the environmental need of 
the people. Professor Ferguson reveals:
... because Ibadan was unique, all 
we did in sport, drama, music, worship, 
was setting standards for a nation then 
of 65 million people, 'when we put on 
Shakespeare this was Stratford, our 
operas were La Scala, our Chapel Choir 
the Mormon Terbernacle, our Madriaal 
group the King's Singers. And graduates 
went out from us to develop what they 
had experienced with us in their own 
way ..."% (Emphasis mine)
The manner of what graduates perpetuated has been 
the object of controversy since independence. Have 
they developed styles that really show their African 
background? The theatre has been used to challenge 
the colonial acculturation policy and the Arts Theatre 
has been very strong in its appeal for Afrocentric
productions since Wole Soyinka's Lion and the Jewel7
were
and The Swamp Dwellers / produced in 1958/59. But 
the challenges have not been equally met in other facets
UNIVERSITY OF IBADAN LIBRARY 
46
of human development by the University. This has 
necessitated a reorientation of African educational 
horizons which made Wandijpa Asavia to call for total 
change to suit present need. He says:
What seems to be required, therefore, 
was a new working definition of 
University, which would signify its 
commitment, not just to knowledge for 
its own sake, but to the pursuit of 
knowledge for the sake of, and for the 
common man and woman in Africa. The 
African University must in the 1970s 
not only wear a different cloak, but 
must also be differently motivated.
It must be made of different and 
distinctive substance from the tradi­
tions of Western Universities, and 
must evolve a different attitude and 
a different approach to its task.
The truly African University must be 
one that draws its inspirations from 
its environment, not a transplanted 
tree, but growing from a seed that 
is planted and nurtured in the African 
soil0.
The above recommendations are some of the vital 
reactions to which the Arts Theatre in its gradual 
evolution attempted to find responses and solutions to.
The Arts Theatre being included in the final 
layout plan was a later development that grew out of 
the constant structural adjustments and conception or
UNIVERSITY OF IBADAN LIBRARY 
47
perhaps the inclusion was instigated by theatrical 
waves in Europe or a review of the role of theatre 
in the cultural life of a university in a socially 
disadvantaged economy. However, there is no evidence 
as to when the decision was made to build the Arts 
Theatre or for what purpose. Geoffrey Axworth, the 
founding director of the Arts Theatre, himself 
observed: "What thought lay behind this action is,
it seems, already lost in the mist of time -- " Q.
However, there is historical evidence to support 
our suspicion that Tom Child and Randall Hogarth, 
the two pioneer members of staff of UCI, played 
prominent roles in theatre development and that their 
work must have influenced the integration of a mixed 
programme of theatre in the University plan.
2«2 Theatre Forms
Theatre buildings are often classified by the 
type of stage form they have. The proscenium stage 
a very European structure was chosen for Ibadan, 
the largest African City, South of the Sahara, a 
fact which, surprisingly has continued to surprise 
ri theatre scholars. Buildings aenerally are
UNIVERSITY OF IBADAN LIBRARY 
motivated by needs, and their purposes determine the 
nature of their structure. As Horold Burris-Meyer and
Edward C. Cole observe:
The plan of any modern building 
depends on a knowledge of the 
purposes for which it is to be 
built. An Architect designs a 
factory only after consulting 
freely with his client regarding 
the processes of manufacture to 
be housed; he does not design a 
residence without first studying 
at length the composition, perso­
nalities, habits, and circumstances 
of the family; nor does he design 
a church without knowing thoroughly 
the services, rites and ceremonies 
to be celebrated therein. He cannot 
succeed in designing a theatre 
unless he obtains, from some sources, 
biunifolrdmiantgion regarding the use of the. 10
We will examine the rationale of choice of the 
proscenium for the Arts Theatre from the purpose which the 
theatre was meant to serve and the advantages of the stage 
form chosen. The variety of stage forms that 
have emerged over the ages have been precipitated 
by changing styles in writing, acting and 
production which encouraged the increasing desire of 
theatre artists to achieve perfect audience -actor
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49 -
interrelationship in a theatre performance. The stage 
has become so much an object of controversy and constant 
experimentation because it influences the playwright's 
writing; limits or broadens the director's artistic 
vision; hinders or enhances production styles; 
encourages or discourages the actor's creativity; 
ignites or frustrates the dancerls ingenuity; and in its 
final impact hampers or promotes audience—actor relation­
ship in the realisation of the ultimate artistic objective.
At the time the Arts Theatre was built,
stage forms had emerged among which were the 'arena'
otherwise called 'theatre-in-the-round' and the 'open
stage' or 'thrust stage* etc. But the proscenium stage
was the most prominent with the longest historical
tradition. Allardyce Nicoll traces its origin to the
Greek 'proskenion' in 425 BC on which the more elaborate
Roman 'proscaenium was based 11. It applied to the whole 
acting area and its picture frame background which was 
usually ornamented in front with columns and niches.
The proscenium was developed further during the Italian
renaissance of the 15th century at the \v\\^roAm x H c
classical drama. Basing their designs on the architectural 
works of Vitruvius (16 - 13 BC), the renaissance
UNIVERSITY OF IBADAN LIBRARY 
50 -
architects built new theatres which incorporated prosce­
nium arch combined with painted scenery or perspective 
painting t° achieve naturalism in production. The 
theatre was essentially scholastic and the plays were 
written in Latin.
But the proscenium stage did not have a continuous 
history from its earliest origin in Greece to its full 
manifestation in the 20th century. Burris-Meyer and Cole 
explain that "The history of theatre shows twenty-four 
centuries in which the picture frame was either non­
existent or was modified by the use of acting areas in
front of it, against the last century and a quarter during
which the proscenium developed in prominence" 12 • Richard 
and Helen Leacroft observed that "the Teatro Olimpico,
Vicenza, represents the contemporary academic theatre ...13
during the Italian renaissance. The proscenium flourished /*
again in the 19th and early 20th century before the avant- 
gardists revolted against it because of the sharp division 
it created between the audience and the performer. By 
this division they reasoned, the theatre was architecturally 
divided into two distinctive territories representing two 
separate realities and functions which ought not to be so.
UNIVERSITY OF IBADAN LIBRARY 
Thejadvocated for a united whole where actors and audience 
could interact freely. In this regard Brooks McNamara, 
Jerry Rojo and R. Schechuer observe the nature of the 
revolution:
In a sense the whole of the 20th 
century in Europe and America 
demonstrates a gradual retreat 
from these conventions, a retreat 
made clear by the development of 
arena and thrust stages and the 
growth of various schools of design 
which modify or abstract the 
naturalist vision of reality .... 4
By this reaction, the proscenium realism which 
was pictofrically achieved through perspective painting 
was declared unrealistic and true realism according to 
contemporary dramatists demanded t^at genuine and original 
material or setting should be presented physically on 
stage^. As a form that promoted directional perception
of action, lacking side vision and physical ability to
cope with the sophistication and dialectics of modern
(revolutionary) dramas such as those of Antoine Andre
(1858 - 1943), Ibsen, Strindberg, Appia, Meyerhold, etc.,
the proscenium was considered too simplistic and anachro-
nistic. Furthermore, the aesthetic distance *16 or objective
viewing which the division in a proscenium promotes
UNIVERSITY OF IBADAN LIBRARY 
52 -
significantly was not considered an advantage. The
movement has therefore been towards the elimination of
the orchestra pit and the proscenium wall. This is
necessary for as Arthur Miller complained, "You just
can't write for these 'shoe boxes' with the same ideas,
with the same emotional scope, as you would for a more
adaptable theatre"...1 7 However, in spite of all its 
, Barris-Meyer and E. Cole claim that the 
proscenium stage:
... affords the maximum confrontation 
of performers and audience and is best 
for lecturers, concert singers, recita­
tion and dramatic presents cions.18
The thrust or open stage is a mid-twentieth century 
development. It is a direct descendant of the Greek 
theatre and much related to the Elizabethan stage. It 
enjoyed some measure of success but the triumph was not 
a lasting one. Unlike in the proscenium where the 
audience sits directly opposite the actor face to face, 
the open stage projects into the auditorium. The audience 
sits on three sides of the stage (three-quarter-round) to 
encourage a closer audience-performance relationship.
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-  53
There is neither a proscenium wall nor a gaping orchestra 
pit. It is therefore possible for the actor to move in 
and out of the audience.
This stage provides the opportunity to see the 
action from different viewing points, and promotes 
diversity in writing, acting and audience participation.
Nevertheless, the thrust stage has its own limita­
tions too, as Richard and Helen Leacroft observe:
While this theatre shows that a 
much larger audience may be seated 
within an acceptable distance from 
the actor than is possible in a 
directional picture or end-stage 
arrangement, it also indicates that 
such a thrust stage is more restric­
tive to the movement of actors, in 
that their points of entry and exit 
are both fixed and limited compared 
with the many variations than can be 
created by the use of movable scenery 
on an end-stage
While there is intimacy between audience and performance, 
the problems of obstructed view, impeded movement and
distractions have to be tackled.
The arena stage is known by other appendages such 
as theatre-in-the-round, central staging, circle theatref 
and bandbox. It is said to have been derived from
"circus, ancient amphitheatre (double theatre), and
1
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-  54 -
primitive ritual sites”20* The arena is a twentieth
century development in Europe but it was also the form 
the traditional African staging style. Here, the acting 
area is in the middle of the audience, either circular, 
rectangular or square in shape. What is most important 
is that the acting area is surrounded by the audience on 
all sides. Players enter and leave through the audience, 
which creates an even more intimate interaction between 
the audience and the performers.
Richard and Helen Leacroft elucidate the attributes 
of the arena as follows:
The round is an ideal form for 
circuses, gymnastics, wrestling, 
boxing, and the antics of clowns 
- which suggest that productions 
intended for Presentation in the 
round should be devised to make 
the most of such possibilities.
But too often even those plays 
written to be performed in this 
way have not broken free from 
picture frame conventions, and 
in such cases, or when picture - 
frame plays are adapted, produc­
tion patterns are limited by the 
fixed positions of the entrances 
and exits, and their distance 
from the acting area. Limitations 
are also placed on the movements of 
performers, and on the use of 
furnishings and scenery which may 
restrict the views of members of 
the audience21*
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This Stage form seems suited to purely undiluted 
African divertisements which are circus-like, acrobatics 
gymnastics and wrestling practised by the traditional 
'Alarinjo f-heatre' or the 'cultic masquerade theatre'.
But for the modern theatre which is an admixture of 
Western and African cultural orientations, a new concept^
true t° the present circumstances must be evolved to 
reflect the theatre's hybrid nature.
Although the audience-player relationship is 
improved in the arena stage, it is obvious that its 
shortcomings can mar or frustrate audience enjoyment.
The extended stage, on the other hand, is a theatrical 
novelty of the mid-20th century. This is almost an 
antithesis of the arena staging. While the audience 
surrounds the arena stage in a latter form, it is the 
stage that nearly surrounds the audience in the extended 
staging format. This type of stage has been differently 
described as side stages, multiproscenium, theatre-all­
round and th®atrama.
The extended stage however is more4 a ■  iflexible 
proscenium than a different or isolated form of stage.
The difference is the extension of the left and right
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56 -
sides of the stage into the auditorium to surround the 
audience almost three-quarters-round. This type of 
stage allows for multiple or simultaneous settings. The 
extended stage is suitable for a multi-media production, 
an advantage which makes it more relevant to today’s 
technical and artistic needs.
The advent of electromechanical devices in theatrical 
production has added new dimensions to the flexibility of 
space, set mobility and the manipulation of stage relation 
ships. This has led to the 'Free form stage', otherwise 
called flexible or experimental stage, a theatre that 
stresses no particular form of stage but maintains 
absolute freedom in its auditorium and stage arrangement. 
The seats could be rearranged to achieve any form of 
dramatic style and appropriate audience-performer relation 
ship. The seats are not permanently fixed and may not be 
in tiers, unless built on colapsible frames. With the 
push of a botton the stage can bring out a scaffold, a 
staircase etc. The acting area can shrink and expand 
at will while the auditorium itself is subject t° the 
same electro-mechanical juggling. Burris-Meyer and Cole 
discuss tbe intricate-- nature of electromechanical mani­
pulation and the fact that everywhere in the theatre
except the walls could be changed at will 22.
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57 -
The free ?|brm theatre does not however provide 
absolute satisfaction as it has its own limitations. The 
movement of the parts of the theatre is usually mechani­
cally restricted in direction and rate. The extent of 
desirable flexibility has to be predetermined and the 
speed at which change would be effected must be mastered.
The available space and extent of manipulatory utility is 
also a factor to consider. Power failure in the third 
world, technological application, cost and computer 
services make free form theatre an expensive undertaking. 
However, inspite of its novelty and the diversity of its 
means to achieve a variety of audience-performance 
relationships, it may not be the final panacea to production 
stylistics and creative plasticity. More weird forms may be 
introduced in future.
The solution to this endless search for ideal stage 
form may be found in a multiform theatre which combines 
all known stage forms within its building.
The Pittsburgh playhouse complex, Pittsburgh, Pa, U.S.A. 
and the National Theatre, London are typical examples.
They both have three different theatres with various 
stage forms and capacities. The National Theatre, London
for example has the Olivier Theatre, (1,160), the 
ll|ttelton Theatre (890), and the Cotteslo Theatre (400).
UNIVERSITY OF IBADAN LIBRARY 
The Olivier, which A.the the largest and most radical
of the three auditoriums is "designed to be flexible 
enough to serve dramatists of every period"23. Its
auditorium is fan-shaped. The Lyttelton has an 
adjustable proscenium stage while cotteslo^ has a 
rectangular room with two tiers of galleries on 
three sides, and a floor space that can be rearranged 
for actor and audience.
2.3 Choice of Proscenium Stage for the Arts Theatre
An ideal Arts Centre according to Burgard 
does the following: It
(a) stimulates creative interaction among 
the professional personnel of partici­
pating arts organization,
(b) creates new interest in the organiza­
tions occupying the center and by this 
new interest generates the increased 
financial support for them that 
eventually makes progress possible,
(c) develops new and larger audiences for the
arts • • • y and
UNIVERSITY OF IBADAN LIBRARY 
59
(d) forces community leaders to undertake 
comprehensive long range planning for 
the arts in relation to the entire 
community*^.
Apparently the Arts Theatre fulfils all these 
conditions, but it by no means satisfies the structural 
expectations of the critics. Our study of the origin 
of the Arts Theatre reveals tnat the choice of a 
proscenium stage was not in any way connected with 
colonialism or political motives.
We recognize that the proscenium regained popularity 
and wider acceptance in America at the time the Arts 
Theatre was built. Most of the theatres built at the 
turn of the century in the 50s, whether colleges, 
commercial or provincial theatre, were largely proscenium
theatres pc • It is possible therefore that it was because , ^
the colonial administrators wanted to keep pace with 
theatrical development, teat they adopted the proscenium 
stage. We must remember also tnat the Glover Hall, Lagos, 
which was tne first Nigerian puulic hall of repute, 
had a proscenium stage.
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60
All the Arts Theatres we have studied had 
proscenium stages and Teatro Olimpico, the earliest 
academic theatre, had a proscenium stage. Apart 
from these reasons, the advantage stressed by 
Burris-Meyer and Cole, that the proscenium stage 
"affords the maximum confrontation of performers and 
audience and best for lecturers, concert singers, 
recitation and dramatic presentations" satisfied
the main purpose for which a University College 
theatre was needed.
2.4 Early Dramatic Activities and Randall Hogarth 
Kenneth Mellanby, the Principal of UCI, 
described Tom Child as "an enthusistic photographer 
and even more enthusiastic amateur dramatic 
producer"^7. He also described Randall Hogarth as
"a senior Education Officer, another enthusiast, 
for the theatre, in charge of the course in Teacher
Training" O Q . This was a fortuitous coincidence 
indeed, and it gave Ibadan a rich inspiration and 
solid theatrical background. Professor John Ferguson 
enlightens us further about Tom Child's profundity 
and commitment as follows: "the Ibadan Operatic
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- 61
Society had been formed two years before (1954) by a 
fanatic named Tom Child. He had produced four in a 
year, which was perhaps too many"^. The Operatic
Society which he founded in 1954 was responsible for the 
spread of operatic culture in Ibadan and contributed to 
the vibrance of the Arts Theatre programmes of these 
early years.
Randall Hogerth was also in those early days a 
respected name in theatrical development who employed 
the talents of the teachers-in-training to elevate the 
social life on campus. He made a success of the trans­
ferred Yaba Higher College Teacher Training programme.
He was close to power at Ibadan for Mellanby said he 
decorated the ceremonial platform when the University 
was formally opened on 2nd February, 1948. Apart from 
this, the gradual evolution of drama from extra-mural 
activity to a teaching subject at Ibadan could be traced 
to his initial brilliant efforts and impetus. Mellanby 
testifies to this by saying:
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62
One of the major contributions 
the teachers in training made 
was in drama. At the end of 
the 1949-50 session they 
presented Oedipus Rex. The 
high standard of this production 
owed much to the immense efforts 
of Randall Hogarth who produced 
it, and who spent endless time 
and trouble over the production, 
but the students gave a notable 
performance of a kind seldom, if 
ever, seen before in West Africa*3 .
Rabdall Hogarth initiated dramatic culture and promoted 
theatrical awareness —  " .
The production of Oedipus Rex reveals a conscious 
effort perhaps, by Hogarth to relate theatre develop­
ment in Ibadan to the antecedents in world theatre 
history. We do not know what recommended the choice 
of this play but history reveals that the Tiatro Olimpico 
in Vicenza, the first outstanding academic theatre of
renaissance Italy was opened on March 3, 1585 with an
epic production of Sophocles’ Oedipus Rex 31 Robin May 
also observes the popularity of this play by saying:
No Greek dramatist appeals more 
to modern taste and no Greek 
play is better known than 
Oedipus Rex3 .
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Hogarth launched theatre tradition at UCI in 1949, thus 
providing a solid foundation for theatre education and 
practice in Nigeria on which Geoffrey Axworthy and others 
built their reputation.
WeS*lS|>®t£ that the Open Air Theatre was the 
Architects' concept of a rural theatre as in the tradition
* i
of the classical Greek theatre in Athens of the 5th century 
B.C. We are also inclined to believe that while the 
Inter-University Council recommended the inclusion of 
the Arts Theatre in the tradition of the British University 
as precedented at Bristol University, it was people like 
Randall Hogarth who made the relevance, of the theatre in 
Ibadan apparent.
Hogarth's production inspired also the under-
graduates to present Charley's Aunt 33 which Mellanby 
said was not so successful. Also, we suspect that 
Oedinus Rex and Charley's Aunt (1949 - 50) were the ♦
earliest notable dramatic productions at Ibadan. And 
while we also recognize the significant contributory role 
of the British Council in the Arts Theatre activities, 
it was the Inter-University Council that recommended the
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inclusion of the Arts Theatre to complement the 
cultural and academic responsibility of the UCI, 
the first West African University.
2.5 Arts Theatre Structure and tne idea of an 
Open Air Theatre
Topography and weather conditions obviously 
form '<a major consideration in determining the archi­
tectural or physical definition of any structure.
These factors invariably influence other things such 
as land or space use, purpose and accessibility. 
Locations are always purposive with their aesthetic 
implications especially with regard to Education and 
Religion. The enclosure of Trenchard Hall in the 
Tower Court garden is suggestive of exclusivity and 
a sense of occasion. The placement of the Arts Theatre 
at short picturesque distances from the Administrative 
blocks, student hall and central parking lot suggests 
the communality of its purpose.
A question often asked by theatre observers is 
connected with the choice of the present physical 
structure for an African theatre and why it was 
located where it is. But if we have to rely on the
UNIVERSITY OF IBADAN LIBRARY 
65
Layout Plans of Permanent Buildings of the University 
there was no provision for an Arts Theatre but an Open 
Air Theatre which was located at a very remote area of 
the campus. The small place in which the Arts Theatre 
is cramped in means it was an after-thought. Circumstances 
surrounding the frequent changes in the final building 
plans, which we already•discussed were responsible.
The motive behind the Open Air Theatre was pleasure and 
an attempt to provide possibly an adaptable open theatre 
that has a semblance of African market square or courtyard
which is conducive t° African entertainments*T h\wSould have 
promoted African ritual drama immensely. The location of 
the Open Air Theatre was however too distant to the small 
community of intellectuals and their servants who lived 
on the campus. The campus itself was three miles away 
from the indigenes who could not appreciate African theatre
/
in a westernized open air environment. The African staff 
population on campus was negligible and theatre as a 
cultivated habit had not become fashionable in Africa as 
in Europe. For these reasons we strongly suspect that 
the colonial administrators found it expedient to replace
the Open Air Theatre with a mixed-programme theatre which
UNIVERSITY OF IBADAN LIBRARY
66
would be easily accessible to both staff and student 
population. Similarly we guess that weather consi­
derations might have also influenced the decision 
to discard the Open Air Theatre project, particularly 
at the rain forest belt area of Nigeria where 
Ibadan is located,
2,6 The Arts Theatre Development and the 
Management Committee
Professor Molly Mahood found herself in a
great dilemma as to what to do with the Arts Theatre
when it was completed in 1955, As the head of the
Department of English, she realized very early that
there was no limit to which she could utilize the
theatre to achieve the university's academic-cum
cultural objectives through Dramatic Literature
exercises. The need to achieve the cultural
objectives of the university and animate the facility
theatrically instigated her to invite Mr, Geoffrey
Axworthy, who was a lecturer in drama at the
University of Baghdad in 1956, Professor Joel Adedeji
informs us appropriately on *how Axworthy persuaded
the University to set up an Arts Theatre Management
UNIVERSITY OF IBADAN LIBRARY 
67
committee to formulate policies and supri'tend its
activities O A• The ATMC was set up in January 1957 by
the University senate to manage the theatre and plan its 
further development# The promotion of cultural and 
academic interests was to guide the committee in its 
work^. This was a most imaginative action taken both
by Mahood and Axworthy to strip the theatre o^ redundancy 
antf circumvent the British attitude of ignoring the arts
or doing nothing to encourage their practice Og •
With the inception of the committee came the 
appointment of specified officers charged with the
day-to-day supervision of the Arts Theatre programme#
These officers included a General Manager, a stage manager 
and a Technical Director# The theatre by this development 
ceased to be a workshop of the Department of English 
Officers were elected from among the members of the 
committee. These officers attracted no remunerations 
since they were staff of the University, and were nominated 
or elected in recognition of their aptitude and devotion 
to the theatre. \
Except for the Principal of \he University College, 
who was the chairman of the Committee by virtue of his 
position, the majority of the members were theatre
UNIVERSITY OF IBADAN LIBRARY 
68
enthusiast*. They were principal officers carefully 
selected to represent various interests and departments 
of the University so as to give the Arts Theatre a 
broad-based support and patronage from the community.
It was also, presumably designed to enable the theatre 
enjoy sympathetic consideration in University budgeting.
In the ATMC meeting of October 7, 1961, held in 
the Arts Theatre at 12.l5p.m.
Mr. G. J. B. Allport was re-elected General Manager 
and Mr. G. J. Axworthy and Mr. F. E. Speed were re-elected 
stage Managers for the academic years 1961/62.
The account of Miss G. Minter (Secretary to ATMC, 
1963/64) is most revealing. In a memorandum to the 
Secretary of the School of Drama she listed out the 
membership of the Committee as follows:
The Vice-Chancellor or his representative 
as Chairman (he is asked at the beginning 
of each session who he would like to 
represent him, and he always says the 
Dean of Arts).
The Dean of the Faculty of Arts
The Director of the School of Drama
The Technical Director of the School of Drama
The Business Manager of the School of Drama
UNIVERSITY OF IBADAN LIBRARY 
69 -
A member of the School of Drama 
(Normally a Nigerian - now Mr. Nwoko)
2 Representatives of the Senate
(Now Professor Ferguson and Mr. Allport)
1 Representative of the Faculty of Arts 
(Now Professor Maxwell)
1 Representative of the Finance Department 
(Now Mr. Preston)
1 Congregation member of the Senate 
(Now Dr. Olubunmo)
The Secretary of the School of Drama 
(as Secretary - no voting power)37
The committee formulated policy and drew up rules 
and regulations concerning the hire, maintenance and 
management of the Arts Theatre. Granting approval for 
the use of the Arts Theatre, improving the facilities, 
general administration and planning for further develop­
ment were the committee’s major functions.
The calibre of the people in the committee also 
assured its success as they were no ordinary people.
They were men and women of tremedous influence in the 
University administration. Added to this advantage is
the fact that most of them were creatively inclined and
they knew the implications of every decision taken38
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70 -
In cultural and professional projections, the ATMC 
encouraged the growth or the founding of many semi- 
professional and professional performing groups.
Professor J. A. Adedeji enlightens us further on this 
by saying:
The function of the ATMC and their 
programme of activities encouraged 
the emergence of two groups of 
amateur dramatic societies; the 
University College Dramatic Society 
(a student group) and the Arts 
Theatre Production Group. The 
following cultural groups also emerged 
to use the facilities of the Arts 
Theatre: The Music Circle, the Ibadan
Operatic Society, the Film Society and 
the HOI Phrontestai (for classical plays 
in Greek and Latin)3 •
Beginning with the Arts Theatre Production Group
in 1957, the Arts Theatre has spurred the emergence of
other resident troupes such as the University Travelling
Theatre (1961) with its corollary Theatre-on-Wheels
(1964; School of Drama Acting Company (1967); University
Theatre Arts Company (1970); Unibadan Masques and the
K
Unibadan Performing Company (1980). The ATMC strived 
for balance in both academic and cultural pursuits to 
avoid lopsidedness. Its fervent yearnings for development 
of an academic programme out of the Arts Theatre is vividly 
demonstrated in its applications to three foundations
UNIVERSITY OF IBADAN LIBRARY 
-  71 -
(viz: Rockefeller, Ford and Gulbenkian) for 
funds to establish a School of Drama and update 
the technical facilities of the Arts Theatre^.
2*6,1 The Arts Theatre and the School of Drama
The agitation for political independence 
which fructified in October 1960 had its impact 
on the status of the University College. In 
January 1961, three months after political 
independence, a visitation panel led by 
Sir Charles R, Moris, Vice-Chancellor of the 
University of Leeds, was sent to Nigeria to study 
the academic and administrative situations at 
Ibadan in preparation for granting her full autonomy.
At this time, the Arts Theatre had become an 
active centre of cultural activities and awareness. 
Drama and a variety of theatrical presentations 
were regularly featured by amateur and semi- 
professional groups. Although there is no 
traceable evidence that the members of the visitation 
panel saw productions at the Arts Theatre, it can 
be reasonably conjectured from its vivid reports 
on the Arts Departments and the Arts Theatre, that
UNIVERSITY OF IBADAN LIBRARY 
72
they must have witnessed certain impressive theatrical — - 
activities at the Arts Theatre, This must have prompted 
them to include in their report the prospect of develop­
ing a Department of Dramatic Arts, a report which has 
generally been regarded by theatre scholars and observers 
as the impetus for the creation of the School of Drama 
and a credit to the efficient Management of the Arts 
Theatre by the ATMC.
The relevant parts of the report reads as follows:
We were much impressed by the part 
that has been played in recent years 
in the work of some of the Arts 
Departments, and in the life of the 
College generally, by the Arts Theatre. 
Under any circumstances the work of 
some Departments is hardly complete 
without some attention to the Arts of 
the theatre; and this is especially 
true in Universities in countries 
where there is little or no opportunity 
of attending the theatre, Nigeria, 
moreover, is rich in traditional dramaf 
and its traditions can provide yaluable 
basis for modern Nigerian drama. There 
could be danger however that they 
miimgphotrt ebde  dmiastecrairadle,d  diin ssfeamvionuart eodf  by 
radio, film and television, and there 
seems to be no institution in the 
country other than the college which 
htaesa chtihneg  naelcle ssasapreyc tfsa ciofl ittihees  drfaomra .
UNIVERSITY OF IBADAN LIBRARY 
-  73
Also we feel - and this seems to 
us to be important - that greater 
use of the drama would be made in 
the schools if it were possible 
for future teachers to have some 
experience of the drama in the 
University* We do not know whether 
it will be consonant with the 
academic and teaching plans of the 
college to consider favourably the 
establishment of a Department or 
sub-department of Dramatic Studies; 
wbiultl  web e vfeoruyn dm ucohf  ghiovpien gt hoaft fiscoimael way  
arnedc ogendiutciaotni ont o int het hea cdtriavmiat iewsh ich 
are made possible by the existence 
of the Arts Theatre and which have 
flourished unofficially to such 
good effect in the recent year* 
(Emphasis mine)* We do not think 
that these activities, and especially 
their quality, should be left at the 
mercy of those accidents and hazards 
which are inseparable from a state of 
total dependence on purely voluntary 
initiative and support41*
In this report three significant facts that stand 
out clearly are that there existed active dramatic 
activities in the Arts Theatre; that efforts should be 
made to establish drama education through the Arts 
Theatre and that Nigerian culture should be promoted in 
order to forestall the incursion of foreign culture.
•-v
UNIVERSITY OF IBADAN LIBRARY 
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With this report, the ground was prepared for nursing 
the ambition to establish a Drama Department. The Arts 
Theatre Management Committee was on the look out for the 
golden opportunity which arrived in the guise of 
Rockefeller Foundation representatives in Nigeria.
The idea was capitalized upon by the University 
authorities to persuade the Rockfeller Foundation to 
provide a grant towards the realization of the dream.
This had a positive response, and a grant of $200,000 
was received for the establishment of the school of 
Drama in 1962. The grant was to last for five years and 
its specific aim was to carry out dramatic training 
designed to develop the use of such media as theatre, 
film, radio and television in Nigeria and to train
Nigerians for positions of responsibility in these fields"A 2 •
The School of Drama was established in October, /«
1963 with the Arts Theatre as its nucleus and base.
With this also came extraneous responsibilities for the 
ATMC which now had to oversee the harmonious coexistence 
of the School of Drama and the Arts Theatre while also 
maintaining its cordiality with outside users of the 
theatre facility. Geoffrey Axworthy was appointed the 
director of the School. The School took over the technical
UNIVERSITY OF IBADAN LIBRARY 
75
responsibility of the Arts Theatre from the ATMC 
in 1963 and henceforth started lobbying for the 
possession of the theatre which it regarded as its 
main physical asset necessary for its programme 
development. In 1970 when the school became the 
Department of Theatre Arts, the ATMC of the 
Senate was disbanded and the Arts Theatre and its 
management transferred to the new Department.
This will be fully discussed under the chapter 
dealing with Soyinka's directorship of the School 
of Drama.
2.6.2 The Role of Geoffrey Axworthy
The arrival of Geoffrey Axworthy in 1956 
ushered in great changes in the history of the 
Arts Theatre. His contributions were startling, 
varied and farsighted. Notably however are the 
facts that he gave a vision to the Arts Theatre 
in the area of management, a direction in play 
production, and a stability in its public image* 
he also won for it a loyal audience and a 
reputable standard. A graduate of Oxford, Axworthy
UNIVERSITY OF IBADAN LIBRARY 
76 -
was a member of the Oxford University Dramatic Society 
(OUDS). He taught drama at the University of Baghdad 
(1951 - 1956) before he was invited by Professor Molly 
Mahood to join the staff of the English Department at 
the University College, Ibadan in 1956.
Axworthy, before h.e left Baghdad had learnt a
lesson or two about how to develop drama. As he himself
declares ”.i.. I then understood up till 1956 when I
left Baghdad that theatre could be introduced to places
where it did not exist. I then started to have a new
aim, which was to construct a theatre where there wasn’t 
one” 43• Evidently, Geoffrey Axworth's work at Ibadan
was that of a pioneer on whose shoulders rested the 
responsibility for the artistic development of the Arts 
Theatre.
The work of Axworthy can be loosely categorized 
into four compartments, namely,
(i) Amateur productions,
(ii) professional productions,
(iii) the physical development of the Arts 
Theatre, and
(iv) his directorship of the School of Drama.
UNIVERSITY OF IBADAN LIBRARY 
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To achieve all fehese, Axworthy proceeded by recommending 
the establishment of the Arts Theatre Management Committee 
in 1957. He was also a supportive member of the Committee. 
As earlier mentioned, two amateur groups, the Arts Theatre 
Production Group (a staff group) and the University 
College Ibadan Dramatic Society (a student group) emerged 
to use the facilities of the Arts Theatre. Axworthy 
started his production activities with the Arts Theatre 
Production Group (ATPG) of which he and some members of 
the ATMC were members. The first production was 
Andre Obey's Noah about which the programme note informs 
us as follows:
"NOAH” is the first production 
of the University College Arts 
Theatre Production Group - a 
group which has been formed with 
the assistance of the college 
authorities, to perform modern 
and classic plays in the Arts 
Theatre. The group aims, in 
the course of its work, to 
provide good entertainment for 
the whole community; its primary 
task is, however, academic - to 
provide students of the college 
with a cultural facility which 
girn anmtoesdt  -c outnhter ieexsp erisi entcaek enof  fogro ing 
etno cet heof  tdhreaatmrae .i n Fpirrosdtuhcatnido n exisperi­ 
particularly relevant to studies 
in literary departments and the 
group aims, in course of time,
to demonstrate a wide variety of
UNIVERSITY OF IBADAN LIBRARY 
78 -
types and styles of theare.
This is both a policy statement, as well as a background 
history of the group, The ATPG produced wide ranging 
classics and modern plays and through his extra-curricular 
activities, Axworthy encouraged other amateur groups to 
supplement ATPG’s efforts.
Between 1957 and 1963 (wheri the School of Drama 
was founded), Geoffrey Axworthy directed an average of 
twenty productions, - that is, about three productions 
per year - for various organizations such as the ATPG,
UCIDS, Ibadan Operatic Society and Music Circle. These
were not related to classroom dramatic exercises but were' 
community oriented activities. He was an energetic and 
inventive director who took the Arts Theatre beyond the 
immediate anticipations of the ATMC. The reason why Noah 
was chosen as the first production, for instance says the 
programme note was because of its "theatrical quality" and 
"its striking and enduring topicality". The choice, in 
other words, was guided by its "topicality" which we can 
regard as its universal applicability focussing on community 
living, courage and catastrophy as epitomized by the 
biblical story of Noah and the flood.
UNIVERSITY OF IBADAN LIBRARY
-  79 -
The play had fourteen characters (and seventeen
actors) among whom were three Nigerians - Frank Aig -
Imoukhuede, Fola Aboaba 44 and Gordon Upuigore. The 
production crew consisted of seven people with Axworthy 
as Producer and the Assistant Registrar (Finance)
Harold Preston who later-became the University Bursar 
serving as the Front-of-House Manager.
After Andre Obey's Noah. Axworthy produced works of 
Shakespeare, Gogol, Anouilh, Fry, Sophocles, Ibsen, 
Aristophanes, Pinero, Miller, Dryden, Shaw, Oscar Wilde, 
etc. which testify to the ATPG’s assiduity and the 
commitment to its objective "to demonstrate a wide 
variety of types and styles of theatre".
Axworthy as the mentor of the UCIDS also guided 
the dilletante efforts of the students* Drama Society 
towards professionalism and the promotion of plays by 
Nigerian playwrights. He pioneered this in 1958/59 with 
the production of Wole Soyinka*s The Swamp Dwellers and 
The Lion and the Jewel. In 1960, he produced Soyinka's 
The Trials of Brother Jero and That Scoundrel Suberu.
an adaptation of Moliere's Les Fouberies de Scapin. by
UNIVERSITY OF IBADAN LIBRARY 
80 -
Dapo Adelugba, Alfred Opubor, Brownson Dede and Ayo Amu. 
He attempted to make professionals out of the students 
through the establishment of the University Travelling 
Theatre that went on annual nation-wide tours from 1961 
to 1966. We shall discuss this later in detail in our 
chapter on performing groups.
The other aspect of Axworthy's work concerns the 
physical alteration of the building. Plans had been 
under way to establish a professional theatre school in 
1960 before the Visitation Panel report of 1961. The 
Arts Theatre as it stood then had been found unsuitable 
for professional practice and the ATMC had approached 
various organisations for financial support to carry out 
physical alterations to suit professional needs. The 
main defects of the Arts Theatre then included nearness 
to road traffic and a students hall, open-louvred walls, 
lack of backstage working space and of "equipment 
appropriate to this type of stage"4'* • Axworthy, in
conformity with the theory of Richard and Helen Leacroft, 
that, "theatres are living organisms being altered and 
adapted throughtout their existence to conform with 
changing and developing ideas and patterns"4®, went ahead 
to rectify the inadequacies of the Arts Theatre47.
UNIVERSITY OF IBADAN LIBRARY 
-  81 -
Various alterations were attempted at different 
stages* The establishment of the School of Drama 
further incited the director to more challenging plans 
for a true professional theatre* He laid out his schemes 
and ably chose his working partners* With a devoted
staff among whom were the gifted artist Oemas Nwoko,
Ebun Clark, Martin Banham, and other loyal artistic 
companions, he was able to take the Arts Theatre and the 
School of Drama to greater heights. He did not mince 
words about his plans for the Arts Theatre and the 
School of Drama when he said:
Opurro fepslsainso naflo r tfruatiunirneg  ininc lduadnec « 
and drama, the creation of an 
open-air dance arena in which 
visiting and local dance groups 
may perform under advantageous 
viewing conditions; the design 
and construction of a low-cost 
model school theatre, made of 
local materials, to replace 
the appalling ’hole-in-the- 
wall* stages now being used; and
of a 'flexible' school of Drama 
Theatre, in which experiments 
in new forms of staging to suit 
ptlhea ywnreexplorei
egdsh tso f anNdi gaecrtioar’ss  mown d ...*48 ay be 
i
V
UNIVERSITY OF IBADAN LIBRARY 
-  82 -
It is obvious here that Axworthy's plan to build a 
new theatre shows his disagreement with the structural 
provisions of the facility; and also his hope for a 
flexible theatre in future to satisfy Nigerian writings 
marks his recognition of emerging Nigerian writers.
Axworthy definitely had a thorough sense of mission 
which environment or cultural differences did not hamper. 
His being a Briton did not prevent him from having a 
dream of what a true Nigerian theatre should be. Although 
he could not achieve some of these lofty ambitions probably 
due to financial constraints or his sudden departure from 
Nigeria precipitated by the impending Nigerian civil war, 
the idea continued to be echoed by his successors.
Perhaps it may be relevant here to present the 
formal proposal for a School of Drama in the Arts Theatre 
as Axworthy conceived it, a proposal which later grew into 
the academic Department of Theatre Arts and nurtured a 
contagious Nigerian theatrical culture. The document which 
was Appendix II Attachment to the Paper: INTRODUCTION TO 
THE PAPER ON THE FUTURE OF THE SCHOOL OF DRAMA (Faculty 
Board of Arts) Paper Nov. 6, 1968/69, spelt out the nature
UNIVERSITY OF IBADAN LIBRARY 
83
of theatre theory and practice. It is here below 
reproduced:
Proposal for a School of Drama in the Arts 
Theatre:
A. The objects of the School would be -
1. To provide courses ... (sic* ;)
2. To assist *the development of drama
and dramatic teaching within the 
University and outside it, in th® 
following ways:
(a) by assuming responsibility for the 
technical maintenance and operation 
of the Arts Theatre, ensuring the 
safe and orderly conduct of extra­
curricular work within the building; 
(emphasis mine)
(b) by establishing contact with colleges, 
schools, and other organizations 
engaged in dramatic work, to provide 
advice; to exchange information; to 
collect and circulate dramatic material 
and the results of research;
UNIVERSITY OF IBADAN LIBRARY 
84 -
(c) by sponsoring performances in the 
Arts Theatre by suitable outside 
companies, and by University groups; 
such as the University Travelling 
Theatre, elsewhere0
Signed: G. J. Axworthy
20/2/62
The proposal was accepted but the school of Drama 
could not effectively take off in 1962 as there were 
myriad problems to combat. The question of where to 
start, how to find staff and other administrative problems 
had still to be solved. The Director of the School was 
compelled to travel to Britain and America on a staff 
recruitment exercise. Axworthy finally got on his staff, 
himself as Director; Martin Banham, as Deputy Director;
Bill Brown, Technical Director; Demas Nwoko, Scenic 
Designer; Peggy Harper, dance teacher; and Joel Adedeji, 
as lecturer who set up a certificate Drama course in 
Education. There were also American Peace Corps members 
such as Mary Lou Frederick, a Yale trained scenic designer; 
Mary Caswell, who worked in the Wardrobe part-time and 
taught Costuming; Tom Herbert, as Mime and Movement
UNIVERSITY OF IBADAN LIBRARY 
85
Instructor; Bob Moulthrop, as Acting and Directing teacher
and Iquo Offiong as Wardrobe assistant who succeeded 
MMafiyir y1 Lou Frederick.
Prior to the gathering of staff, Axworthy had 
commenced activities at the School by bringing into 
residence the Kola Ogunmola Travelling Theatre for a 
six-month workshop training. As ne explained later, one 
of the reasons "that led to tne introduction ot the folk 
theatre groups to the University was the grant we had from 
the Rockefeller Foundation, which was about a quarter of a 
million dollars, and tnat was a lot of money. Moreover, 
we could not begin classes that year. We had to wait 
another year, so I suggested tViat we should establish a 
relationship between the University arvi Ogunmula’s group 
tnrougn a period or residence, andl we invited him to the
University as Artist-in-Residence for a year. My aim was /*
that we would get his work written down, learn his style
from him and teach him sonrp of the things he did not 
already know" 49•
That might not have been the whole story. Axworthy 
must have been influenced by certain other factors. There 
had for instance been theatre workshops jointly organized
UNIVERSITY OF IBADAN LIBRARY 
86
r. the Dramatic Society, the Department of English, and 
the Extra-Mural Department of the Institute of Education, 
such as the one conducted by Professor Anne Cooke Reid, 
former Professor of Drama, Howard University, U.S.A., from 
June 13th to 20th, in 1962. This 1962 workshop linked 
the University, probably for the first time, with the 
Yoruba operatic theatre by -presenting The Reign of the 
Mighty by Ogunmola Theatre from Osogbo on June 16, 1962. 
This w^s an eye opener to the ingenuity of the-Nigerian 
operatic theatre. The production recommended Ogunmola 
Theatre for a Rockefeller fellowship which enabled the 
entire company to undertake a six-month workshop training 
in the Arts Theatre, beginning from October, 1962.
At the same time, in the early 1960s, America was 
going through similar theatrical experiences about which 
Axworthy must have been aware. For instance, Stephen 
Langley informs us about situations in America, similar 
to this use of Rockefeller Foundation grants for the 
Ogunmola Theatre workshop, as follows:
In 1962 the Association of Producing 
Artists (ApA), under the direction of 
Ellis Rabb, took up residence at the 
University of Michigan. With a large 
grant from the Rockefeller Foundation,
UNIVERSITY OF IBADAN LIBRARY 
-  87 -
New York University established 
a professional theatre training 
program and with another Rockefeller 
grant, Stanford University hired 
nine professional actors to form a 
resident company to work with its 
sitoundaelnltys .o.r.i.e nteTdh e prloigsrta mosf  pofrfoefreesds­ 
by colleges is impressive. Most 
were inaugurated during the 
sixties and many were accompanied 
by ambitious plans for the 
construction of-new campus theatre 
facilities .9. ®
These examples, we believe, partly inspired the IUC
in its search for standards for UCI. As a spontaneous
response to what was current in America, the Ogunmola
experiment was not actually in the direction of academic
learning but rather, in that of professionalism.
Axworthy said in this regard: "I got the first intakes
to read a diploma instead of degree course because I
wanted them t° discover what things are all about by
doing. I was more concerned with professionalism t̂ *an
with academic accumulation."51
Dapo Adelugba, one time president of the University 
of Ibadan Dramatic Society (UCIDS) and Manager of the 
University Travelling Theatre, who has studied the growth 
of the School of Drama/Department of Theatre Arts
UNIVERSITY OF IBADAN LIBRARY 
88 -
confirms this: "In the first few years of its existence 
-he Ibadan School of Drama concentrated its work on 
professional training of would-be theatre educators and 
artists* A two-year Diploma programme in Educational 
Drama (later) replaced by a two-year Diploma in Drama 
and one-year Certificate Programme also in Educational 
Drama were set up. Later the School broadened out into 
participation in the Bachellor of Arts degree curricular 
of the Ibadan University"^*
The first production of the School of Drama was 
The Palm Wine Drinkard written by Amos Tutola and adapted 
by Kola Ogunmola, the first product of the School. The 
production was not a part of the normal season of plays 
which was customary with theatre department, since the 
School of Drama had not yet established such tradition.
The motive behind this production was for it to serve as a 
graduation thesis for Ogunmola after the training. The 
graduation production was so successful that critics who 
had opposed the experiment in the beginning had reasons 
to applaud the outcome. The union of the academic and
UNIVERSITY OF IBADAN LIBRARY 
PLATE 3: Kola Ogunmola as the "Drinkard" in 
his eternal search for palm wine.
A scene from "The Palm Wine Drinkard".
Photograph Courtesy of Prof. G. Axworthy, 
Cardiff, 1986.
UNIVERSITY OF IBADAN LIBRARY 
-  90
t-~e professional theatres was not after all as unwise 
as it seemed. Wole Soyinka paid his compliments in the 
following terms:
One's veins fairly thump with joy 
at eveninings such as the Ogunmola- 
Nwoko team has provided, and this 
is not for the fact of one success 
merely, but for the fact that it 
promises orgies of the theatre for 
the future. Ogunmola's presence on 
the stage is that of a theatre-breathing, 
theatre-eating fiend, and one feels that 
with a few more demons of possession 
like this man ignited at the tail and 
let loose on the world, a transformation 
might indeed take place in the public's 
aesthetic consciousness. We may even 
live to see those cinema theatres 
burnt down in anger which still purvey 
sjtuevreinlael iaI5nd.̂ian imitations of Hollywood
The overwhelming success of the Palm Wine Drinkard 
puzzles one when one realizes that the privilege Ogunmola 
-ad could not be extended to other operatic troupes54o
New factors such as the unavailability of funds and the 
emergence of the University Travelling Theatre might 
-ave militated againfet a repetition of the Ogunmola 
experience. Before Ogunmola graduated, the School of 
Drama and the University Dramatic Soceity had jointly 
formed the University Travelling Theatre which then
UNIVERSITY OF IBADAN LIBRARY 
91
began to tour the nation during Easter vacations.,
Its Productions made this period the most active 
years of the School of Drama. The School became 
a full fledged academic Department of the University 
in 1970 as we shall see subsequently.
2.6.3 The Arts Theatre and the Department of 
Theatre Arts
The Arts Theatre was in the 1960s a vibrant 
centre for the development of theatre and allied 
arts at the University of Ibadan. It was its 
presence that inspired the founding of the School 
of Drama, and the Acting Companies and eventually 
gave birth to the Department of Theatre Arts.
These departmental outgrowths of the Arts Theatre 
had all been accidental. They were circumstantially 
imposed with such irresistible spontaneity that they 
look preconceived. There is no doubt, of course, 
about the preponderant influence of foreign 
theatrical developments in this growth.
The Rockefeller grant to the School of Drama 
expired on June 30, 1968 and the School was plunged 
into a great crisis. Since it was not within the
UNIVERSITY OF IBADAN LIBRARY 
92
ambit of the University to maintain it 
_ -: f_r-re was uncertain. After seven years of dynamic 
: it had matured into a department with academic
- -: .rcfessional programmes. It had represented the 
::_rtry in International festivals through its Acting 
:r~r = -.ies in Dakar, Senegal (1966) and Nancy, France 
1967) .
The School's achievements were so outstanding 
r-at^were given special mention in a graduation day 
i::ress of Professor John Harris, the Acting Vice-Chancellor, 
or. June 30, 1967. He commented as follows:
In a different kind of contest 
at the World Festival of University 
Drama, held in France, our School 
of Drama entered a team of eighteen 
students who presented two plays, 
one of them by Wole Soyinka. They 
were competing against twenty six 
Universities from major countries 
of the world. They gained third 
place, beaten only by Finland and 
Britain. This was a magnificent 
performance. It reflects the 
greatest credit on all concerned, 
students and staff alike, and 
provides a fitting climax to the 
Ibadan career of the School's 
Director, Geoffrey Axworthy.
UNIVERSITY OF IBADAN LIBRARY 
93
He is one of those leaving us 
this year and can do so with 
pride in his achievement. When 
he came to Ibadan there was no 
Sict hoforlo m ofn Drama. He eminence-^o t.hing to in
htaesr nabtuiiolnta l 
is a most befitting testimony to the selfless 
: *rirutions and achievements that marked the end of
-*»crthy era.
'r. Wole Soyinka, a well-known Nigerian playwright 
*-; over as Director of the School of Drama in 1967
- rrrunately spent the greater part of his tenure in 
prison custody, detained by the Federal Military Government. 
1f = ~er Lyndersay, a native of Trinidad took over as 
-ctirg Director while Soyinka was away. A technician by 
i : socialisation, he was a thorough man of the theatre who 
r-arced the fort ably till Soyinka was released in October, 
:?5S. Lyndersay’s major contributions were in the 
: -.rectorship of the Unibadan Masques (1974 - 76) which we 
.--=11 examine in Chapter 3.
UNIVERSITY OF IBADAN LIBRARY 
.€.4 Wole Soyinka and the Struggle for the 
Arts Theatre
Shortly after his release from detention,
Soyinka launched a fierce battle against the Arts 
Theatre Management Committee to secure the full 
control of the Art Theatre. Simultaneously, the 
prospects of a full-fledged degree awarding 
Department of Theatre Arts were being developed. 
Soyinka was fighting for the revocation of the 
ATMC mandate and seeking transfer of the Arts Theatre 
Management to the School of Drama for a smooth 
administration of a Department of Theatre Arts.
Soyinka was working from the background of a 
new development. It had been proposed in the 
196B/73 Quinquennium Estimates of the University of 
Ibadan, to the National Universities Commission, 
that a Department of Fine Arts be established to 
replace the School of Drama0 The proposals had 
read inter alia:
There are at Ahmadu Bello and 
Nsukka Departments of Fine Arts 
with emphasis on painting, 
sculpture, graphic arts and 
history of Arts. The proposal
UNIVERSITY OF IBADAN LIBRARY
here is to establish a Department 
of Fine Arts with emphasis on the 
Performing Arts which can through 
teaching and research make an 
invaluable contribution to the 
dreicvhe locpumletunrta lo f hetrhei twaeglel -oaf ttNeisgteerdi a 
in this field....
The nucleus of such a Department 
already exists in the Arts Theatre, 
the first if not the only modern 
theatre in Nigeria, and in the 
School of Drama which has already 
omfa deD raimtas  mian rkN igien ritah e .d.e.v5°elopment
On these premises Soyinka researched into the 
history of the Arts Theatre and the Arts Theatre Manage­
ment Committee in order to device flawless strategies to 
acquire the Arts Theatre for the development of his 
academic and professional programmes. The battle had 
a long history as Axworthy himself had discovered these
obstacles and had begun efforts to rectify them through
demands which yielded some results 57•
With regard to what motivated him to take these 
steps, Soyinka declared:
Working on future plans for the 
School of Drama I find that even 
its present programme is hampered 
bnyo t thine  ffualclt  ctohnattr otlh e ofD eptaher tAmretnst is  
Theatre which is its only laboratory.
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-  96 -
Dietsv elaocptmienngt ,c omepsapneyc iails lyf innaowl lyt haitn  
formation, is likely to remain on 
paper without a complete and 
iI mbmeegdaina tet o talkooek~ ovienrt o °ft het hhe istthoeartyr eo.f 
the Arts Theatre and the Arts Theatre 
Management Committee58.
The main contention between the School of Drama and 
ATMC was the Arts Theatre. In 1963 the ATMC was 
reconstituted to include six members of staff of the 
School of Drama (i.e. Director, Deputy Director,
Technical Director, Business Manager and a member of the 
School of Drama, usually Nigerian). The Secretary of 
the School of Drama was Secretary to ATMC but without 
voting power. In 1968 the Chairmanship of the Committee 
passed to the Director of the School of Drama.
Dexter Lyndersay, the Acting Director had pursued 
the struggle as far as that point when Soyinka came 
back. Soyinka was to deal the last blow on the ATMC when 
in 1969 it was clear that if the new Department of Theatre 
Arts were to achieve its objectives, then the Arts Theatre 
must be under its control. Soyinka saw no rationale in 
depriving the School of the absolute control over the
UNIVERSITY OF IBADAN LIBRARY 
theatre since it had been s'̂ pr in tending its day-to-day 
technical operation for the ATMC since 1963.
Although the University had a plan to build another 
theatre for the School, the proposal was not attractive 
enough to placate the agitation for the ceding of the 
Arts Theatre to the School. In the ATMC minutes of 
June 15, 1968 it was recorded as follows:
The Chairman reported that the 
Faculty of Arts motion to Senate 
had been withdrawn by the School 
of Drama; but he pointed out that 
at its first presentation to 
Senate, the resolution had been 
considered and Senate had noted 
with sympathy the need of the 
School of Drama for a theatre of 
Pirtso feoswsnoTr  D(eEsmmpohnads isH ilmli neh)ad also 
stated in Senate that he had caused 
a note to be recorded in Development 
Committee that, funds being available, 
a theatre for the School of Drama must 
be considered a priority. It was 
generally agreed that the root of 
discontent in the School of Drama 
was that the School was only a 
tenant of the Arts Theatre and has 
no place of its own. (Emphasis mine).
Soyinka was unrelenting in his pursuit. Conse­
quently the ATMC passed a motion to Senate which the 
ATMC minutes of January 17, 1970 recorded as follows:
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-  98
That the Arts Theatre Management 
Committee hereby recommends to 
oSfe natthee  Stchhaoto li n ofv iDerwa moaf  atnhde  eitxsistence  
programme of Development, the 
Committee feels its existence 
redundant and therefore recommends 
that it be dissolved and the mana­
gement of the Arts Theatre transferred 
to the School of Drama.
This motion was presented to Senate on January 
26, 1970, and was the last and most welcome action that 
secured the Arts Theatre for the School of Drama. Its 
ratification by the Senate made the Arts Theatre a 
laboratory of the School to be exclusively administered 
by the School. By October of 1970 the new Department of 
Theatre Arts took off with the Arts Theatre under its 
control. So its programme of activities in relation to 
the Arts Theatre were executed without recourse to any 
external body. The ATMC was now based and constituted 
within the Department of Theatre Arts. Wole Soyinka 
became the first Acting Head of Department. But unfortuna­
tely, for reasons best known to him, he could not wait
to translate his dream for the department into realityc
He resigned his appointment in 1971 59 and his place was 
given to Dr. J. A. Adedeji, an able lieutenant of his 
who had shared in his struggles and ambitions. Before
UNIVERSITY OF IBADAN LIBRARY 
99
Soyinka left he had formed the University Theatre 
Arts Company which premiered Madmen and Specialists 
at Waterford,® Connecticuts, U.S.A. in 19710
2 .6 . 5  Adedeji and His Expansion Programmes
Dr. Joel Adedeji*s headhip would have been 
encumbered with problems had he not been familiar 
with and sympathetic towards Soyinka ' s theatrical 
ideals. The immediate but intricate challenges 
that confronted him were connected with how to 
develop the young Department. His ambition was 
to establish a tradition uniquely his own, build 
the curriculum to a high standard and staff the 
Department adequately. To this end, he made
incessant demand for increase in staff quota 6*1.
Adedeji’s contributions were in various 
directions. He established the Departmental 
production culture (1971) and the Secondary Schools 
Drama productions (1971), restructured the Arts 
Theatre Stage (1973), and founded the Unibadan 
Masques (1974). He also established the students 
Drama Fiesta (1980), founded the Unibadan Performing 
ming Company (1980) and repaired the Arts Theatre
UNIVERSITY OF IBADAN LIBRARY 
100
stage which was gutted down by fire in August 1982.
His other credits exist in the area of Theatre-in— 
Education Or the development of drama as teaching subject 
in secondary schools.
Immediately on assumption of office, Adedeji 
reactivated the dormant Theatre-on-Wheels with the 
production of Kiri 1i by Wale Ogunyemi. With Kiriji, his 
maiden production as head of Theatre Department, he 
established a completely new tradition of "Departmental 
Production" otherwise known as the "Festival Show".
He describes the project as one:
in which everyone has a part to 
play: on stage, back stage, and 
front^ of house. It attempts to 
communicate the view that the 
theatre is a community where 
i(dseica)l s,a rec onscheaprtesd  atnhdr oupgehr cetphtes  
communicative act between those 
who stage the show and those who 
come to see it5 o
The Arts Theatre audience customarily had the
first taste of production before it was transferred to
the Theatre-on-Wheels wnich took it to the town or outside 
the state 6 o• Some of the other productions include Hassan
UNIVERSITY OF IBADAN LIBRARY 
101
by Elroy Flecker (1972), King Emene by Zulu Sofola (1976), 
Lucifer and the Lord by Jean Paul-Sartre (1981), The Man 
Who Never Died by Barrie Stavis (1985) etc. Also in 1971, 
Adedeji introduced the Secondary Schools Drama projects 
in certain schools in the Ibadan Metropolis. In essence, 
the drama projects in schools encouraged the production 
of small African plays and dramatic literature texts for 
school examinations. Those plays were quite different 
in purpose to the Departmental productions which were 
aimed at extolling the total nature of African drama 
in its use of music, dance and drama.
Adedeji’s penchant for big and multi-cast productions 
as exemplified by his innovative Departmental Productions 
put him at variance with the technical and artistic 
restrictions of the proscenium stage •
Prior to 1973, Adedeji had mounted his festival plays,
Kiri 1i (1971) and Hassan (1972) with spatial constraints
and compromises in artistic vision. But the 1973
production, an adaptation of J. Bi Danquah’s The Third 
Woman6 5 could not be compressed within the proscenium
limitations. This multi-level play demanded multiple or
UNIVERSITY OF IBADAN LIBRARY 
102
simultaneous settings for its magnificent scenes. It 
set Adedeji ruminating over how to break away from the 
constrictions of the proscenium stage.
Such scenes as the throne of Olodumare, the Garden 
of Creation and Moremi's processional entry needed 
abundant space that could accommodate processions and 
pageantry. Adedeji decided to extend the stage on both 
sides to join the auditorium on the same level. The apron 
was generously extended into the orchestra pit to a point 
of eliminating the orchestra. That gave the Arts Theatre 
the "extended stage" which it retains till the present.
By this bold step, Adedeji broke the inhibitions of the 
proscenium and made the stage adaptable for the promotion 
of African plays.
After scaling over the hurdle of proscenium 
restrictions, and having established the schools drama 
project, Adedeji embarked on the founding of a semi- 
professional troupe to make effective use of the new 
stage form to experiment with modest African plays. The 
Unibadan Masques was founded in October 1974 to promote 
African plays and playwrights. The overwhelming success
UNIVERSITY OF IBADAN LIBRARY 
- 103. -
rf this enterprise resulted in Adedeji's inauguration of 
z~e Unibadan Performing Company in 1980* Also in 1980, 
the termination of the Secondary Schools Drama 
^reductions, a festival of student productions VDrama 
Fiesta" (which will be examined subsequently under 
student productions) was instituted.
The staging of Bode Sowande's two plays Flamingo 
and The Night Before, on Friday August 27, 1982, by 
Odu Themes organization fc»rougnt disaster to the Arts 
Theatre and temporarily eclipsed theatrical activities 
on the campus* Fire gutted dowri the stage and burnt the 
theatre's Bentley Piano *
Adedeji did not allow this disaster to paralyse 
theatrical activities, for he quickly approached the 
University authority for assistance in repairing the 
theatre* But as the economic instability of the University 
made this less feasible, the authorities could only 
promise to undertake the repairs whenever its fiscal 
position improved. At the same time, Adedeji appealed 
to the National Insurance Corporation of Nigeria (NICON) 
which insured the facility to release the N32,000 claim 
to repair the damage. While NICON was delaying in
UNIVERSITY OF IBADAN LIBRARY 
- 104 -
providing the necessary funds for repairs, Adedeji 
-egotiated for a N10,000 loan with CEREMAC (Centre for 
Resource Management and Consultancy - the commercial 
Venture of the University)* This was channelled through 
the Unibadan Performing Company (a unit of CEREMAC) on 
June 13, 1983* In order not to paralyse the theatre 
completely, Adedeji invited the Maintenance Department 
to restore light in the theatre by replacing the burnt 
cables and also repair the stage for temporary use to 
enable the theatre resume (partially) its cultural and 
academic activities*
Inflation soon caught up with the loan arrangement 
before it matured, which necessitated a renegotiation 
under new terms. The rehabilitation of the stage was 
now estimated at N18,410*00. The terms of agreement for 
the payment of the loan were as follows:
(i) That the Department of Theatre Arts
would allow U.P.C. to use the Arts Theatre 
for 3 days in the week during term and 6 
days during holidays at a rental fee of 
N25.00 per day;
UNIVERSITY OF IBADAN LIBRARY 
105
(ii) That the loan would be liquidated by 
U.P.C. from the rental fee of N25.00 
per day; and
(iii) That the use of the Arts Theatre be confined 
to film shows and stage performances at 
period mutually approved in advance by the 
Business Manager of the Department and
that of the Unibadan Performing Company 67o
The renegotiated loan of N18,410.00 dated January 13,
1984 secured the money for the full rehabulitation of the 
stage. In August 1984, the Arts Theatre swung back to 
full operation with the Extra-Mural Theatre Workshop 
production of Isi Agboaye’s Lagoon de come. Adedeji ended 
his long (almost uninterrupted) tenure in 1985 as head of 
Theatre Department with the production of Barrie Stavis*
The Man Who Never Died. This was an international 
presentation to mark the 21st anniversary of the Department 
of Theatre Arts. It was also a befitting valedictory for 
his exit and a visible display of the mastery of world 
drama and the height of theatrical expertise at Ibadan.
UNIVERSITY OF IBADAN LIBRARY 
Notes and Bibliography
Mellanby, Kenneth. The Birth of Nigeria^
University. (Ibadan: IoU.P., 1974), 15.
Tamuno, N. Tekena. ’’The Formative Years 1947-1956" 
in The University of Ibadan 1948 - 1973:
AE d.h isJ.t orF.y  Aodf e.t hAej afyiir stan dt wTeenkteyn af ivN.e  Tyaemaurns.o. 
(Ibadan: IUP, 1973), 40
Adedeji, J. A. The Theatre in an African 
University: Appearance and Reality.
IIUnPa,u gu1r9a80l) ,L ec7t-u8re. 1978 - 79. (Ibadan:
Mellanby, K. Nigeria^ University.. 86
Mellanby, K. Nigerians University., 86
Ferguson, John. "Ibadan 1956 - 1966" in Ibadan 
Voices: University in Transition. Ed.
Tekena N. Tamuno. (Ibadan: IUP, 1981),
125 - 126.
See Plate 2
Wandira, Asavia. The African University in
D19e7v8e)l,o pm2e1n.t. (Johannesburgh: Rowan Press, 
Axworthy, G. The Arts Theatre.. 62
Burris-Meyer Harold and Edward C. Cole.
Theatres and Auditoriums. (New York:
R. E. Krieger Co., 1975): 34.
NicollT,h eaAtlrlea:r dy2c0e5.. The Development of the 
UNIVERSITY OF IBADAN LIBRARY 
- 107 -
12. Burris-Meyer and C. Cole. Theatres and 
Auditoriums. 128
13o Leacroft, Richard and Helen. Theatre and Play­
house; 47
14. Brooks McNamara et al. Theatres, Spaces.
Environments: Eighteen Projects. (New York: 
Drama Book Specialists, 1975): 10
15. Nicoll, Allardyce. Development of Theatre: 208.
16. Dalman John Jr. and Richard K. Knaub.
The Art of Play Production. 3rd ed. N.Y: 
Harper, 1973: 42 - 46.
17. Darwin, Reid Payne. Design for Stage.
Carbondale: S.i.U. Press, 1974): 46
18. Burris Meyer and C. Cole: 127
19. Leacroft, Richard and Helen. Theatre and
Playhouse: 178
20. Burris-Meyer and C. Cole. Theatres and
Auditoriums:. 129.
21. Leacroft, Richards and Helen. Theatre and
Playhouse: 195.
22. Burris-Meyer and Cole: 134.
23. National Theatre Education Department.
National Theatre of Great Britain: Questions 
and Answers on its History. The Building. 
Finance and Artistic Aims. (London, 1986): 6
240 Burgard, A. Arts in the City: Organizing and
Programming Community Arts Council. (N. Y: 
Assoc. Councils for the Arts, n.d.): 33.
25. Burris-Meyer and Cole: 127
UNIVERSITY OF IBADAN LIBRARY 
- 108 -
26. Burris-Meyer and Cole: 127
27. Mellanby, K. Nigeria's University. 55
28. Mellanby, K. 1! » 55
29. Ferguson, John. Tha^an_.yn1rPSt 113
30. Mellanby, K. 157
31. Hartnoll. Phyllis. Ed. Oxford CompanionTheatre: 391.
32o May, Robin. History of the Theatre. 4
33. Mellanby, K. 157
34. Adedej i, J. A The Theatre in an AfricanUniversity: 8.
35. Senate Minutes No. 370 of January, 1957.
36. Axworthy, G. "The Arts Theatre”: 62
37. Correspondence captioned - "Booking the Arts
Theatre, Secretaryship of the Arts Theatre 
Management Committee from Miss G. Minter 
(Secretary ATMC 1963/64) to the Secretary 
of the School of Drama-dated June 22, 1964c
38. One of such most revealing incidents occurred
in a correspondence from the University 
Bursar, Mr. G.J.B. Allport to Mr. G.J. Axworthy 
in a correspondence Ref. 8.631/186 dated 
25th October 1963 to Mr. Axworthy while on 
holiday in Britain. It deals with Arts 
Theatre programmes and developments.
39. Adedeji, J. A. The Theatre in an African University:
8 - 9.
UNIVERSITY OF IBADAN LIBRARY 
- 109 -
40. ATMC Minutes of November 4, 1961, No. 244,
furnishes us with details in this regard.
41. Report of Visitation Panel to the University
College, Ibadan, Jan. 1961, (Ibadan: IUP,
1961). Paragraph 76, p. 29 - 30.
42. See Co8m48m.onwealth Universities Year Book, 1964:
43. Yerimah, Ahmed. "Geoffrey Axworthy in Interview
with Yerimah Ahmed" in Lace Occassional 
P19u8b4l.i caEtd.i onD apLo.O .APd.e lugVboal:.  12.. No. 9, August 10, 
44. Fola Aboaba is now a Professor of Agric—Economics
at the University of Ibadan. He participated 
in all dramatic and musical activities 
involving various organizations*. He was 
past chairman of the Music Circle and Secretary 
of the Ibadan Operatic Society in which he 
was actively involved until the groups disbanded. 
The Music circle is not totally dead, but is 
no longer active. See interview with 
Professor Fola Aboaba in Appendix 6.
45. Axworthy, G. "The Arts Theatre: 62
46. Leacroft Richard and Helen. Theatre and
Playhouse: 101.
47. An evidence of Axworthy's tireless efforts in this
area is revealed in a correspondence from the 
University Bursar, Mr. Allport to Mr. Axworthy 
while he was holidaying in Britain. The 
letter dated July 24, 1963 speaks about the 
various alterations being carried out by the 
ATMC as directed by Mr. Axworthy.
48. Axworthy, G. "The Arts Theatre" 63.
UNIVERSITY OF IBADAN LIBRARY 
110 -
49, Yerimah, Ahmed, "Axworthy in Interview:■ > 32
50, LanglePyr,i ncSitepplhee na,n d TPhreaacttriec e Man(aNgeew meYnotrk :i n DrAmaemraica; 
Book Specialists, 1979) Rvsd: 165,
51, Yerimah, Ahmed, "Axworth in Interview": 8
52, Adelugba, Dapo, "The Professional and Academic
Theatre: A Twelve-Year Relationship at
Ibadan 1963. - 1975", Maske and Kothurn 
Internationale Beitraqe Zur Theatre, 
Wissenchaft, 30 Jahrgang, SOUNDERRUCK,
Hermann Bohlaus Nachf. Wien. Koln. Graz.
1984: 341.
53, Sonuga, Gbenga. "From School of Drama to
Department of Theatre Arts - (an evaluation 
of the University of Ibadan's Curriculum for 
the Theatre Arts) New Culture Magazine. 
February, 1979: 38 - 39.
See Plate 3.
54, Osofisan, B. A. "The Origin of Drama in West
Africa". Ph. D. Thesis, University of 
Ibadan, 1973: 351 - 2.
55, Harris, John, "An Address" by John Harris.
AHacltj.i_n_.go n VGircae.-dCuhaatnicoea„lDlaQyC-^ G13.03 ZJeuhn„ei,n  T1r9e6n7c. haIrbda dan: 
IUP~, 1967: 4 - 5. " ... " ..
56, Extract from Appendix I, Schedule I of the
Proposals for the Quinquennium 1968/73 
submitted to the National Universities 
Commission in December 1966. Part B:
PNaerw agDreavpehl op2:m enDte paurntdmere ntF acofu lFtiyn eof  ArAtrst.s, 
UNIVERSITY OF IBADAN LIBRARY 
- Ill -
57. As far back as 1963, right from the inception of
the School of Drama, Axworthy had been 
demanding for the reconstitution of the ATMC 
membership to include more staff of the 
School of Drama. He succeeded only in 
securing technical administration of the 
Arts Theatre as ATMC minutes of 8th June, 
1963 reveals.
58. See ATMC minutes of 10th January, 1970 and
Soyinka’s submission captioned - The Arts 
Theatre Management Committee.
59. In an article titled "Why Did Wole Quit" by a
Correspondent in the May 1972 edition of 
Afriscope Magazine pages 13 - 15, 
circumstances surrounding his resignation 
was examined.
60. Gibbs, James. Modern Dramatists: Wole Soyinka
(London: Macmillan, 1986): 99.
61. See Memo to Dean of Arts, Professor V.A. Oyenuga
on "Special Case" for additional staff for 
dbaottehd  tMhaey  De6,p ar1t97m2e.nt and the Arts Theatre 
62. Cited from the Programme notes of The Man Who
Never Died. 1985 Departmental Production, 
page 4.
63. The present writer witnessed the revival of
Theatre-on-Wheels by Adedeji in 1972 with 
the production of Hassan by Elroy Flecker 
directed by Bayo Oduneye for the 2nd All- 
Nigeria Festival of the Arts in Kaduna, 
December 9 - 19, 1972. The play was also 
performed at Abadina School for the 
Community free of charge and at Agodi 
Garrison - being a command performance for 
htehaed eMdi lbiyta Groyv Geronvoerr nmReontti mio f (W1e9s72t)e.rn State 
UNIVERSITY OF IBADAN LIBRARY 
112 -
64. See Appendix I for available technical facilities
and dimensions of the Arts Theatre.
65. The play was reviewed in the University Register,
a monthly opinion magazine published and 
edited Egbe Mengot c/o Mellanby Hall 
University of Ibadan. May 30, 1974 issue 
page 22.
66. The disaster was caused by the unextinguished
fire in a coal pot used in the production 
which smouldered over the night into the 
morning of August 28, 1982. See Report 
of the Investigation Panel on The Fire 
Incident in the Arts Theatre. Faculty of 
Arts University of Ibadan, Nov. 1982: 13. 
The panel of 7 members was headed by 
Professor 0. Kujore.
67. See "Loan of N10,000 by CEREMAC Towards Repair
of The Arts Theatre: Terms of Agreement" 
dated 13/6/83 in Business Manager's Arts 
Theatre Booking File 1984.
♦
UNIVERSITY O
 IBADAN LIBRARY 
CHAPTER 3
THEATRE EDUCATION: THE PHILOSOPHICAL 
PERSPECTIVE
The Philosophical Latitude
In this chapter we shall examine the educational 
philosophy of the Arts Theatre by highlighting its 
workshop origin, academic programmes, extra-curricular 
activities and associated staff and student produc­
tions that made the Theatre the hub of theatrical 
activities.
Theatre has aims - general and particular, great 
and small. If they are to be of any value, these aims 
must be worthwhile in the eyes of the programme 
originator, but also dynamic in the practical 
operation. The evolution and development of theatre 
at Ibadan did not follow any definite pattern but 
was a mixture of general and particular. If we asked 
Randall Hogarth who began theatre tradition at Ibadan 
how and why he started theatre as extra-curricular 
activity involving only the teachers in training, 
he might give us a long list of reasons.
Among them might probably be: to improve teachers’ 
understanding of English Language, to improve fluency, 
transmission of culture, mental development, public
UNIVERSITY OF IBADAN LIBRARY 
114
stealing habit or that he used drama as a technique 
in Education.
Y.e have both general and specific aims in all of 
z~e aforementioned. Geoffrey Axworthy's philosophy of 
c-eatre was slightly different in theory and practice to 
z-=z of Wole Soyinka, while Joel Adedeji's perspective 
as quite distinguishable from both. But if we consider 
each as unique and examine -the consequences of their 
approaches, we would see that they have all promoted 
rheatre theory and practice significantly in their 
variegated ways.
It is comparatively easy for theatre initiators to 
'̂ rrtVv b̂irri, or a set of aims at a high level of generality 
such as - to promote the highest intellectual and moral 
development of students; enhance environmental adjustment, 
to transmit cultural heritage etc. Such aims could be 
accepted easily without critical analysis and in conse­
quence lead to vague hopes ending up in the limbo of lost 
causes. At Ibadan, and at different stages of development 
various theatre programmes have been designed and 
discarded after awhile. They were the hallmarks of 
the uneasy paths to acceptability and progress.
UNIVERSITY OF IBADAN LIBRARY 
115
The Arts Theatre is an educational theatre 
zri-.cipally because it is located at an educational 
z-sritution. John Clifford identifies the purposes and 
slues of educational theatre as follows:
A. The main purpose is to entertain an audience.
B. The secondary purposes are:
1. To preserve in living form, the great 
heritage of the Dramatic Literature 
of the past. •
2. To raise general public's level of 
taste, appreciation and standards for 
theatre arts.
3. To provide quality theatrical entertain- 
ment for the academic and the local 
communities.
4. To provide opportunities for interested 
persons to participate in an artistic 
endeavour.
5. To provide an opportunity to learn the 
arts and crafts of quality theatre to 
students interested in pursuing 
Theatre as a profession!.
We presume here that Randall Hogarth was thinking 
in terms pf secondary purposes of educational theatre when 
he introduced theatre at Ibadan. His efforts stimulated 
many theatre workshops.
Theatre as an academic discipline was further 
enhanced in December 1956 through the Department of 
Extra-Mural Studies Study Conference for Teachers held
UNIVERSITY OF IBADAN LIBRARY 
116
Monday 17th to Friday 21st December, 1956. The main 
f:cus of the conference was the Shakespeare Seminar,
:a=Iing with the study of his Richard II. Geoffrey 
-=.crthy delivered lectures on the History and Poetic 
_-=gery of the play, while Martin Banham spoke on 
: -aracterization and production aspects. Recorded 
a=tracts of the play were used for discussion. This was 
=- exposition of drama through teaching and demonstration 
-• theatre experts. The 1962 drama workshop conducted 
ry Professor Anne C. Reid of Howard University, U.S.A., 
for teachers and theatre enthusiasts was particularly 
rrucial because it presented the theatre in relation to 
the American university. The theme was "The American 
--iversity and the Theatre". Participants were exposed 
tc the techniques of play criticisms, play selection, 
rroduction and film. Workshop tutors included Professor 
~eid herself, who spoke on "The University and the 
Theatre in the United States", and Mr. Axworthy who lectured 
oh "Impressions of Educational Theatre in America", while 
Mr. Martin Banham*s topic was "Production at Yale 
University". Mr. Banham supplemented his lecture with 
colour slides and tape recordings illustrating the growth 
of two productions at Yale School of Drama - Shakespeare's 
Tempest and a modern Greek play He Who Must Die.
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\ colour film, Paul Baker*s Hamlet, an experimental 
production of Hamlet at Baylor University, Texas was 
shown after the lecture. This workshop was organized 
by the Department of Extra-Mural Studies, from where it 
acquired the epithet "Extra-Mural Drama Workshop" in 
association with the United States Information Service 
(USIS).
Without doubt, these teachers' workshops and
seminars were the remote causes that inspired theatre
scholarship and practice in Nigeria. At the commencement
of the School of Drama in October, 1963, Drama Workshop
(later called Extra-Mural Theatre Workshop 2 after the 
conversion of the School to Department of Theatre Arts) 
became less spasmodic and undefined. The thrills of 
Ogunmola's internship at the School made the significance 
of the drama workshops evident. Some of the past produc­
tions of the workshops included The Reign of the Mighty 
by the Ogunmola Theatre, 1962; The Palmwine Drinkard 
written by Amos Tutuola and adapted by the Ogunmola 
Theatre (1963); Owuama-World of the Water Spirits and 
Creation, both directed by Peggy Harper; Enia by Wale 
Ogunyemi directed by Dapo Adelugba (1983); Lagoon de Come 
by Isi Agboaye directed by J. Oyesoro (1984) and Nobody 
Ever Accepts written and directed by Evru Longley (1985)0
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The advantage of these workshops and seminars lies 
their ability to illustrate theatre as an academic 
stjdy and as an entertainment of immense diversity.
*-.en Axworthy drew up his proposals for the School of 
Drama, he took cognisance of the potentials of these 
.crkshops. The School was to provide courses in Theatre 
-rts and also ensure the safe and orderly conduct of extra­
curricular work within the' building. The school was also 
to establish contact with schools, colleges, dramatic 
organisations, and also share products of research and 
expertise.
At the initial stages, the main target of theatrical 
education were teachers who were supposed to establish 
oramatic or cultural activities in their various schools 
after graduation from the University. Courses like 
dramatic Literature, Dramatic theory and Criticism, Acting, 
Directing, Dance, Stage Management, Film etc became aspects 
of studies. A two year Diploma course in Educational 
Drama was initiated in 1963 for teachers. This was replaced 
in 1965 with a two-year professional Diploma in Drama.
Do. 1966 a one-year Certificate Course in Educational Drama3
-as introduced
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119
The advent of the School of Drama ushered in new 
zicensions in the Arts Theatre theatrical activities.
T*e student dramatic classes were held in the Arts 
7-eatre, their productions were staged there , and the 
extra-curricular theatre workshop productions also 
continued to increase the volume of activities. In 1966 
c e  School of Drama began participating in the Bachelor 
of Arts degree programme of the University by offering 
Drama as a subject for Combined Honours degree in the 
faculty of Arts. Later in 1969/70 when the School of 
Drama was converted to an academic Department of Theatre 
Arts, it began to offer a single Honours degree in Drama. 
*ith the conversion of the School also came the expansion 
of academic curriculum.
The centrality of 'education* in this and
cognition of the variety of its semantic variables
that we circumscribe our limit and interest
♦Education' here implies the training received formally 
or informally through interaction with or inspiration 
derived from the Arts Theatre. 'Theatre Education' as 
a concept in this study places 'theatre* on a par with 
'education' in its dynamics to instruct people, influence 
them and finally change them. This is conversely disposed 
to the concept of 'Drama-in-Education* or 'Theatre-in- 
Education', and which presupposes 'Drama* or 'Theatre' as
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an integral unit in 'Education* with its curriculum 
definition. In other words, it is the practical consequences 
of the Arts Theatre activities as they affect the spread 
of theatre culture. It is in this purview that the 
pedagogic impact of the Arts Theatre is better illuminated 
as an all embracing entity which is unlimited by academic 
theory and practice.
Since the mode of education obtained through the
Arts Theatre laboratory is formal and practical, we share
more than a coincidence in Glenn Langford's concept of
'formal education'. He says:
'Formal education', then, is the name 
of an activity distinguished from other 
activities by its overall purposes; and 
that purpose is that someone should 
become educated. since its purpose is 
to bring about change, it is a practical 
and not a theoretical activity....4.
The functionality of the Arts Theatre includes therefore
a formal education in that it provides opportunity to see, t
/
learn and practice theatrical activities regularly.
The pragmatic media of achieving its objectives vary widely. 
These include workshop, student and staff productions.
Amateur works which receive heavy support and the semi- 
professional and professional productions of the campus 
and non-campus troupes complemented the pedagogic output 
of the Arts Theatre. The international presentations of 
the Arts Theatre based troupes like the University Travelling
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Theatre, University Theatre Arts Company (UTAC), 
University Dance Ensemble; Visit of Foreign troupes, 
and film exhibitions are also considered the 
legitimate and serious educational channels of the 
Arts Theatre. Except professional theatre productions 
which will be discussed in the next chapter, all 
of the above listed productions will be discussed 
here. But before.we proceed further let us consider 
the phenomenology of ’style* in theatrical production.
3.2 The Development of Production Styles
A crucial attribute of production throughout
theatrical history is the element of ’style’. Style,
a rather evanescent element provides an insight into
the aesthetics of production. But ’style' as a
creative idiom is so illusive a phenomenon to define
since it inheres in the ingenuity of practice
manifested intrinsically and extrinsically. It t
embraces the qualities of all components of production, 
sustained and externalized by ethnological belief 
system, outlook and cultural transmission processes. 
Theatre architecture, and functions, audience - 
performance relationship, quality of acting, music, 
period, light design, costume, diction, technical 
realities, and type of writing (realism, symbolism,
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122
r: ~=r.~icism, absurdism etc) are all embodied in the word 
style'• The contemporaneous application of 'style' to 
:ss-ion, fads, mannerism etc has further complicated its
scope.
'Style's is distinctly discernible in the disparity 
rezveen Aeschylus's Agamemnon and Shakespeare's Macbeth 
seeause they^relate to different theatrical eras with 
:_fferent literary ideologies and socio-cultural orienta­
tions. The declamation of the classical theatre with its 
-erse speaking and Aristotelian tragic heroes is linearly 
related to Shakespearean tragedies. But in spite of this 
relationship the styles of the two kinds of theatre are 
vastly dissimilar and this is perceptible in their dramatic 
elements.
The rhetorical aspect of the Greek plays is evident 
in the mastery of the syntax, subtlety of passion and the 
r-perativeness of their language. Declamation, imagery, 
-etaphor, elocution etc hold attraction for the Greek 
audience and are indeed styles in tragic characterization. 
Plays helped them master their language and also acquire 
skill in oratory or use of new words and idioms.
The Elizabeth society and the glory of its drama 
can also be easily appreciated for instance in the speech 
of Lady Macbeth, a self-willed woman, no less superhuman 
than Clytemnastra. Although she is more peremptory, her
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alour is much in her words (consequences) rather than 
i- her action. The language of Lady Macbeth is definitely 
:isrespectful, vulgar and dagger drawn. The oratory 
fla-.boyancy is instigated by the propelling force - a mad 
-Oition to make Macbeth king so that she could become 
r-een of Scotland.
With the above illustrations, ’style’ can be 
isualized as elemental characteristics and qualities of 
i production which manifest themselves in language, 
sction, music, costumes, imagery etc. A look at plates 
1, 3, 4, 5 and 6 definitely shows these productions have 
f  ique styles in costumes, set designs, aesthetics etc. 
t- at give us insight into what the productions looked like.
In his study of ’style’, Michael Saint-Denis said
fat "style is the man himself" which according to his
explanation means "that the most authentic part of a man’s
:ersonality, all that is deepest in him, is revealed by
f e  style of his work" 5. The result is that the training 
e _an receives, how he behaves, dresses, his morals, way 
zf speaking and the period he lives - all are inherent 
.- his 'style'.
At Ibadan, the choice of plays and production style 
* = s determined by the vision of the Arts Theatre Management, 
r srcicularly the Director of the Arts Theatre.
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ferefore to be expected that the artistic 
i" the first decade of the literary theatre 
::r. -as inevitably colonial in practice and taste.
this was neither intended by the Government 
: tiered by the University administrator but was an 
. ~ ~zLcus imposition of the dilettante efforts of the 
r-ial workers. Mellanby informs us that much as his 
-as complicated by t-he nascent Nigerian nationalism, 
,:;ca1 situations were not allowed to shape the academic 
elrr-ent and academic freedom.
The Inter-University Council (IUC) whose duty was to 
i--ead the young university college was alert to its
sibilities by not tolerating any encoachment from
government. But a production, as a vision, can neither
isolated from its society nor devoid of a focus or what
. Banks calls "point of view"^. This is apparently
-rined in the Senate’s mandate to ATMC in 1957.
s -ancate itself depends upon a correct interpretation
z~e codified philosophy of the University as found in
-otto "Recte Sapere Fons" (meaning "The source of
-d judgement and correct knowledge" 7 ) to fully 
iculate the cultural aims of the University,, Certainly, 
Arts Theatre as a microcosm of the wider university 
t develop a style in culture and learning, and had to
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125
reflect the university policy in play selection 
rroduction style between 1955 and 1985.
r-res of Productions Over the 
. 4=rs 1955 - 1985"
Prior to the advent of Geoffrey Axworthy and 
*_*e establishment of a formalized programming at 
z~e Arts Theatre, the British Council had been 
rlaying a remarkable role in the cultural life of 
z~e University College. For instance, it donated
",000 volumes of books g and had begun sponsoring 
theatrical productions at the Arts Theatre through 
the colonial workers* cultural activities. Such plays
as Don*t Use Big Words, Tobacco Road, Sheridan* s\
The Rival and Moliere’s The Would - be Gentleman had
-.......... ;‘'i. 'V - ^ v V 'V ..... . ..............................................
been performed by these groups. Envrironmental needs, 
taste and availability of funds guided the choice of 
repertory. The motive behind these productions as 
Axworthy explains "was purely for entertainment to 
recall some annual Easter and Christmas Pantomine of 
England"55.
The active participation of the British Council 
in the cultural programmes of the Arts Theatre, no 
doubt added to the misconception, which we consider 
erroneous, that the Arts Theatre was a colonial 
instrument of aAculturation.
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126 -
The teaching of a course known as English Life and 
Institutions earlier mentioned, also promoted this 
suspicion. These activities, aimed at heightening 
awareness of foreign culture, were obviously done with 
less discretion and regard for African culture. It was 
a matter of Europeans taking the initiative when .
Africans had not been sufficiently prepared for the task, 
and their giving cultural.leadership, when the Nigerian 
elite were sure of the future of the academic theatre 
in African culture. The period 1955 - 1956 may be regarded 
as the time v/hen there was no clear cut policy or concrete 
management philosophy and when productions were 
exclusively managed by the colonial workers with colonial 
inspiration.
The creditable success of the Arts Theatre produc­
tions from 1955 to 1985 has been due to the virtuosity 
of its leadership and the finesse with which programmes 
were selected. The nature of management vision and the 
employment of specialists to carry out specialized 
functions, be it artistic, technical or administrative 
as well as the personal commitment brought into the 
organization were largely responsible for the profusion 
and maintenance of the high standard productions. While 
the Arts Theatre was still young, Martin Banham noted 
the quality of its productions in these terms:
t
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The University Arts Theatre has seen 
almost a hundred productions in less 
than ten years, not only the works of 
established and famous playwrights, 
bbyut  Niaglesroi afni rswtr itperrosd,u ctpiloanyss  owfr itnteewn  plbayys  
students, and dance dramas by such 
talented groups as Ogunmola Folk Opera 
Company. Much of the stimulus for all 
this activity has come from the personnel 
of what is now the School of Drama, who 
working actively with students and 
colleagues, have demonstrated that the 
theatre has a strong part to play in 
Nigeria today.and may be expected to 
contribute considerably towards the 
ctou ltcuormeadlo .life of Nigeria in the years 
It is quite difficult to list out all the theatrical
activities that took place in the Arts Theatre since
numerous student and amateur productions were unrecorded.
They left no programme notes and are therefore lost to
history. What we have listed as Arts Theatre Productions
1955 - 1985 in Appendix 2 consists of 174 productions
from Noah to Circus of Freedom Square - which are by far
below the actual number that the Arts Theatre accommodated /*
in the period under study. Appendix 2 contains only the 
major productions initiated by the Arts Theatre Management, 
the School of Drama and the Department of Theatre Arts, 
usually two or three in a year**.
The Arts Theatre has seen numerous productions that 
cut across all cultures and taste. It has been able to 
satisfy various artistic, educational and entertainment
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128
needs and expectations in terms of quality and 
diversity. Drama, dance, music, operas, film, amateur, 
professional and international packages have been 
intricately presented on the Arts Theatre programme over 
the years, a situation which made Geoffrey Axworthy to 
declare that:
Through its wide-ranging art 
programme Ibadan's Arts Theatre 
became, in ten years, not only 
an important cultural centre, 
but also a training ground for 
creative artists, and technicians 
who led the remarkable development 
of all the performing arts in that 
country* 2.
This discriminated objective programming constitutes 
the alluring influence which makes the Arts Theatre an 
indispensible cultural institution in Nigeria.
Today, the Arts Theatre has made international
impact artistically through its productions. Geoffrey
Axworthy acknowledged that the establishment of the
Sherman Theatre, University College, Cardiff Wales of
which he is the founding director (1970) was based mainly
on his experience as Director of the Arts Theatre of the
University of Ibadan, Nigeria 13. William T. Brown, a 
former staff of the School of Drama, Ibadan, similarly 
based his "Shakespeare-on-Wheels"^^ at the University of 
Maryland, Baltimore, U.S.A., on his experience with the 
Ibadan Theatre-on-Wheels.
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Such productions as Panda and Konqi’s Harvest 
represented Nigeria at the First World Black Festival 
of Arts and Culture in Dakar (1966), and the University 
Drama Festival held in Nancy, France in 1967 respectively.
t
Daybreak in Jebang, toured U.S.A., 1980 - 81, A Flash 
in the Sun, participated in festivals in U.S.A. (1982) 
and Japan (1984) and Circus of Freedom Square toured 
Italy in 1985. These productions placed Nigeria on the 
world theatrical calendar.
The types of productions that have taken place in 
the Arts Theatre since 1955 can be sharply divided into 
three categories and three periods viz: (1) European 
(1955 - 1958), (2) Euro-African (1958 - 1974) and 
(3) African (1974 - 1985). A study of Appendix 2 shows 
that productions during the years 1955 to 1958 were purely 
European plays and operas. Even the Student Dramatic 
Society (UCIDS) was producing European plays. But as from 
1958/59 when Soyinka’s plays were introduced, the UCIDS 
commenced spicing theatrical activities at the Arts 
Theatre with African plays. An amateur group, the 
Players of the Dawn, which was incepted in 1959 also 
supplemented UCIDS efforts. However, the years 1959 to 
1974 witnessed ardent competition between European and 
African productions.
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130
This period also witnessed the emergence of the 
University Travelling Theatre, the School of Drama 
Acting Company, Ibadan Players, 1960 Masks, Orisun 
Theatre, and Unibadan Masques.
Furthermore, with the transfer of the Arts 
Theatre to the Department of Theatre Arts (whose 
emphasis was the promotion of African plays) in 
1970, the production- of European plays declined.
The success of the Unibadan Masques (1974 - 1979) 
in the production and promotion of African plays 
gave birth to an independent professional troupe, 
the Unibadan Performing Company (1980 - 1985).
The contributions of the Secondary School Drama 
Workshop productions at the Arts Theatre, which was 
Adedeji's innovation (1971 - ly79) also deserve 
mention. The types of productions which all these 
groups embarked upon will be examined subsequently.
3.4 Academic Integration of the Yoruba 
Professional Travelling Theatre
The Departments of Extra-Mural Studies and 
English explored all possible prospects to make 
theatre academically and culturally relevant to 
Nigeria. Professor Ayo Ogunseye of the Extra-Mural 
Studies and Geoffrey Axworthy assisted by Martin 
Banham, both of Department of English, were
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131
particularly involved in this project. The 1956 
Teachers’ Study Conference Studied Shakespeare's 
Richard II as an academic phenomenon. The 1962 theatre 
Workshop conducted by Professor Ann. C. Reid also 
examined the theatre as an academic discipline in America. 
Through these academic seminars and frequent promotion 
of amateur productions in the Arts Theatre, theatre was 
seen as a virile instrument of cultural transmition and 
a recognized academic vocation. The brilliant performance 
of The Reign of the Mighty by the Ogunmola Travelling 
Theatre established the fact that the Yoruba travelling 
theatre had unique characteristics worthy of academic 
study.
This fact was further strengthened by the success
of Ogunmola's Palm Wine Drinkard in 1963. The rich
folkloric contents.of the play and the versatility of the
actors in music, dance and poetry were irrisistible
elements of this theatre that propelled Wole Soyinka to
describe the play as "first rate" production. He concluded
his commendation by saying that:
With the right and sensitive kind 
of guidance, the 'people's theatre' 
of folk opera can rise to an 
appreciable level of professionalism^5.
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To elicit this kind of brilliant commendation from 
Africa’s foremost playwright/director and a university 
lecturer meant recognition for the Yoruba theatre 
formerly ignored by the University. In this way the 
Yoruba theatre attained some respect as a profession.
The 1960s was a period most conducive to the
fostering of the professional theatre as there was an
evident global theatrical revolution that linked the
university with the professional theatre. The inherent
aversion the academic theatre had for the professional
theatre was gradually eliminated through integrated
theatrical activities mutually benefitial to both.
Stephen Langley enlightens us further on this:
... the academic world long dissociated 
itself (rather snobbishly, at times) 
ftrhoema trteh.e  coBmutm eracsi ahli ghaenrd  perdoufceastsiioonn ailn  
general came to recognise and use the 
knowledge of professionals...., its 
attitude toward professional theatre 
began to change. Ivory towerism faded 
as practice, was mixed with theory, 
practitioner was heard alongside the 
professor .... More and more theatre .g 
programmes became vocationally oriented1 .
The mutual association of the two types of theatre 
at Ibadan matured rapidly that the artistic imput of 
the vibrant professional theatre to the enrichment of 
the cultural life of the Arts Theatre could neither be
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ignored nor dismissed as trivial. Serious thoughts
.'ere given to the encouragement and promotion of the
travelling theatre. The aim to improve the professional
-.-eatre has since then become the prime motive and the
i-.stitutional passion of the Arts Theatre authorities
-to have organized series of theatre workshops and
seminars for the travelling theatres 17.
The professional Yoruba theatre used the Arts 
Theatre on regular basis for their performances either 
by hiring the facility or coming under the sponsorship 
of some University societies. Through periodic training, 
the travelling theatres were exposed to the economy of 
media productions, scriptwriting, technical realization, 
theatrical styles, management technology, and inter­
national market that made them professionally self-reliant 
and independent of the academic theatre.
It is pertinent to note here that the Yoruba 
travelling theatre was promoted for fundamental reasons 
which included:
i. recognition of its existence since 
1946 and its popularity among the 
Nigerians;
ii. its potential as professional model 
for an academic institution;
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iii. serving as a veritable means of providing 
cultural unity between the town and gown;
iv. its richness in cultural content,
versatility of its artists in music, 
dance, folklore and spectacle;
v. extemporaneous or scriptless nature of 
its production.
and the fact that the "Alarinjo Theatre” the mask 
dramaturgy of the Yorubas which predated the 1946 
emergence of the modern Yoruba travelling theatre of 
Hubert Cgunde had an imperishable traditions upon which 
the modern travelling theatre heavily relied for 
continuity; and from which the literary could have an 
eclectic taste.
Axworthy believed these were Stirling qualities in
the travelling theatre in which the literary theatre
must have a background and perhaps draw some inspiration.
But some members of his team did not see any rationale
in this. Undauntedly, Axworthy used folkloric adaptations
such as the Palm Wine Drinkard and Panda to establish his
logic. He also adopted the travelling theatre tenets into
his Shakespearean productions 18 . The success of these
productions his daring approach to theatre
professionalism at Ibadan.
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135
Amateur Theatre Groups
The task of a detailed analysis of the work of 
all the amateur groups that performed in the Arts 
Theatre or a chronological arrangement of their 
productions from 1955 to 1985 would be too cumbersome 
to attempt when we consider the enormity of work
done at various times and the diversity of people
involved. We shall only look at the activities itof L 
the Arts Theatre Production Group, University College 
Ibadan Dramatic Society, Ibadan Operatic Society, 
and the Children’s theatre closely. The work of a 
few others like the Orisun Theatre, Mbari Theatre, 
Players of the Dawn would be mentioned.
3.5.1 The Arts Theatre Production 
Group (ATPGT
The Arts Theatre Production Group, one 
of the earliest resident groups began its 
excellent production of classical and contem­
porary world drama in the Arts Theatre v/ith 
Andre Obey’s Noah. This play, according to 
Axworthy was chosen for its theatricality,
a quality which is confirmed by Fola Aboaba 19
Aboaba also noted the fact that although the
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136
'title of the play suggested a thematic Christian 
contepffc, there was little Christianity in it.
The play according to him provided limitless 
opportunities in acting exposure, exciting 
experience in costume making for human beings and 
animals, construction on the ark and many other 
attributes which were essential to make theatre 
really fascinating t'o people who had not been 
very much used to the European experience of 
theatrical productions. The sounds of the carpenters’ 
harmers; the shouts and tunes of the builders 
climbing up and down the ark, the din of carousing; 
the prurient populace and their jeers at Noah that 
stir our imagination make Noah very theatrical.
Prom Moah, the ATPG moved into mundane themes and 
a wide variety of world drama and musicals. In all, the 
ATPG produced 44 plays of which 15 were classical and 
29 modern plays. Apart from Antigone by Sophocles,
An Enemy of the People by Ibsen, Cthello by Shakespeare,
The Duchess of Malfi by Webster, which were tragedies, all 
others were either romantic comedies or tragi-comedies 
with musical accompaniment. They included The Merchant
of Venice and A Midsummer Night’s Dream by Shakespeare,
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137
Lysistrata by Aristophanes 20 , You Never Can Tell by 
Shaw, The Bald Suprano by Ionesco, Uncle Vanya by 
Chekhov etc. Works of major playwrights in Europe, 
3ritain, America and Russia were well represented.
There exists no literary reviews on these productions 
from where we can sample opinions and assess the audience 
reaction, but box office records reveal enthusiastic 
reception. Posters and handbill information as well as 
their quality give brilliarlt impressions about the 
artistic standard of productions and of audience taste.
The big task of selecting plays (usually two for 
a year) for production depended largely on who was willing 
to do what among the ATPG membership. More often than 
not, Axworthy found himself directing the plays since 
most of the members were primarily theatre enthusiasts 
and not experts. This is much in consonance with 
Stephen Langley's view that decision-making in play 
production in College Theatre is largely guided by what 
plays the artistic directors wish to direct at the moment. 
Although Axworthy's influence in the choice of plays was 
overwhelming, it was far from being arbitrary. He knew 
the society and his audience so well that the chosen plays 
often coincided with their taste. Professor John Ferguson 
observes that Axworthy "had a penchant for minor
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138
PLATE 4 A scene from Aristophanes’ Lysistrata,
ATPG Production (1961). Fola Aboaba 
standing at the extreme end of the 
steps on the left. Mote the subtle 
aesthetics of the production in 
symetry, set solidity, the columns 
and costumes that reveal its Roman 
setting. The fanciful costumes of 
the women also provides insight into 
the leiOdness of Lysi strata (Pix courtesy 
of Professor Michael Hudson, Dept, of 
Physics, University of Ibadan).
r
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139
Shakespeare'*21 hence his choice of Shakespeare's 
comedies which complemented his own conviviality and 
jocular nature. But no matter his own personal 
preferences, the academic and cultural interests of the 
university took precedence over all other considerations. 
He explains the reason for the choice of plays in the 
following terms.
The first plays were chosen very 
specifically to this end. Obey’s 
Noah offered a familiar story treated 
with” humour, opportunities for 
multiracial casting, unconventional 
staging, and the use of masks.
The Merchant of Venice, familiar as an 
examination play... All this arose 
from the simple desire of a teacher 
taon d tedarcahm a betto tesrh,a rea ndt heofi r loevxecri toefm emnutssi^c. 
Other delineable factors that accounted for play 
selection, apart from teaching and entertainment, were 
the question of the audience's desire and the economic 
demands of production. The nature of audience is one of 
the first things to inquire about in any discussion of 
theatre. The Arts Theatre audience of the 1950s and early 
1960s composed mostly European intellectuals and civil 
servants and for them the hilarity of Brendan Behan’s 
The Hostage and Pinero’s Kaaistrate was just what they 
needed to kill boredom in the socially underdeveloped 
colonial environment.
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140
Consequently plays that were not irksome and long were
preferred. Axworthy provides a clue in his description
of the cultural taste of the university community at this
time thus: "African audiences appreciate most plays with
clear plots and well defined character preferably with a
moral or argumentative flavour ... The European
community, numbering many thousands, is largely lowbrow,
but would rise to Christ’ies, Sawyer, Priestley, etc.
A broad farce like Pinero's Magistrate would probably
span both audiences" 23. Perhaps comedy was a trans­
continental favourite, for Evans noted that farce and
romantic drama were in general, the fashion 24
Competition with other amateur theatre groups that, 
used the Arts Theatre affected the programmes of the ATPG 
and influenced its choice of production significantly.
Groups like the University College, Ibadan Dramatic 
Society (UCID3), Ibadan Operatic Society (ICS) founded 
by Tom Child and the Music Circle more often than not 
collaborated in productions in which they were all mutually 
interested. Such common productions include Noah, Antigone, 
Lyslstrata by ATPG and UCIDS and King Arthur by ATPG 
and the Music Circle.
The advantage of the competition was that It promoted 
healthy rivary, and standards. The harmonious co—existence 
of these groups enhanced the development of various genres
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- 141
of theatre and stiumulated new groups to sprout up.
In 1959, a group known as The Players of the Dawn
comprising of graduates of Ibadan and fellow civil
servants in the town of Ibadan was formed to take theatre
to the people, performing in school halls, Arts Theatre
and the British Council Hall. They were active enough
to attract criticism from Wole Soyinka 25 and comments
about their Arts Theatre heritage from Geoffrey Axworthy .
A cursory look at Appendix 7 reveals the wide rnage
of their repertoire and the fair geographical spread of
world drama which justifies ATPG’s objective to provide
variety of world dramatic styles 27. Conspicuously 
African or Nigerian plays were not represented in the 
repertoire. Axworthy explains this omission by calling 
attention to the fact that there existed no African plays
and playwrights at the time 2Q We observe this may not
be completely true, as James Ene Henshaw had published *
/
his first play This is Our Chance in 1956•Axworthy*s
other reason "that they did not attempt to bring in the
African culture at all" 29 seems more authentic. This is
corroborated by Dapo Adelugba’s accounts 30. Later,
European productions, particularly, Ahmal and the Night 
Visitors 31 by Ibadan Operatic Society attempted costumal
and nominal adaptation of African culture
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142
The best they did according to Professor Aboaba was to
adapt "African names and costumes into production" 320 
In such colonial atmosphere, there was little 
the Europeans could do in promoting African culture 
which they did not understand and did not make any 
pretention about. It was not until Axworthy in collabo­
ration with the dramatic society (UCIDS) produced Wole
Soyinka's The Swamp Dwellers and The Lion and the Jewel 33
in 1958/59 session that realistic African plays and 
culture emerged at the Arts Theatre. These Leeds plays, 
James Gibbs wrote, "opened doors for him (Soyinka) in 
London and established his reputation in Nigeria"^.
♦
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143 -
PLATE 5: Seene from Amahl and the Night Visitors jointly *
produced by the Ibadan Operatic Society and the 
Mbues iicd eCnitricfliee.d  byT hmee mAbcetrosr s ofi n thceo stcuasmte s whcoo uladr en oatr ound 
due to lapses in memory. But in this particularly 
Africanized production, records reveal that 
Christopher Oyesiku and late ?emi Johnson played 
the roles of turbanned Chiefs* (Pix Courtesy M. Hudson).
UNIVERSITY OF IBADAN LIBRARY 
- 144
PLATE 6: Scene from Outward Bound. UCIDS
production 1956/57 with Fola Aboaba, 
Tony Adegbola, Raph Opara and Vincent 
Akobo in the scene. Pix courtesy 
Prof. Fola Aboaba of the Dept, of 
Agric. Economics, University of Ibadan.
UNIVERSITY OF IBADAN LIBRARY 
- 145 -
3.5.2 University College Ibadan Dramatic 
Society
The first serious concerted effort 
made by a group of educated Nigerians for 
the regular promotion of the literary drama 
in Nigeria was that of the University 
College Ibadan Dramatic Society. Though 
Adedeji informed us about the origin and 
purpose and put the date of the UCIDS' 
foundation as 1957, Aboaba disagreed totally 
with this. Aboaba is of the opinion that 
the UCIDS existed unofficially from 1948 
as a means by which students came together 
to entertain themselves and was also a 
strong cohesive instrument of student 
unionism. Drama as an integrated aspect 
of the student Union Week activities and 
the fact that the UCIDS was affiliated to 
the student Union and was subsidized with 
small grants to produce two plays annually 
evidently reveals that the Dramatic Society 
must have existed unofficially before 1957. 
It is observed that staff of the University, 
especially those who were theatrically 
inclined, began active participation in
UNIVERSITY OF IBADAN LIBRARY 
146 -
student productions from 1957. it is not far 
fetched then to assume that the UCIDS was the 
forerunner of the university troupes which 
developed in later years.
The practice of presenting two plays a 
year is clearly illustrated in the list of 
productions held in the Arts Theatre from 1956 
to 1959. In 1956/57, two plays, Outward Bound^  
by Sutton Vane and ~£he Man from the Ministry by 
Madaline Bingham form the repertoire. In 1957/58, 
The Gentle People by Irvin Shaw and Antigone by 
Sophocles were produced, while in the following 
session, 1958/59, the first Nigerian plays,
The Swamp Dwellers and The Lion and the Jewel 
by Wole Soyinka appeared.
Obviously, the students* motive for 
promoting theatre was selfishly for academic 
and entertainment purposes, its overall impact 
had great consequences in the development of 
theatre in Nigeria. Dapo Adelugba commented on 
the misguidedness of the students efforts as
follows
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- 147 -
Students dramatic activity was minimal 
and misguided in the University of 
Ibadan .... in its first decade. The 
plays presented were stale old English 
or American plays with poor dramatic 
content and without any bearing on the 
tastes of Nigerian audiences ....36.
Cne could blame the "misguidedness" on the primacy
of the Arts Theatre Production Group as precursor in
the presentation of standard Western theatrical
culture. Their errors lie in the misconception about
the audience potential of African plays for a white
audience. However, this was latter corrected after
The Lion and the Jewel (1958/59).
Reflecting on the global racial politics and the 
temerity of colonialism, the UCIDS started questioning 
itself and its production philosophy in the 1960s.
The tactical approach the society adopted towards 
unshackling itself from the European dramatic fetters 
was its deflection from the presentation of pure 
European plays to adaptations into the Nigerian 
cultural interest. This development was strengthened 
by Soyinka's pathfinding plays of 1959 and the closure 
of the Arts Theatre in 1960 so that its physical 
inadequacies could be rectified and additional 
facilities added to meet the growing demands on it.
The closure of the Arts Theatre inspired the students
UNIVERSITY OF IBADAN LIBRARY 
148
after-dinner entertainments in the various dining 
halls of the university"^. The initial difficulties 
they encountered did not discourage the students, 
particularly as patriotism was at its peak. The lack 
of portable African plays for instance, compelled 
students to write their own plays. In a kind of play­
wright workshop, the Students Wrote thirty minutes' 
plays with simple scener-y and few characters. Such 
experiments included adaptation of The Monkey's Paw 
by W. W. Jacobs as The Munchl Charm, adapted by Frank 
Aig-Imoukhuede and Earnest Ekem's of spreading the News 
by Lady Gregory as The Gossips of Ewa. There exists 
no adequate records or reviews on these plays, so we 
would never know the number of adapted or improvised 
plays staged in the student halls or elsewhere. But 
there are indications that they were popular.
A typical indicator is John Ferguson's comment
on the students' versatility and contribution to the
Arts Theatre. He says:
The Arts Theatre was an exciting place. 
Geoffrey Axworthy came at the same 
time as we did, and showed a remarkable 
capacity to get the best out of amateurs.... 
The two most memorable evenings in the 
Arts Theatre did not involve us directly.
Otnhee  wsatusd ean tf'sa scpuitn*a to'in ngth reevee'n pilnagy si'nw rwihtitcehn  by X
students themPsel veŝ 'B. (Emphasis mine5".
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149
The popularity which these productions enjoyed increased
the students' enthusiasm such that they started touring
the surrounding villages in the manners of the Spanish 
farandula 39 strolling players and the Italian commedia 
dell* Arte 40 presenting and improvising in adapted 
comedies. William T. Brown explains that "students 
did tour during their holidays to nearby villages, 
presenting short scenes and skits of local interest. 
Their capabilities were' limited, the facilities 
inadequate, and lighting effects were non-existent"41.
A close study of The Gossips of Ewa, a play quite 
representative of the student productions reveals it is 
a farce or what Brown describes as a 'skit', using a 
simple theme to explore societal vices (gossips), and 
their complex and dangerous consequence. The play 
speaks to the Nigerian populace in terms of its theme, 
characterization, and successful localisation; and the 
simplicity of its language makes it accessible to the 
school children. It opens with a market scene as 
follows:
INSPECTOR: So this is the town of Ewa! Dogs...
goats.... mud all over the place 
No system!
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150
CONSTABLE: Yes, sir.
INSPECTOR: I suppose there* s a good deal 
of lawbreaking in this place. 
CONSTABLE: Lawbreaking? Yes, sir.
INSPECTOR: Common assault, I suppose.
CONSTABLE: Very common, Sir, very common...
INSPECTOR: Even ... murder, perhaps.
(constable opens mouth, but no 
reply). Oh, this place has been 
shamefully neglected; but I'll 
change all that. When I was at 
Ikeja we had a system.
Never fails. (Looks suspicuously 
at Mrs. Tapi and speaks aside to 
constable). What .... has that 
woman on her stall?
(constable gapes). *
CONSTABLE: Orange, mostly sir, and 
KoJ-anuts, Sir, and ....
INSPECTOR: That 'll do ... Just look underneath 
and see if there are any contraband 
goods there - illicit gin or anything. 
(Walks away. To audience). We had a
lot of illicit gin at Ikeja.
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151 -
There is evidently nothing to show that this play was 
an adaptation of the Abbey Theatre, Dublin play. Tt 
sounds perfectly Nigerian. This is the kind of literary 
craftmanship end transposition students embarked upon 
to evolve the people’s theatre in the footsteps of 
Abbey theatre Dublin and W. B. Yeats, at a period when 
plays by Nigerian playwrights v/ere yet to appear.
Although the closure of the Arts Theatre deprived 
its patrons of their regular entertainment, it ushered 
in an era of repertory tradition in amateur productions. 
Axworthy, being conversant with world theatrical 
developments, perceived merits in the intinerant 
programmes of the UCIDS and so encouraged a stronger 
association with the group. For him, he had found a 
modest troupe, which he had been yearning for and upon 
which he could build a model troupe for Nigeria.
This new arrangement was to integrate UCIDS
partially into the School of Drama productions so as to
attract needed funding from the University, the British
Council and the commercial firms, and hence enable them
embark on nation-wide tours. This type of strategy
Reis discusses exhaustively under ’’Corporate donations
and programme sponsorship"42
*
UNIVERSITY OF IBADAN LIBRARY 
152
The idea was warmly welcomed by the Society and in 
1961, the University Travelling Theatre was inaugurated 
with a grant of Ĵ 200 (two hundred pounds) to produce 
one play a year.
The University Travelling Theatre lasted from 
1961 to 1966. During this period, there existed no 
single production exclusively embarked upon by the 
Dramatic Society, as the list of productions reveals. 
Not until one year after the death of the UTT did the 
UCIDS re-organize again to produce The Servant of Two 
Masters in 1967.
One applauds the sudden reappearance of the UCIDS
in 1967 for several reasons. The sublimation of its
individuality to a partnership which crashed in 1966
definitely restrained its growth and frustrated its
artistic future. Most people interviewed in this
connection like Mr. Val Olayemi 43 believed that the 
association was a most welcome and productive one.
The expiration of the Rockefeller Foundation grant to 
the School of Drama, the uncertainty of its future; and 
programme as well as the impending Nigerian civil war 
were the traumatic blows the Travelling Theatre could 
not survive, but the UCIDS persevered.
UNIVERSITY OF IBADAN LIBRARY 
153
The advent of the School of Drama’s Acting 
Company in 1967 provided stimulus- for the regrouping 
of the UCIDS that year. The father figure of Wole 
Soyinka, the new director of the School, whose plays 
the society had premiered in 1959 and 1960 was 
stimulating enough to spur members to action. Soyinka’s 
remarkable role as Yang Sun, the unemployed pilot in 
Bertold Brecht's The Good Woman of Setcuan produced by 
UCIDS in 1960 and directed by Axworthy was momentous.
The Dramatic Soceity operated again from 1967 to 
1972, increasing its repertoire of Nigerian plays by 
introducing Femi Osofisan's Qduduwa Don’t Go (1969),
Wole Soyinka's Kongi1s Harvest (1969) and Zulu Sofola’s 
King Emene (1971). The artistic vision and projection 
of these plays show that the UCIDS, apart from its 
academic objective, had identified its dramatic 
predilection and style as cultural and historical drama. 
The emerging playwrights went back into history, 
reviewed past experiences to challenege the realities 
of the present.
The society disintegrated in 1972 due to a number 
of factors. Firstly the academic programme of the 
Department of Theatre Arts had expanded to the exclusion 
of amateur productions and the Arts Theatre was occupied 
most of the time with student projects.
UNIVERSITY OF IBADAN LIBRARY 
154
Secondly the European groups that inspired the UCIES 
had died and the student enthusiasm had waned. Thirdly 
the University introduced a new academic curriculum 
known as "course System" which necessitated examining 
every course taken in a semester at the end of that 
semester. This demanded more time and increased 
seriousness from students so that they hardly had time 
to spare for a time consuming extra-curricular activity 
as theatre. Finally the issue of "pay as-you-eat" 
system was also introduce^at this time which placed 
much constraint on students' finances.
3.5.3 Miscellaneous Troupes
The amateur groups that performed at the 
Arts Theatre were as varied as the objectives 
that motivated their inception. The Ibadan 
Operatic Society which was founded in 1954 
by Tom Child for instance specialized in 
Opera production as a result of which the works 
of many famous European composers like Mozart 
etc were popularized in Nigeria. The IO£> was 
essentially a European cultural society that 
produced two operas per year, Nigerians were 
exposed to this exotic musical tradition
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155 -
through regular performances at the Arts Theatre 
by the group. Professor John Ferguson informs us 
thus:
It had begun as an expartriate 
thing, but the following year saw 
Nigerian participation....44.
Christopher Oyesiku 45 , Femi Johnson,
Lanre Ogunlana, Elizabeth Ighrakpata, Mary Adebonojo
and Solomon Pitan were a few of the Nigerian members
of the IOS. Some of the productions in which the
Nigerians participated as opera singers, actors or
instrumentalists included Ruddigore, HMS Pinafore,
Iolanthe, Princess Ida, Lilac Time, The Gondoliers,
Patience and The Yoemen of the Guard46
Altogther, 25 productions have been listed to 
the credit of IOS between 1956 and 1972, an evidence 
of a very active life. The 1970s witnessed the 
decline of this group due to the fact that the majority 
of the expartriate members left Nigeria at the time.
The small members left behind merged with the Music 
Circle as the past Chairman of the Music Circle and 
one time Secretary to the Ibadan Operatic Society,
Fola Aboaba informs us:
UNIVERSITY OF IBADAN LIBRARY 
156
We found there was a lot of 
duplication of efforts and the 
Music Circle was doing more or 
less what the Operatic Society 
was doing .... a few of us who 
were Nigerians felt well let's 
get together.... Eventually we 
merged and jointly put up one or 
two productions^.
The Music Circle, a musical and operatic 
group, was established to provide the University and 
Ibadan community an opportunity to attend and partici­
pate in musical events. It usually produced operas 
and oratorios in alternate years*
Among the past productions of the Music Circle 
are Magic Flute by Mozart (1958), King Arthur by 
Dryden and Purcell, The Bartered Bride by Smetana (1960), 
Air and Graces (1964), The Telephone by Mozart,
Bastien and Bastlenne by Glan-Carlo Menotti (1966) 
and Don Giovanni by Wolfang Amadeus (1^8?)
These productions of the expartriate groups
consisted of mixed experiences in artistry - acting,
aesthetic conception and presentation 48. Each produc­
tion presented unique opportunity for wider exposure 
or general education in theatre practice. The visible 
pictorial evidence tempts us to believe strongly that 
the Nigerian members were not ignored but were 
practically exposed to all areas of production.
UNIVERSITY OF IBADAN LIBRARY 
157
PLATE 7: DIr.eOs.sS.  Re1h9e6a4r sparlo dufocrt iLoan  Bien llweh icHhe letnhee  Nigerian 
members include in (standing from left to 
right) Lanre Ogunlana (as Ajax T, King of 
Salamis), Femi Johnson (as Jupiter), 
Elizabeth Ighrakpata (as Bacchis, Servant 
of Helene) and Fola Aboaba (as Ajax IT,
King of Locris). Michael Hudson, in 
stripped toga played Menelaus, King of 
Sparta and Janetta Mayer, (standing on the 
right of Hudson with overall, over gown) 
played Helene. Other could not be 
Mi.d eHnutdisfoine)d. due to space. (Pix courtesy 
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158 -
-#•
PLATE 8: The Orchestra group in La Eelle Helene 
conducted by Lucy Parker (in white flowing 
gown) with two Nigerians Mary Adebonojo, 
(next to the left of Lucy Parker), playing 
Violin and Solomon Pitan (first from right 
in the front row), playing Violincello. 
Others could not be identified due to space. 
(Pix coubtesy M. Hudson).
T
UNIVERSITY OF IBADAN LIBRARY 
159
PLATE 9: A scene from The Royal Hunt of the Sun, 
ATPG Production, 196 7. Harold Preston 
(University Bursar) in the centre of the 
two opposing forces. There is no 
programme notes to identify the rest 
characters and our source could not 
confirm the character H. Preston was 
playing. Our interest in this picture 
iis the high sense of creative imagina­
tion displayed in set design and stage 
decor. (Pix courtesy M. Hudson).
UNIVERSITY OF IBADAN LIBRARY 
160
Some of them played lead roles in productions as 
exemplified by Femi Johnson, Fola Aboaba etc. In spite 
of their excellent productions and the exposition of 
Nigerians to the European cultural values, the European 
efforts were highly critized for exhibiting a purely 
European interest at the expense of African cultural 
expectations.
Many Nigerian amateur groups rose to the challenge 
of catering for African cultural needs but non succeeded 
as much as the acting companies of the University which 
we shall examine in the next chapter. The Players of 
the Dawn was the earliest community response to European 
monopoly of the Arts Theatre and a strong boost to the 
University College Ibadan Dramatic Society’s cultural 
vision. This group was founded in 1959 by Ibadan 
graduates working as civil servants, teachers and 
businessmen in Ibadan. Though Mr. Val. Olayemi claimed 
that the group, of which he was a staunch member presented 
plays at the Arts Theatre and many other centres like 
Obisesan and the British Council Halls^ ihe only 
production with traceable evidence at the Arts Theatre 
is Moon on a Rainbow Shaw performed in 1967. The group 
attracted criticism from Soyinka for being Eurocentric 
in its production philosophy.
UNIVERSITY OF IBADAN LIBRARY 
161
Apart from this, the activities of the Players of 
the Dawn inspired the initiation of other groups like 
the Revels, Mbari Theatre, Armchair Theatre etc which 
had their stint at the Arts Theatre.
The 1960 Masks and the Orisun theatres founded 
by Wole Soyinka in 1960 and 1964 respectively also 
made significant contribution to the cultural life of 
the Arts Theatre. Before being integrated into the 
School of Drama in 1967, the Orisun Theatre had to 
rent the Arts Theatre like the travelling theatres, 
and similarly its productions were often sponsored 
either by the School of Drama or some societies. Among 
its repertoire were Soyinka’s A Dance of the Forests, 
Kongi’s Harvest, and J.P. Clark’s The Raft and Song of 
a Goat.
The Odu Themes (1972) and the Kaunkaun Sela 
Kompany (1979) founded by the iconoclastic writers 
Bode Sowande and Femi Osofisan introduced great novelty 
into the Arts Theatre productions in the 1970s and 
1980s. These two playwrights who have been greatly 
influenced by both Soyinka and Bertold Brecht write to 
shock their audiences in the depth of their dialectical 
postures. Both Sowande and Osofisan like to experiment 
with stage forms in the performance of their plays49.
UNIVERSITY OF IBADAN LIBRARY 
162
Repertoire of Sowande's Arts Theatre productions in 
included Farewell to Babylon, The Night Before,
Flaminqo and Circus of Freedom Square. Osofisan's plays 
that have been performed at the Arts Theatre include 
Oduduwa Don’t Go (1968), A Restless Run of Locusts 
(1970), Kolera Kolej (1975), The Chattering and the 
Song (1976), Who is Afraid of Solarin (1979) etc 
Sowande and Osofisan's plays have become widely 
accepted not only by the Arts Theatre audiences but 
also by educated theatre patrons at large as displayed 
by the frequency of their inclusion on the cultural 
repertoire of schools and universities.
Another dynamic approach through which the Arts 
Theatre promoted theatre in Nigeria was the integration 
of the Children's Theatre programme otherwise called 
Saturday Theatre for the Young People (STYP). The child­
ren's Theatre is a useful instrument, for children's 
education and for the development of their perception 
of a Nigerian world view. The STYP programme i s a 
Saturday ritual held in the Arts Theatre between the 
hours of 9 and 11 a.m. involving children from ages 
6 to 12. The objectives of this theatre are to 
stimulate children's interest in creative expression 
and cultural heritage through creative work like
UNIVERSITY OF IBADAN LIBRARY 
163
painting, modelling, puppetry, acting and speech; 
give enjoyment and also provide plenty of opportunities 
through improvisational dynamics, folklore and perfor­
mance.
The Children's Theatre was inspired by Geoffrey
Axworthy in 1963 in order to simultaneously develop
theatre culture in both adults and children. Axworthy
envisaged that this theatre would bring a corresponding
increase in theatre patronage. He was correct because
this theatre cultivated its own audience which boosted
the Arts Theatre attendance. The S.T.Y.P. was very
active between 1963 and 1985 and contributed substantially
to the programmes of the Arts Theatre and the Department
of Theatre Arts. Among its numerous productions are
King Who' Caught Ghost by John Stoddartz; In Search of
the Stone by Wale Ogunyemi; The Substitute by Demas
Nwoko and Ta1l1l  Af1r1i c.a.n  Tales by Danny Lyndersay. /*
The Children's Theatre (STYP) has participated in 
international Youth Festivals in places like Denmark 
(1979), Britain (1980), U.S.A. (1981), Japan (1Q8?),
Sweden (1983), and Florida, U.S.A. (1985). The success 
of the S.T.Y.P. led to the formation of the National 
Youth Theatre at Ibadan in 1969.
UNIVERSITY OF IBADAN LIBRARY 
- 164
This Youth Theatre, set up for children between 
the ages of 6 and 12 years, had its first 
performance in the Arts Theatre in commemoration 
of the 1969 World Theatre Day*
The productions of these amateur groups 
covered a wide range of artistic exposure in 
African and European cultures that we hold the 
impression that both children and adults alike 
benefitted from the practical artistic education 
offered at the Arts Theatre.
3.5,4 Student Productions
The priority of Dr. Joel Adedeji on 
assuming the headship of the young Theatre 
Department was different from the expectations 
of most of his colleagues. They had envisaged 
the pursuance of the professional ideology 
espoused by Axworthy and based on the logistics 
of Wole Soyinka's University Theatre Arts 
Company (UTAC) recently disbanded. But far from 
this, Adedeji's immediate preoccupation now was 
the total exploration of drama, first, a§ an 
educational tool and then as a business 
profession. To this end, he established 
simultaneously the traditions of Departmental
UNIVERSITY OF IBADAN LIBRARY 
- 165
Productions and the Secondary Schools drama production 
workshop projects in 1971. Although these were 
considered academic approaches, and were severely 
criticized, Adedeji1s diplomatic presentation was 
convincing.
This approach was not without an antecedental 
history of its own. Perhaps, Adedeji was reflecting 
on the aims and objectives of the certificate Drama 
Course in Education which he set up in 1963/64 or 
correcting the wrong notion that theatre was a non- 
academic subject as espoused by Professor Glynne 
Wickham^® with whom Adedeji was in contact and who 
happened to be the first external examiner of the 
Department. The misgivings surrounding the notion of 
theatre as an academic subject made Adedeji experim«ht 
with it in secondary schools and diversify theatrical 
activities in the Arts Theatre enormously. The student 
productions fell into three categories:
(1) Secondary Schools drama productions;
(2) Drama Fiesta and (3) Private productions.
The Secondary Schools Drama Productions Workshop
was intended to serve as a link between the university 
and the community at large through the secondary schools.
UNIVERSITY OF IBADAN LIBRARY 
- 166
Technically it was an attempt by Adedeji to introduce 
Drama experimentally into the secondary school 
curriculum in Nigeria. The method was so flexible and 
attractive that all the principals of schools approached 
about the project consented to the programme. It was 
regarded as an extra-curricular activity optional to 
the students. This was operated by sending final year 
diploma and degree students, in groups of three and four 
students, to various schools in Ibadan. Each group was 
to teach the rudiments of play production, organize a 
Dramatic Society and produce a play which would serve 
as the group’s final practical examination. The plays 
were usually staged, first, at the school halls and 
finally at the Arts Theatre before a panel of adjudica­
tors as well as a fee paying audience.
The 1973/74 rehearsal schedule shows that 34 
schools participated in the project51. The excitement 
of performing in the university Arts Theatre, the 
improvement of memonics and elocution were the main 
stimuli for the school children’s support and enthusiasm. 
The performance, which often lasted a week or two at the 
Arts Theatre, featured various secondary schools and 
school audiences. It almost became a dramatic competition 
for schools, to which students trooped out to cheer their
UNIVERSITY OF IBADAN LIBRARY 
167 -
schools or to see other schools in performance. It was 
usually a special occasion in the Arts Theatre and a 
rewarding experience for the Department of Theatre Arts 
in July of every session.
In terms of productions, an average of twenty 
productions emerged from the Schools Drama project every 
season out of which at least 15 were African plays.
In 1973/74 for example some of the African plays that 
were performed included Soyinka’s Child Internationale, 
Death before Discourtesy, and The Swamp Dwellers;
James Henshaw's Dinner for Promotion, and The Jewels of 
the Shrine: Olu Olagoke’s The Incorruptible Judge;
Zulu Sofola's Wedlock of the Gods, and Abiona in Love,
J.P. Clark's Song of a Goat, and The Masquerade;
Obi Egbuna's The Anthill; Femi Euba’s The Game; Ime 
Ikiddeh's Blind Cyclops; Ama Ata Aidoo’s Dilemma of a 
Ghost: James Ngugi's The Blind Hamit; Edward Braithwaite*s 
Odale’s Choice; Arthur Maimane*s The Opportunity; and 
Pat Maddy’s Yon Kon etc.
Through this medium Adedeji popularized drama in 
schools, increased the schools' awareness and patronage 
of the Arts Theatre, diversified Arts Theatre activities, 
promoted African plays in schools, cleared the inhibitions
UNIVERSITY OF IBADAN LIBRARY 
of the conservative educators about drama and consequently 
exposed theatre as a profession of immense dynamism.
The success of the schools drama project culminated in 
the National Workshop on Drama-in-Education held at the 
Conference Centre, University of Ibadan, April 4 to 10,
1976.
Unfortunately, this projects was halted in 1979 
due to a number of factors. Transportation and administra­
tive complexities coupled with the cancellation of the 
boarding system in secondary schools were principally 
responsible. Commuting various distances after the 
school hours to rehearsals was an ordeal which the 
students could not bear. The reluctance of parents to allow 
their children out after school hours for rehearsals, 
even when they had letters from the school principals’ also 
contributed to the killing of the programme.
The emergence of the Schools Drama Productions 
reduced to the barest minimum, the activities of the 
outside productions groups like the Ibadan Operatic 
Society, the Music Circle as well as those of the Arts 
Theatre Production Group which was based in the Arts 
Theatre. The Players of the Dawn did not fair better 
either. The competition which the productions of the
UNIVERSITY OF IBADAN LIBRARY 
- 169 -
schools, the Department and Unibadan Masques posed in
the crusade for African drama could not be adequately
challenged because they were all based in the Department
of Theatre Arts. The Arts Theatre was busy most of the
time with various rehearsals and productions originating
from the Department. This, critics observed, was
prejudicial and unsympathetic towards the amateur theatre
productions from outside the Department. Professor Fola
Aboaba, an avid theatre enthusiast and member of the
ATPG observed the state of despondency in the amateur
groups as follows:
Another thing which I am sure 
discourages members .... the senior 
mtehem beIrbasd aonf  Osptearfaf tiicn  Stohce ieAtTyP.G. .a.n.d  
has been the fact that we had to 
Acrotnsd ucTth eaoutrr er5̂e.hearsals outside the
Evidently, Adedeji was not against these groups 
and did not design his academic and Departmental 
programmes to destabilize or frustrate the amateur 
efforts. His own purpose was to build an academically 
strong Department and a professionally viable troupe«c.;«
/ . rf .  ̂ «*. . a
rf”  it ^ « « * * '* /  .» ' W v * y -  - »
t* - r" v i ** . ">1 i : He explains the
reason for his stand as follows:
UNIVERSITY OF IBADAN LIBRARY 
170 -
Yes, one could say that these 
amateur groups filled the vaccum 
at the time when there was no 
school of Drama or a Theatre 
Department. The ATPG was made 
up of amateurs who saw theatre 
as a diversion, as a recreational 
activity, but were lacking in any 
commitments to the development of 
the theatre as a surving artistic 
institution in Nigeria. The ATPG 
was not geared towards the need of 
the new Theatre Department, which 
has responsibilities to train 
students. It used the resources 
of the School of Drama but gave 
nothing in return because of its 
lack of commitment to theatre 
development in Nigeria. It was 
primarily committed to doing plays 
by European and American writers.
It was therefore to be expected that, 
with the establishment of a Department 
ocfo nTcheenattrraete dA_rtosn,  thaell  deevfefloorptms enwto ulodf be  
the students^ .
This corroborates, what Adelugba meant when he said that
"student dramatic activity was minimal and misguided”54
and this is what Axworthy means when he said "they did
not bring in the African Culture" 55• Soyinka was very
blunt and explicit when he described the same situation
as "frequent misguidedness" 5 6. Adedeji was in a most
auspicious position to remove the stigma by deviating
from Eurocentric productions through various innovative
programmes
UNIVERSITY OF IBADAN
LIBRARY 
171
Furthermore, the year 1971/72 marked the employment 
of a full time Business Manager for the Arts Theatre, a 
post which previous Arts Theatre directors had hankered 
for and made incessant demands for without any success. 
With the Business Manager as his administrative assistant, 
Adedeji pushed his programmes ahead by starting the 
•Drama Fiesta* at the expiration of the schools drama 
project in 1979/80. Henceforth, instead of going to 
schools, final year students, and third year students in 
recent years, were expected to present plays with actors 
chosen among themselves or within the university, for 
practical examination as was the practice with the schools 
drama production workshops.
; a African or European plays that were highly
experimental, andx /cu./ 
r*ifVr 
euSother plays that could not come
under the sponsorship of the Department and amateur 
troupes were attempted by students. It gave the student 
directors opportunity to produce works of their favourite 
authors. The drama fiesta also allowed a student actor 
to feature In as many productions as his or her talents 
could cope with. It also enabled the staff to assess 
students' capability and diversity. And importantly too, 
through the fiesta, staff members were priviledged to see 
how creatively students adapted a variety of plays to the 
structure of the Arts Theatre or vice-versa.
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172
The repertoire varied widely in genres and 
numbers, from five to twelve plays per session. For 
instance, the 1982 fiesta consisted of Oby Egonu’s dance 
drama Odalibe, Julius Spencer directed Blood of a 
Stranger, James Henshaw*s Medicine for Love, Philip 
Egetei directed The Island, Femi Osofisan*s Birthdays 
are not for Dying, Owusu’s Pot of Okro Soup, Yemi 
Ajibade*s Lagos, Yes Lagos and Osofisan*s Farewelll to 
a Carnibal Rage. The schools drama project and the 
drama Fiesta were two channels by which Adedeji boosted 
African plays and which had positive impact on the 
dramatic experimentations of the Unibadan Masques and 
the Arts Theatre.
The Drama Fiesta is a continuing practical examina­
tion exercise, and indeed an event which students look 
forward to, not only because of its academic significance
but also because of the variety it offers and the prestige*
/
associated with the productions. The standards are high 
because every student director wants his play chosen for 
the fiesta. While the university community sees the 
fiesta as a presentation of a medley of enthralling 
entertainments, for the Department of Theatre Arts, 
it is a unique occasion to show the community the quality
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-  173 -
of the students it is producing by displaying the best 
of their productions*
Private productions by students also contributed a 
considerable percentage to the promotion of African plays 
from 1960 to 1985. The UCIDS adaptations as discussed 
under the University Travelling Theatre gave direction 
to students* initiative in the 1970s and 1980s, Students 
like Emman Avbiorokoma who wrote The Child Factor and 
Domestic Strife and Bode Osanyin who wrote Omo Odo and 
The Shattered Bridge emerged from the Unibadan Masques 
playwriting experiments. They also mounted their own 
private productions in the Arts Theatre, Segun Ashade 
who in 1984 wrote Freedom from Bondage and founded the 
Campus Players provides remarkable instance of students* 
private contributions.
Through these private contributions, students have 
been able to demonstrate their ability to organize theatre 
troupes, manage them effectively and produce drama of high 
standards. Some of these student groups are always 
commissioned to present low budget plays in students* halls 
during their annual hall week festivities or to mark the 
anniversaries of clubs and societies. More often than not, 
these clubs hired the Arts Theatre for the performance of 
commissioned productions. .These private productions serve
UNIVERSITY OF I ADAN LIBRARY 
174 —
as extension services unit of the Department of 
Theatre Arts and fill the entertainment vaccum 
in the lives of the inert and hall-bound students.
Apparently, the Departmental productions, 
the Drama Fiesta and the students’ private 
contributions have been the most enduring efforts 
that have sustained theatrical traditions and 
profusion at Ibadan since 1970s. Semi-professional, 
professional and amateur groups seem to die as soon 
as they are inaugurated due to unpredictable 
economic and socio-cultural problems of the country.
The most salient paint we have to note in 
the student theatre projects is that theatre 
development at Ibadan had been directed by circums- 
stances rather than rigid design. Reverses in 
certain areas were often resorted to when It was 
strategically observed it would strengthen 
developments in other directions of theatrical 
innovation.
3.5.5. Film Shows and Film Study
Film shows and film study played prominent 
role in heightening the theatrical awareness and
Unlike the stage
which present physical realities, the film provides
UNIVERSITY OF IBADAN LIBRARY 
175
celluloid illusion of life in a most fascinating manner
which often attract more audience to theatre than live
shows. Theatre practitioners learned to improve their arts
also by watching the theatrical styles of Europe-and Western
world through,..various dramatic films exhibited at the ArTthse atre.J_ 
Prior to the establishment of the School of Drama, 
film exhibitions had depended strictly on the initiative 
of the Europeans. International cultural organizations 
like the British Council, the United States Information 
Service (USIS) and foreign embasies occasionally showed 
promotional films about the people and socio—cultural life 
in their homelands. In the 1950s, attention was given 
more to the development of the dramatic and musical 
theatre than the establishment of film as study or regular 
entertainment at Ibadan. The film, like the literary 
theatre in the 1950s was a novelty for which there was no
cultivated African taste. But the teaming European *
/
population was stirred up to action and organized them­
selves into groups of film enthusiasts that contracted 
films from local distributors for showing in the theatre 
and some other private venues.
On the arrival of Geoffrey Axworthy, film services 
at the Arts Theatre became well organized, creatively 
selective and widely circulated, a cinematograph was
UNIVERSITY OF IBADAN LIBRARY 
176
installed in the Arts Theatre in 1962 and a Film
Committee consisting a few members of ATMC was appointed to *
superintend film shows at the Arts Theatre. Messrs H.
Preston, F.E. Speed, G.J. Axworthy, G.J.B. Allport and
Dr. D.H. Irving were members of this committee (1963).
The Ibadan Film Society was launched the same year,
recruiting its members from the University staff, students
and interested residents of Ibadan. Membership was by
subscription which entitled members to see two films in
a month, Martin Banham enlightens us further:
The Ibadan Film Society which brings 
outstanding films regularly to the 
University Arts Theatre Is another 
activity of the school of Drama, and 
represents its desire to see the 
highest standard of the art of the 
cinema displayed in Nigeria in order 
to encourage the growth ©^interest 
and creative work in film'*.
The demand for cultural relevance in the theatrical 
activities in the Arts Theatre could not however be 
enforced in the area of film exhibition at this time since
there were no films made with African culture in mind.
Wole Soyinka’s film Konqi*s Harvest 58 did not appear in 
the film market until 1970. Hence the films chosen were 
mainly entertaining educational films aimed at stimulating 
interest in the study of film as an art and also boosting 
its meagre patronage. A critical look at the 1966/67 film
UNIVERSITY OF IBADAN LIBRARY 
-  177
repertoire clearly shows an inclination towards 
academic relevance* For instance, L*atlante. a French 
classic directed by Jean Vigo and starring Michel Simon 
reveals interest in classical works of art. Its supple­
ment Theatre JLaboratium, a 20 minute Polish Film consisted 
of experimental film works of the Polish State High 
School of Film, which was quite relevant to film study* 
Nicholas Nickleby (108 minutes) an English film by 
Cavaleanti was an adaptation of Dicken’s novel.
Childrens Theatre (17 mins.) by the Studio Theatre, 
Adelaide, Australia and many others like Shakespeare 
Wallah (118 mins.) from India/USA, concerning the adven­
tures of a travelling Shakespeare theatre company in 
post-war India, directed by James Ivory with Felicity 
Kendal, Shabhi Kapoor, and Madhur Jeffrey; L*affaire Est 
Dans Le Sac (47 mins.) a farcical French film by Prevert 
brothers and a Dancer*s World (30 mins.) by Martha Graham 
Dance Company were objectively selected teaching aid 
films.
Film audiences were exposed to not only the 
rudiments of filmmaking, but also its appreciation and 
aesthetics through presentation of these choice filmso 
The film committee was critically selective of the type
UNIVERSITY OF IBADAN LIBRARY 
178
of other films booked in apart from the educational 
films shown in the Arts Theatre. In a correspondence 
No. B. 6307/99 dated 23/7/63 from Mr. G.J.B. Allport to 
Mr. H. Preston and copied to other members of the film 
committee, Mr. Allport highlighted the quality of films 
to be shown and the significance of it to the image of 
the Arts Theatre.
In the course of time the film became so popular
that the Ibadan film society expanded its horizon beyonol
the vicinity of the University and its Arts Theatre and
inspired similar societies in other towns in Nigeria.
A hint of the wide extent of its operation system of
film circulation can be gleaned from the report of the
director, Geoffrey Axworthyj
I think that apart from the link 
with Ghana, things did not go too 
badly last season (1965/66). I 
propose that we follow the same 
general pattern of circulation i.e.
LAGOS - IBADAN - by train to ZARIA,
KADUNA - train to ENUGU, NSUKKA,
PORT HARCOURT. I suggest that 
Zaria - Kaduna, Enugu - Nsukka —
Port Harcourt organizers get 
together now and arrange the timing 
and method of distribution locally5 o
The Ibadan Film Society continued playing a prominent
role in film exhibition at Ibadan and in the distribution
to other affiliated societies until 1967 when it declined
at the exit of Axworthy.
UNIVERSITY OF IBADAN LIBRARY 
179
Other sources include the British Film Institute, 
London; Contemporary Films Ltd., London; Embassy of 
the Federal Republic of Germany, Lagos; Information 
Service of India; Royal Netherlands Embassy, Lagos etc.
Film services at Ibadan became so very popular 
with attendance sometimes beyond the capacity of the 
Arts Theatre^, The anti-war demonstrations, labour 
unrest and imposition of curfews from 1967 to 1970 
dealt a deadly blow on the Nigerian film culture from 
which it never recovered fully. The film Society 
maintained its enthusiasm with certain modifications.
It discontinued the national network film distribution 
because indigenous companies had commenced selling 
both commercial and educational films. Furthermore, 
University population had increased and taste had 
become wide and insatiable. Objectives were therefore 
redefined and the society*s name changed to the Film 
Club. The Club then concentrated on satisfying the 
dwindling movie patrons on campus. War had done 
irreparable damage and the services declined in 
quality, frequency and variety. Although Soyinka 
continued the film tradition of the Arts Theatre 
through the Film Club and special arrangements with
UNIVERSITY OF IBADAN LIBRARY 
180
foreign embassies and cultural organizations, film 
culture never recouped its past vibrance.
An International Film Festival was organized 
from 10th to 14th March, 1974 to expose film audience 
to a variety of International film styles to rekindle 
interest in films. Films from Germany, Britain,
United States of America, Argentina, France, Italy, 
Czechoslovakia, and Switzerland were featured without 
any gate fee. The Festival was organized in association 
with Goethe Institute and the Italian Cultural 
Institute. The repertoire of films shown include 
La Familia Unida Esperando La LLegada De Hallewyn 
(Argentina) directed by Miguel Beio, Times for
(England) directed by Dwoskin X
Bergale etc; David Holzmann*s Diary (USA) directed by 
James Me Bride; L*Enclos (France) directed by Armand
Christian Blech etc.; Heute Wacht X
Oder Nie (Germany) directed by Daniel Schmid;
La Moste a Venezia (Italy) etc. The minutes of the 
Department of Theatre Arts staff meeting of Sunday 
June 29, 1975, records the followings
Mr. Marmion reported that the club 
had had an encouraging six months 
showing 15 films to an average 
audience of 120. The British Council 
had been most helpful over the supply 
of films... The film club had raised 
and expended some N550.
UNIVERSITY OF I ADAN LIBRARY 
181
This report indicates that film promotion was 
not trivially handled but as zealously pursued as was 
the live theatre though the audience has not improved 
much. The Department even had greater ambition for 
the future as the report reveals further: ’'Next year 
it hopes to increase the attendance of students and 
people from outside the university as well as to 
increase the number of films from other countries other 
than Britain or U.S...." But with the exit of 
Mr. Mamion in 1977, the club disintegrated and 
disappeared in the 80s. This notwithstanding, we can 
say that the club left important footprints in the 
development of a film culture in Ibadan.
The inauguration of the UPC in 1980 invigorated 
the film culture at the Arts Theatre by richly 
complementing the film services of the Department of 
Theatre Arts, as mentioned earlier in this chapter, 
the UPC regularly hired the Arts Theatre for films. 
These films were often previewed to be certain they 
conformed with the standing policy. The film services 
of the Department of Theatre Arts have in recent years 
been limited to occasional classroom illustrations.
But the Arts Theatre continues to accept film bookings 
from individual and corporate exhibitors.
UNIVERSITY OF IBADAN LIBRARY 
-  1 8 2 -  
CHAPTER 3
Notes and Bibliography
1. Clifford, E. John. Educational Theatre Management•
(Skokie.* Nat. Text, 1972), 12 - 16.
2. See Appendix 8 for the Extra-Mural Theatre
Workshop. Handbook developed by the 
present writer when he took over the 
coordination of the programme in 1984.
3. This was discontinued.in 1968.
4. Langford, Glenn. "The Concept of Education" in
New Essays in the Philosophy of Education.
Ed. Glenn Langford andD.J. 0xonnoro 
(London: Routledge and Kegan, 1973), 6.
5. Saint-Denis Michael. Theatre - The Discovery of
Style. (N.Y.; Theatre Arts Books, 1969): 61.
6. Banks, R.A. Drama and Theatre Arts. (London: Hodder.
198 sttsst:-----------
7. We here adopt the translation given by Makaman Nupe,
Alhaji Shehu Musa, C.F.R. in his paper 
titled Ibadan University and the Welfare 
of Nigeria being published text of the 
40th Anniversary Lecture of the University 
of Ibadan, (Ibadan: IUP, 1988): 3.
8. Ajayi J.F.A. and Tamuno T.N. The University of
Ibadan. 1948 - 73: l W i
9. Ahmed Yerimah. "Interview": 5.
10. Banham, Martin. "Drama at Ibadan: An Exciting
Prospect for the Theatre in Africa".
Printed Copy made available to the writer 
by Prof. Banham during a visit to Britain 
in 1986.
UNIVERSITY OF IBADAN LIBRARY 
183
11. All organizational productions, student and
private productions are not included.
This is a deliberate attempt to break the 
monotony of a lengthy listing and also avoid 
distraction since they run into thousands. 
Collaborative works or jointly sponsored 
international packages are however included.
12. Axworthy, G. "A Theatre for a University” in
Drama in Education 3 (The annual survey).
Ed. J. Hodgson and M. Banham. (London: 
Atman, 1975): 139.
13. Axwort• hyT,h e G.S he”rAm aTnh eaTthreea trfeo r pra ogUrnaimvmeer siist ys”i: mi1l3a9.r
to the academic functions of the Ibadan 
Arts Theatre. The Sherman Theatre Complex 
has two stage forms. The bigger auditorium 
has a fan shaped auditorium with an 
unstressed proscenium like the Olivier 
Theatre at the National Theatre London.
It also has a small compact arena theatre 
for experimental works. Axworthy avoided 
all the structural errors inherent in the 
Arts Theatre facility.
14. Akanji, Nasiru (Ed.) The Nigerian Stage.
Vol. 1 No. 1, March 1^90 (Iiorin: Innovation 
Theatre Study Series, 1990), 42.
15. Sonuga, Gbenga. "From the School of Drama to
Department of Theatre Arts”, 38.
16. Langley Stephen. Theatre Management in America:
PBroioknsc,i pli'e9 5'ainy;d P1r6a4c t-ice. (New^York: Drama 
17. See Appendix 9.
18. The Comedy of Errors was particularly done in
the accordance with the antics of the 
Ogunmola Travelling Theatre based at the 
AIrnttse rvTiheewa twriet hi nA x1w9o6r3t.h yS,e ep aYgeer.i m1a6h. Ahmed in 
UNIVERSITY OF IBADAN LIBRARY 
-  184 -
19. See Appendix 6 - Interview with Aboaba.
20. See Plate 4.
21. Ferguson, J. "Ibadan 1956-1966" in Ibadan
Voices, 114.
22. Axworthy, G. "Developments in the Nigerian
Theatre 1957-67". Based on a talk given 
in April 1967 to the Annual Conference 
of the Society of Teachers of Speech 
and Drama in London.
23. See Appendix 1 under "Programme and Suggestions"
for Nothingham Playhouse by G. Axworthy.
24. Evans, James R. London Theatre, 123.
25. Soyinka, Wole. "Towards a True Theatre", 64.
26. Yerimah, Ahmed. "Geoffrey Axworthy in
Interview", 24.
27. See Production notes on Noah.
28. Yerimah, Ahmed. "Interview", 24.
29. Yerimah, Ahmed. "Interview", 24.
30. Adelugba, Dapo. "Nationalism and Theatre", 24-45.
31. See Plate 5.
32. See Appendix 6 and Plate 5.
33. See Plate 2.
34. Gibbs, James. Modern Dramatists: Wole Soyinka* 39.
35. See Plate 6.
36. Adelugba, Dapo. "Nationalism", 24.
37. Axworthy, G. "Developments in the Nigerian
CTahredaitfrfe,.  1C98o6u.rtesy of Geoffrey Axworthy, 
UNIVERSITY OF IBADAN LIBRARY 
185 -
38. Ferguson, J, "Ibadan 1956-66", 114-115,
39. Nagler, A.M. A Source Book in Theatrical
History. (N.Y: Dover Publ., 1952), 59-60.
40. Nicoll, Allardyce. The Development of Theatre.
68.
41. Akanji, a . (Ed). The, Nigerian Stage. 36.
42. Reis H. Alvin. The Arts Management Handbook.
(N.Y: Arts Pub, i$70), 47$. ”
43. See Appendix 5 - Interview with Val. Olayemi
44. Ferguson, John. "Ibadan", 113.
45. See Plate 5.
46. Ferguson, John. "Ibadan", 113.
47. See Appendix 6-Interview with Fola Aboaba.
48. A careful study of plates 4, 5, 7, 8 and 9 shows
that meticulous attention was paid to 
standards in set design, costume, 
aesthetics, musical accompaniment but we 
cannot rule out occasional lapses.
49. Osofisan and Sowande crave for adaptable stage
wahretries titch eyv isciaon n alanwda ysm anliipbuelraattee  tith eiirn  
direction. Their plays are written to 
be adaptable to any stage form.
50. Wickham Glynne. "Drama as Study" in The Uses
of Drama: 166 - 180.
51. The present writer was posted to Renascent
High School where he directed Olu Olagoke’s 
Incorruptible Judge as a final year 
Diploma in Drama practical examination 
project in 1974.
UNIVERSITY OF IBADAN LIBRARY 
■«*
- 186 -
52. Aboaba, Fola. ’Tola Aboaba in Interview with Dapo Adelugba" Lace Occasional Publica­
tion (LOP) Ed. Dapo Adelugba Vol. 2 No. 5, 
July 20, 1985: 34. See Also Appendix 6.
53. Malomo, Jide. '‘Resident Theatre Companies": 480.
54. Adelugba, Dapo. "Nationalism": 24.
55. Yerimah, Ahmed. "Axworthy in Interview": 24.
56. Soyinka Wole, "Towards a True Theatre": 65-66.
57. Banham, Martin. "Drama at Ibadan: An Exciting 
Prospect for'the Theatre in Africa".
A printed copy given to the writer in 
Britain in 1986.
58. Soyinka’s Konqi* s Harvest was the first known
Nigerian play to be filmed. The filming 
was undertaken by Francis Oladele’s 
Calpeny Film Company, Ibadan; it was 
directed by Ossie Davis, a black American. 
Filming began in February, 1970.
59. From the correspondence captioned "1966/67 Film 
Season - Bookings" sent to all the 
Secretaries/Chairmen of all affiliated 
film Societies by Geoffrey Axworthy.
60 e Evidence reveals that extra seats were brought 
into the theatre and members also sat 
on the gangways since the capacity of the 
Arts Theatre is 304. As a result of 
oversubscription, some alternative venue, 
usually the Education Lecture theatre, 
was sometimes used.
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187 -
CHAPTER 4 .
4.0 IBADAN THEATRE MO Vi:; ML NTS :
CONCEPTS nND PARADIGMS IN PROFESPIONALISH
Between 1960 and 1985, the University of Ibadan
Arts Theatre witnessed the emergence of five different
theatrical movements epitomizing different concepts in
theatrical professionalism. These were: The University
Travelling Theatre (UTT)’ 1961, the School of Drama
Acting Company, 1967, The University Theatre Arts Company
(UTAC), 1970, The Unibadan Masques, 1974 and The Unibadan
Performing Company (UPC), 1980. The concern for the
development of a professional theatre probably predated
its 1961 origin. The remarkable works of the ATPG, the
UCIDS^several amateur groups at the Arts Theatre seemed
impressive somehow to encourage the aTv'.C to hanker for
a resident professional theatre. The closure of the
Arts Theatre to the public while it was undergoing
physical alterations to rectify its inadeouacies\ oAorder
to meet the professional demands on it, proved very 
auspicious to developments. The students out of sheer 
enthusiasm decided to take productions to their audiences 
whereever they might be. And of course, it was their 
halls of residence that immediately occurred to them.
UNIVERSITY OF IBADAN LIBRARY 
188
Thus without much awareness of the implications 
of their action the UCID6 pioneered a travelling literary 
theatre tradition at Ibadan. The troupe later embarked 
on nation wide tours presenting mainly adaptations 
of classical plays.
4.1 The University Travelling Theatre
The emergence of U.T.T. was a notable milestone 
in the dissemination of theatre education and practice 
in Nigeria. It evolved in three phases as follows:
(i) As UCIDS itinerant programme touring
student halls and villages around Ibadan 
after the closure of the Arts Theatre 
(1960 - 61).
(ii) As the University Travelling Theatre 
in collaboration with Axworthy 
supported by University grants and 
commercial firms prepared for 
Nation-wide tours (1961 - 1963).
(iii) As University Travelling Theatre on 
Wheels with mobile fc,lizabethan 
stage equipped with technical facilities 
prepared for national and international 
presentations. (1964 - 1966).
UNIVERSITY OF IBADAN LIBRARY 
/ 189
Phase (i) has been discussed under the Dramatic society 
act ivit ies.
Phase (II) represents a period of growth in maturity and 
theatrical expertise. The management style changed and 
commercial organizations were wooed for financial aids.
The first production of the UTT was That Scoundrel Suberu 
(1961 followed by The Taming of the Shrew (1962) and 
The Comedy of Errors (1963). The productions are essen­
tially comedies targeted at school audiences and this 
accounted for their massive support from school children. 
Professor Sonny Oti, a major participant in the Travelling 
Theatre activities provide an excellent summary of events 
in his accounts:
... The Ibadan University Travelling 
Theatre was actively touring 
nationally with a repertoire of 
teaching aid plays. That rallied 
cgernatmrmeasr  sacchrooosls  tshteu dnceotusn triyn  duurrbianng  
Easter short vacations. The repertoire 
usually comprised Shakespeare 
texts for schools or parallels which 
could make their study of dramatic 
literature texts less tedious.
Thus between 1961 and 1964, the 
Travelling Theatre toured with 
That Scoundrel Suberu, The Taming. 
of the Shrew, The Comedy of Errors", 
as well as excerpts from 
Julius Caesar, Macbeth,
A Midsummer Night's Dream ...
Henry IV, Twelfth Night,
... Merchant of Venice.
UNIVERSITY OF IBADAN LIBRARY 
190
In 1965, it toured with Panda, 
an adaptation of Nkem Nwankwo's 
novel... The innovative 
Theatre-On-hheels on which the 
1964 and 1965 productions were 
mounted, launched in a way, 
the establishment of professional 
and academic theatre studies 
at Ibadan University.1
The sudden detour of the Travelling Theatre after
That Scoundrel Suberu to the retention of the original
titles of plays adapted or the complete shifting of
interest to Shakespeare plays from 1962 to 1964 should
not be seen as a betrayal of the earlier avowed commitment
to the development of African drama. As earlier observed,
theatre policy at Ibadan was not based on a watertight
management creed, and since its evolution was prompted by
accident & 1 and circumstancial occurences, it could not b»<rt7
be responsive and pliable to circumstances. That
Scoundrel Suberu was popular because people believed
it was a true Nigerian play. 2
The successful outcome of the 1961 tours suggested 
a nation-wide tour with a popular dramatic literature 
text. Nigerian plays were yet to emerge to compete 
adequately with classic plays on school curriculum at
the time. Axworthy felt that in the absence of popupar3
U
IVERSITY OF IBADAN LIBRARY 
PLATE 10 Cast of 1964 Shakespeare Festival
by the University Travelling Theatre. 
Cast on the mobile st$ge of the Theatre- 
On-Wheels after performance in front flif 
Trenchard Hall, University of Ibadan. 
Standing are Paul WoriV*A-.'irt Business 
Manager, 5th from right in flowing 
white gown; Sonny Oti in grey coat,
8th from left; Wole Amele, 6th from 
left and Albert Egbe, 2nd from left, 
in black suit, among others.
UNIVERSITY OF IBADAN LIBRARY 
-  192 -
PLATE II: Scene from Shakespeare's
Comedy of Errors by U.T.T., 1964
UNIVERSITY OF IBADAN LIBRARY 
new Nigerian plays, European plays which were likely 
to appeal to general taste and yet retain academic 
viability should be kept on the repertory. 
Shakespeare’s Taming of the Shrew was decided upon 
as it raises issues most relevant to Nigerian life. 
Similar considerations were adduced for the choice 
of Shakespeare's Comedy of Errors in 1963.
At this time Ogunmola Theatre had come into residence 
at the Arts Theatre school of Drama and their 
techniques were being learnt by students. Axworthy 
explains that "We did Comedy of Errors in a very 
Nigerian folk opera way". 4
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A completely unique innovation known as "Theatre-on- 
wheels' was introduced into the Travelling theatre practice 
in 1964. The 1964 production coincided with the commenmo- 
ration of the 400th anniversary of the birth of William 
Shakespeare. Axworthy approached the British Council 
which was organizing it and a festival of excerpts from 
Shakespeare's plays'* was mutually agreed upon to be taken 
round the country. It was decided that a travelling 
stage in the form of the Elizabethan stage be constructed 
to facilitate production mobility. The transportation of 
the stage brought the idea of a stage-on-wheels carried
by a trailer. Brown credited this to Axworthy. g
The activities of the Travelling Theatre were enhanced 
through generous donations from the Shell Company of Nigeria, 
who gave a trailer and the United African Company (UAC) 
who gave money for building a stage on the tailer in the
i
tradition of aSlobe Theatre. The British Council, the 
University authorities and corporate organizations, the 
responsive audience and the enthusiasm and relentlessness 
of everyone connected with the production encouraged the 
theatre to bear its touring hazards and hardships to its 
glorious end. The production provided various opportunities
UNIVERSITY OF IBADAN LIBRARY 
195
for all those involved, artistes, technicians and adminis­
trators alike.
But it was not only the excerpts from seven plays of 
Shakespeare that the Travelling Theatre-on-Wheels was 
noted for. Another innovation was the adaptation of 
Panda by Nkem Nwankwo which we had mentioned earlier in 
this chapter. After the'product ion of classics, the 
Travelling Theatre veered back to African plays. Panda 
was published in 1964 and was adapted in 1965, which means 
there was conscious monitoring of African writings. The 
neglect suffered by James Ene Henshaw's plays was redressed 
with the production of his Dinner for Promotion in 1966, 
Axworthy's last production in Ibadan. Panda as a play and 
novel is a spectacular cultural outfit but with no pungent 
intellectual message. Sonny Oti concluded his observations 
as follows:
Although the text of Panda was a trilingua 
of Igbo, pidgin and English, it was 
essentially an "Igbo Folk Opera". Its 
theme was aSlight as a slapstick. Ironically,
Panda became an "epilogue" from the 
travelling theatre because 1965 was the 
last national tour by Ibadan University's 
theatre-on-wheels ... In 1966, Panda was 
taken to the Dakar Festival by the 
troupe.7
UNIVERSITY OF IBADAN LIBRARY 
-  196
In terms of inventiveness, artistic speculation and 
popularity, the University Travelling Theatre was a huge 
success. It toured Nigeria during vacations and represented 
Nigeria at the Dakar Festival, April 1 - 26, 1966. It 
was the only Acting Company with surpassing tradition in 
effective publicity, continuity of administration and 
corporate sponsorship a tradition that subsequent university 
troupes were to learn from.
An illuminating epilogue to the organizational
ingenuity of the university Travelling Theatre could be
culled from a correspondent report of April 2, 1966 on
Panda in West Africa magazine, which reads:
The play was performed in almost 
all big towns of Southern Nigeria, 
including Lagos, Ibadan, Abeokuta,
Ijebu-Ode, Benin, Onisha, Owerri,
Port Harcourt, Aba, Uyo, Calabar, 
and Enugu. When it was all over,
Pierre Lagues, Nigeria Sales Manager 
of CFAO and Geoffrey Axworthy,
Director of the School of Drama and 
originator of the Travelling Theatre, 
agreed that it had been a most 
stimulating and successful experiment.
The Company which had already paid 
for the press advertishing for the 
tour, presented a brand new 
Minimoke to the School, for use in 
developing its projects.
This is not, of course, the first time 
the Travelling Theatre has attracted 
such patronage. The trailer on 
which the "Theatre on Wheels" 
is constructed was donated by
UNIVERSITY OF IBADAN LIBRARY 
197
Shell B.P. for the All-Nigeria 
Shakespeare Festival tour of 1964.
Other firms provided haulage, 
drivers, and fuel, and the British 
Council made an outright donation 
of £1000. The Electricity Corporation 
of Nigeria laid on electric power 
cath araglel,  pwohiintlse  oatt hear sn omliennatl  tents 
for dressing rooms, buses for 
cast transport, and many other 
items. The university itself has 
been a generous sponsor - the 
whole project was financed in 
1961/62 from research grant.®
The U.T.T. through its nation-wide tours, adaptation
of plays to reflect ethnic diversity and unity, conveniently
simulated a national troupe, g and it has also been the 
main impetus for the inexorable quest for the establish­
ment of a professional troupe that would serve as a 
model national theatre. The ex it: of Geoffrey Axworthy 
prematurely terminated the U.T.T., but fortunately, a 
solid foundation had been laid for future Acting Companies 
to build upon.
4.2 The School of Drama Acting Company
It was a most welcome gesture and an overt recogni­
tion of Wole Soyinka's theatrical preeminence when he was 
appointed the Director of the School of Drama in August 
1967. It was anticipated that a wel.l-guided, African- 
oriented cultural policy would emanate from the university
UNIVERSITY OF IBADAN LIBRARY 
198 -
once Soyinka commenced his programmes. The UCIDS was most 
enthusiastic about the appointment, revelling in the hope 
of a more meaningful relationship with the School of 
Drama. Dapo Adelugba, the past president of UCIDS had 
also taken up appointment with the School. To Soyinka 
himself, it was a moment of great challenge to groom 
Nigerian literary theatre and offer a model professional 
troupe which he had attempted in his private experiments 
with the 1960 Masks and the Orisun Theatre.
But barely one month in office, and while he was yet 
writing the objectives of the School's Acting Company, 
the Federal Security agents arrested him during the long 
vacation of 1967 and clamped him into detention where he 
remained till October, 1969.
While Soyinka was in custody, Dexter Lyndersay 
deputized for him as Acting Director of the School of 
Drama and Dapo Adelugba took over the guidianship of the 
Acting Company in 1967. Before his arrest, Soyinka had 
engaged Betty Okotie as a foundation member of the Acting 
Company and had also left instructions as to the modality 
of organizing the troupe with a mandate that "Mr. Adelugba 
is to organize the training scheme, assisted by Miss Sowunmi
UNIVERSITY OF IBADAN LIBRARY 
199
and Betty Okotie".^
The absence of the substantive director affected
the company adversely. The Acting Company could not
function independently as the full-fledged professional
company that is was supposed to be, due to a number of
factors associated with the employment of actors and the
funding of the programme. Instead of abandoning the
project as a result of the invalidating effects of these
factors, the operation shifted gear to a drastic, yet
imaginative style by changing to a six-month training
programme similar to the present Extra-Mural Theatre 
’Workshop (ETW) 11 programme of the Department. Trainee 
actors/actresses participated in a number of stage, radio 
and television plays to sustain the company till 'Wole 
Soyinka was released in 1969.
Although its productions were not especially 
remarkable in terms of professionalism and nation-wide 
tours as those of the University Travelling Theatre, 
the Acting Company achieved unique artistic novelty in 
the ad hoc training scheme. It created a precedent which 
was difficult for subsequent Acting Companies to emulate. 
Adelugba, the director of the company narrated his 
experience as follows:
UNIVERSITY OF IBADAN LIBRARY 
200
We started out with the aim of 
producing actors. What we did 
rino unfdaectd  tphreoadturcee  wparsa cta itcioornpesr sof  
with a fair amount of knowledge 
and competence in the various 
departments of the arts of the 
theatre and an ability to perform 
not only on the stage but also 
on radio, television and eventually 
film. As planned, the trainees 
became a Repertory Company 
during the long Vocation (July to 
September, 1968). The company played 
not only in Ibadan but also in 
other towns in the Western State of 
Nigeria and Lagos. A projected 
tour of the country had to be 
cancelled due to administrative 
and weather problems. 2̂
Considering the amount of activities undertaken by
the Acting Company as related to stage and media productions,
a lot of energy must have been expended. Most of the
television plays were adapted for stage. If the Acting
Company under Adelugba seems to lack the glamour of
Axworthy's U.T.T., it excelled in its indigenization of
repertory and the nurturing of new African plays and
playwrights, notable among whom is Wale Ogunyemi who wrote
eight plays for the company. This gave Adelugba, as
a past activist of UCIDS, the privilege of continuing the
\
development of African theatre which had been started by
UNIVERSITY OF IBADAN LIBRARY 
201 -
the UTT between 1961 and 1966.
When Soyinka was released in October 1969, he took 
over the Acting Company from Dapo Adelugba, who now 
assisted him. Soyinka re-examined the existing training 
programme, modified it where necessary and started a 
new Acting Company from the old and new entrants, called 
the University Theatre Arts Company (UTAC) to reflect 
the conversion of the School of Drama to the Department 
of Theatre Arts.
4.3 University Theatre Arts Company (UTAC)
On the 1st of October, 1970 the School of Drama 
obtained Senate approval for its conversion to a full 
academic department offering degree courses of Theatre 
Arts and related courses in Theatre, Architecture, 
Psychology and Drama, Aesthetics, Drama in Africa,
Philosophy and Drama, Music, American Black Theatre etc.1-3 
The former School of Drama Acting Company was changed 
to the University Theatre Arts Company to reflect the 
conversion to an academic Department.
The UTAC was inaugurated with Wole Soyinka's 
new play Madmen and Specialists. It was a matter of 
coincidence that soon after Soyinka was released from
UNIVERSITY OF IBADAN LIBRARY 
202
detention he was invited to participate at the month-long
conference of Playwrights at the Eugene 0* Neill Theatre
Centre, Waterford, Connecticut where he premiered
Madmen and Specialists in 1970.
James Gibbs noted that: "The text (Madmen and
Specialists) was completed from the drafts, some of
which may have been made in Kaduna Prison." 14 This no 
doubt illustrates the degree of determination that Soyinka 
brought into his work, that while he was yet in jail he 
was mirroring the society and scheming new trends in 
theatrical consciousness. Soyinka prepared the UTAC 
for the Waterford Conference, bringing the incipient 
troupe and the University into another international 
limelight after Nancy.
After its successful performance at Waterford,
performed at
Soyinka explained that the troupe later/New York Universit/y
Arts Centre, rounding off the tour in Harlem where the
Company played to full capacity audience. 15 As a result 
of this successful outing, the troupe was invited to 
return with a production for the opening of the Annenberg 
Creative Arts Centre at the University of Philadelphia 
in February, 1971. But this was not honoured. However,
UNIVERSITY OF IBADAN LIBRARY 
203
on return home the UTAC performed a new version of
Madmen at Ibadan and Ife in January and March, 1971. “16
The life of UTAC was very short but very eventful.
within that short period its repertoire included Madmen
and Specialists by Soyinka, Esu Eleqbara by Ogunyemi,
Akara Oogun by Osanyin, The Jar by Pirandelo, the triology
Dutchman, The Fantastic and After this We Heard of Fire
directed by Lyndersay. All the groups involved utilized
the technical assistance and management facilities of the
Department of Theatre Arts. Wole Soyinka informs us that
the staff participated in the artistic side of a number
of productions and in some cases actually directed the
plays. Soyinka did not monopolize the opportunities that
his position afforded him but encouraged others to
develop in their own different theatrical directions.
As a result, works of younger playwrights were given a
trial at the Arts Theatre. The Acting Company (UTAC)
was disbanded in April 1971 due to what Adelugba described
as ’’administrative and financial difficulties”, 17
after a seven-month operation.
Soyinka resigned his appointment as Head of the 
toddling Department of Theatre Arts in October, 1971
UNIVERSITY OF IBADAN LIBRARY 
- 204 -
leaving a temporary vacuum in the development of African 
drama in Ibadan.
4.4 Unibadan Masques
For three and a half years after the demise of
UTAC, the Department of Theatre Arts was without an
Acting Company. Adedeji was busy putting the Department
on a sound academic footing and making special cases
for additional staff. In October, 1974, the last batch
of Diploma in Drama students graduated 18 and a new 
Diploma in Theatre Arts programme was introduced. The 
aim was to produce all-round professionals in theatre, 
film, television and radio who would go out to practice 
privately, work in media houses and teach in schools, 
thereby boosting the future of the theatre in various 
spheres. To achieve this, Adedeji saw the need to raise 
a professional or semi-professional troupe. Whatever 
the case may be, the 1974/75 session witnessed a new 
dimension in professional theatre development at Ibadan. 
The Unibadan Masques was founded by Adedeji with Dexter 
Lyndersay as the director. Adedeji*s concern was to 
build a virile Acting Company for the promotion of African 
plays on a more enduring framework than in the past.
UNIVERSITY OF IBADAN LIBRARY 
205
For Nigerian literary theatre to thrive, Adedeji contended 
that there must be a troupe and a regular performance 
venue where writers could experiment and blossom without 
any hindrance.
The main aim of the Unibadan Masques, as Lyndersay
put it was the projection of "the African personality
(and concerns) - in tradition, in present-day life and in
aspiration for the future - in particular the Nigerian
and including those members of the 'Black Diaspora*
(Black Americans, West Indians etc.) by use of performing
and other arts and skills". 19 This was much in accord 
with most proposals put forward by members of staff since 
1974 and which were periodically reviewed. The means 
of achieving this aim was through employment of the best 
personnel - artistic and administrative, - who would 
be paid according to their expertise and the conditions 
operative generally in the labour market.
For ease of management, and transportation, the 
company was to be limited to 25 in number. It was 
therefore imperative for actors to be multitalented in 
writing, acting, music, design, directing and to also
UNIVERSITY OF IBADAN LIBRARY 
-  206 -
be prepared to be trained in all aspects of stagecraft.
In addition, it was proposed that five persons should be 
employed to serve on the administrative side as stage 
manager, production Manager/Technician, Publicity/ 
Tour-Booking Manager, Box Office Assistant and typist.
It was estimated that N22,000 (Twenty two thousand naira) 
should take care of all these annually.
The frequency of production was fixed at 9 plays per 
season with an average of one production per month.
It was considered ideal to have at least 6 plays in 
repertory. The programme time-table was made as flexible 
as possible. The Long Vacation period was spent preparing
and rehearsing plays for the following season, training
actors, taking productions on tours etc. 20
The Unibadan Masques was unique in the semse that 
it was better organised and coordinated than the previous
♦
companies. Actors were real professionals who were not 
subjected to classroom teaching and frustrating monthly 
stipends. They were paid employees and the troupe 
had an identifiable administrative set up. Interaction with 
students, and involvement of people from University and 
town communities were encouraged.
UNIVERSITY OF IBADAN LIBRARY 
207 -
Lyndersay directed the Masques from 1974 to 1976 
and Adedeji, assisted by Yemi Ajibade, the Artist-in- 
Residence, took over direction from 1976 to 1979. Laolu 
Ogunniyi was appointed Production Manager and also 
doubled as Touring Advance Manager.
The Unibadan Masques as a matter of fact nurtured 
Femi Osofisan and provided opportunities for the establi­
shed and aspirant playwrights to put their work to 
test in the amount of new writings collected for production.
As an academic professional theatre, the Unibadan 
Masques boosted its popularity by adopting the "total 
theatre" experience of the Yoruba Travelling Theatre, 
from which Osofisan's The Chattering and The Song and 
Kolera Kolej evolved. Dexter Lyndersay explains his 
preference:
When I was director of Unibadan #
Masques, I looked first for plays 
by Nigerian authors. And my 
first consideration was for writers
in and around the Department .....
Simultaneously, we looked for 
African and Afro-American plays ...
Our primary concern was to do 
plays that would be stimulating 
to the campus community; also 
from which the participating
students could gain some i ,
practical experience and the| /
UNIVERSITY OF IBADAN LIBRARY 
20 8 -
students could gain some 
practical experience and the 
student spectators some 
airntssp irofi ngt hed emtohnesattrraet.i2o1ns of the 
The creative interjection of familiar local tunes and 
dexterous manipulation of cultural idioms and values 
made Ogunyemi, Osofisan and Ajibade especially favourites 
of the Unibadan Masques-. This is much in conformity 
with the production aims of giving expression to "the 
African Personality." The Unibadan Masques served as the 
professional unit of the Department of Theatre Arts 
the students could look up to for inspiration and 
emulation. It complemented the curricular programmes 
and provided opportunities for both academic and 
professionally-oriented staff to share experiences 
of production and finally, it provided a link between 
town and gown.
The Masques productions were popular, socially 
relevant African plays which included Femi Osofisan*s 
Kolera Kolel (1975), Emman Avbiorokoma**The Child Factor 
(1976), Wole Soyinka*s The Lion and the Jewel (1977) 
and Yemi Ajibade*s Mokai (1978). The greatest achieve­
ments of the Masques lie in its promotion of African
UNIVERSITY OF IBADAN LIBRARY 
209
plays^the establishment of theatre in English as a 
viable professional venture in Ibadan.
The Unibadan Masques was somehow more successful 
than other Acting companies for several reasons. 
Artistically, it had a focus which it kept constantly 
in view* Members of the organization contributed the 
bulk of its creative materials. Writers like Wale 
Ogunyemi, Emman Avbiorokoma, Femi Osofisan, Bode Osanyin, 
Yemi Ajibade and Kole Omotoso were within the university 
community and of course many of them were part of the 
Masques organization. They were readily available to 
respond to the artistic and experimental perception 
of the project. The university was fiscally supportive 
in that the authorities provided vehicles to facilitate 
touring, office accommodation to ease adminnstration,
and incentives to sustain artistic enthusiasm* *
/
The actors were themselves committed practitioners who 
put the interest of the arts above all pecuniary consi­
derations.
Adedeji maintained a consistent view of the 
viability of theatre as a business venture. The success 
of the Masques seemed to justify his hope for theatre
UNIVERSITY OF IBADAN LIBRARY 
210
as business. He made a proposal to the university 
authority for the establishment of a professional 
revenue generating troupe that would be independent of the 
Department of Theatre Arts. The proposal was accepted 
and the Unibadan Performing Company was constituted 
in July, 1980.
4.5 Unibadan Performing Company (UPC)
It was the ultimate goal of Adedeji to see that 
what Axworthy pioneered and Soyinka nurtured was realized 
by him. The success of the Unibadan Masques precipitated 
the birth of the UPC in 1980 with the great hope that it 
would attain preeminence in style and quality over all 
pre-existing troupes, and serve as model for all other 
extant troupes in English and the vernacular.
For this reason it was placed under the management 
of vastly experienced artists, theatre scholars, media
experts and dynamic administrators to ensure its /»
stability and success. The Board of Management consisted 
of'Messrs Ayo Ogunlade (Chairman), Peter Olagoke,
Dr. N.O. Kayode, Dr. Victoria Ezeokoll, Dr. (Mrs.) Zulu 
Sofola, Mr. Dapo Adelugba (now a Professor), Professor 
Olumuyiwa Awe, Mr. Bayo Oduneye, Mr. Emman Avbioroloma, 
and Mr. (Now Dr.) Jide Malomo as Secretary.
UNIVERSITY OF IBADAN LIBRARY 
211
The Board of Management had the following stated 
functions to perform:
(i) The Board shall be charged with the overall 
responsibility for the management of the 
Unibadan Performing Company. However, it will 
concern itself mainly with policy matters.
The operative matters shall be the major 
cpncern of the Managing Director who will be 
responsible for the day-to-day running of 
the company.
Ui) The Board shall be responsible to Council
through the Vice-Chancellor.
(iii) The Board shall determine the general conditions
of Service of the Unibadan Performing Company.
(iv) The Board shall receive an annual report which
shall be forwarded to Council through the
Vice-Chancellor. /
(v) Without prejudice to the foregoing, the Board
shall have power to consider any matter that
it considers of interest and that is related
to the operation of the Performing Company. 22
UNIVERSITY OF IBADAN LIBRARY 
212
For the day-to-day operation, Mr. Bayo Oduneye
and Mr. Jide Malomo were appointed Artistic Director
and Business Manager respectively. The staff of the 
Company 23 were recruited through newspaper advertisements 
and employed after necessary screening by a panel of 
interviewers comprising Messrs Emman Avbiorokoma, Bayo 
Oduneye, Dapo Adelugba-, Jide Malomo, Sunbo Marinho,
Sola Aborisade and Tunji Oyelana in May, 1980. On July 
first, 1980, the Company commenced operation with a 
capital of N8l,000 four vehicles (i.e. one station wagon 
peogeot 504 G.L., one Toyota Coastal Bus (26 Seater), 
one V/W Kombi Bus, and one 7 ton Austin Larry) which 
were in various states of disrepair and an office block 
formerly used by the Unibadan Masques. The UPC took 
over all the assets of the Masques to begin its own 
professional career.
A troupe of 14 actors and actresses of varying 
graces and expertise were employed. An Assistant 
Business Manager, 2 Theatre Technicians, 2 drivers,
1 typist, 1 messenger/cleaner, i Accounting Officer 
plus the Artistic Director and Business Manager served 
on the administrative side. Four of the crew members
UNIVERSITY OF IBADAN LIBRARY 
213
24
were on secondment. There were twenty four members 
all together on the staff of UPC as at March, 1981.
The Arts Theatre (supplemented by Trenchard Hall) 
was to be used mainly for the UPC stage productions and 
film exhibitions. The Artistic projection of the UPC 
was to produce excellent works of Nigerian playwrights 
that had box office (financial) potential. As in the 
Masques, the artists were multitalented, which accounted 
for the fewness of their number. This also suggested 
that the plays on repertory must be limited in the 
number of characters for easy touring and effective 
administration.
As a professional theatre, the UPC falls within 
the category of a commercial theatre like the Yoruba 
Travelling Theatre, New York Broadway and London Westend 
theatres. The choice of plays was guided by the /
populartity of the plays or the playwrights. The UPC 
repertory 1980 - 1985 consisted of only six plays - 
The Divorce by Wale Ogunyemi, Our Husband has Gone Mad 
Again by Ola Rotimi, The Wind by Obi Egbuna, Birthdays 
Are not for Dying by Femi Osofisan and The Lion and 
Jewel by Wole Soyinka.
UNIVERSITY OF IBADAN LIBRARY 
214 -
The effect of the popularity of the UPC productions 
on the Arts Theatre was rather immeasurable considering 
the number and type of audiences it attracted to the 
theatre e.g. societies and high government officials.
The repertoire augmented the patronage of the academic 
and general productions of the Department of Theatre 
Arts which had regular "but almost inelastic audience.
The volume of activities in the Arts Theatre swelled 
and the patrons were pleased with the programme diversity. 
The UPC radio and television drama series in Oyo, Ogun, 
Bendel and Kwara States also broadened its influence 
and stinulated public awareness of theatrical activities 
at Ibadan.
In spite of its meticulous planning and commitment,
the UPC could not achieve its financial goals. The
Managing Director explains the reason for this as follows:
The major infrastructural problem
which hampered the performance of
the Unibadan Performing Company was
the lack of performance venue. The
University Arts Theatre, which is the
only venue for theatrical performances
on the campus, was used mainly
alnadb oarlamtoosrty  eofx cTlhuesaitvreel y Arats s a Department.^25
UNIVERSITY OF IBADAN LIBRARY 
- 215 -
Apart from the variety of factors responsible for the 
collapse of UPC, it is also noteworthy that overdependence 
on University subsidy and the treatment of performers 
as civil servants and not as professional artistes 
ruined the enterprise. Since its decline, in 1985, 
the University has not been able to raise another troupe.
A true appraisal- of the various attempts at 
evolving a professional literary theatre troupe at 
Ibadan may be difficult to undertake without a thorough 
appreciation of the prevailing circumstances, vision 
and operation techniques that characterized each troupe.
It can be justifiably said that the troupes didn*t 
achieve equal success due to variable factors like 
the philosophy of operation, nature of funding, degree 
of personal commitment managers and troupe members 
brought into the project, quality of production
♦
equipments, availability of performance venue and their ' 
effectiveness in promoting theatre profession.
4.6 International Productions
The first international exposure that the Ibadan 
theatre troupe had was 1966 when it presented Panda 
at the first World Black and African Festival of Arts 
and Culture held in Darkar, Senegal. The advantage
UNIVERSITY OF IBADAN LIBRARY 
216
of an international exposure is that it made the 
theatrical activities emanating from the Arts Theatre 
known by the world. This instantly attracted recogni­
tion for any excellent work done and pr«8tige for the 
institution it came from.
In 1967, the School of Drama Acting Company 
participated at the World Festival of University Drama, 
held in Nancy, France and won third position among the 
twenty six competing universities from the major 
countries of the world, beaten only by Finland and 
Britain. Wole Soyinka attended the National Play­
wrights' Conference at the prestigious Eugene O'Neil 
Theater Center, Waterford, Connecticutt, July - August, 
1970 where he premiered his Madmen and Specialists 
on August 1 and 2 with the University Theatre Arts 
Company. The group later performed at New York 
University, black communities in Hartford, Waterbury, 
New Haven and Bridgeport.
The trip was highly successful. In the 
Bridgeport, Post of July 28, 1970, under the caption 
"Nigeria's Play Gives Insight Into African Drama 
Culture" Lynda Herskowitz wrote:
UNIVERSITY OF IBADAN LIBRARY 
217 -
A brief insight into African drama 
and culture was gained yesterday 
by residents of Bridgeport who 
witnessed a play entitled "Madmen 
and Specialists", by Wole Soyinka, 
a leading African playwright, in the 
Harding High School auditorium.
It was the first public performance 
of this new play, performed by members 
of the University of Ibadan Theatre Arts 
Company of Nigeria ... and they are 
to be commended for the worth while 
exposure to African drama and culture.
So wide was the publicity this production attracted in 
America that not only the reputation of the playwright
increased but the university and Africa also enjoyed a
\0
corresponding boost^image. Through this production the 
American society was introduced to dimensions in 
African drama, culture and the prevalent social 
realities in Nigeria.
Ten years after Waterford, Adedeji opened a new 
kind of cultural exchange programme known as the Nigerian 
Showcase Ensemble in 1980/81. The Showcase, conceived 
as a tolerable substitute for a resident Acting Company 
was an ad hoc troupe of staff, students and practiti­
oners. It was a collection of virtuoso artists who 
pulled their resources together for the creation of an 
excellent unscripted medley of history, folklore, dance, 
dr«pa,and music, combining colour, and spectacle.
UNIVERSITY OF IBADAN LIBRARY 
218
The first production of the Showcase was Daybreak
in Jebana. which toured six American cities in 1980 and
participated at the American Theatre Arts Festival,
Valhalla, New York, on April 24, 1981. The production
and travelling expenses were borne by Mobil producing,
Nigeria, with assistance from the Nigerian Airways and
Concord Press of Nigeria. The second Showcase production
to America, A Flash in the Sun (1982) was particularly
remarkable because it represented Nigeria in the
United States of America at a Festival organized in
commemoration of 2000 years of the Treasures of Ancient
Nigeria at the Philadelphia Museum of Arts. The ensemble
toured the United States for one month from March 22
to April 22, 1982, and performed to a capacity audience
of 55,000 in Philadelphia and Washington D.C. According
to Rubicon publication, "The dance drama was watched
by about 150,000 in eight performances which included
24,000 at one show at the end of which reviewers noted
it was a record breaking attendance" 25 (Sic) It 
received an excellent citation from the City Council 
of Philadelphia. Chief A.Y. Eke, Nigerian Ambassador in 
the United States of America wrote to Adedeji on the 
production:
UNIVERSITY OF IBADAN LIBRARY 
219
I write to commend you on the 
excellent performance last night 
by the University of Ibadan Dance 
Ensemble in the National Museum 
of Natural History, Washington, D.C.
It was a splendid occasion, and the 
audience was fully appreciative 
of the performance, Two standing 
ovations are unysual in a single 
pseorrtf oromfa nacpep.r eciNaotnieotnh elaecscso rdiet d wayso urthe  
group. It richly deserved It.
By this performance the 
University of Ibadan Dance Ensemble 
has rendered an. ^i nvaluable service to our country (Emphasis Mine)
The 1985 season ended with Bode Sowande* s Circus of
Freedom Square, November 17-20, 1985. The play had
earlier in the year been premiered at the L’Aquila
International Theatre Festival, Italy on June 3rd, 1985.
It was specifically produced for this festival and was
equally successful as all other international productions.
4.7 Foreign Visiting Artlsts/Production Workshops
While troupes from the Arts Theatre have represented * 
Nigeria in other countries of the world, foreign troupes 
representing their countries have also been hosted at 
the Arts Theatre over the years. This has exposed 
students practically to a variety of world entertainments 
and theatrical styles. Theatre luminaries from Britain, 
United State of America, Germany, France, Australia,
India and African countries have therefore been
UNIVERSITY OF IBADAN LIBRARY 
220
encountered as first hand experiences.
Among the international troupes, actors, directors 
that performed or conducted workshops at the Arts
Theatre within the period under consideration are: 27
1. Hornsteiner Puppet Theatre from 
Western Germany, Nov. 1965.
2. One Man in His Time. One Man show, 
by James Caincross, Nov. 1968, 
sponsored by the British Council,
3. Royal Lyceum Theatre Company of 
Edinburgh, British Council, Mar. 14-17, 1969.
4. Pepusch, the German Mime Oct/Nov. 1972.
5. Theatre De La Mandragore,
Pantomime from Paris, April, 1973.
6. Didjeridoo, Australian Aboriginal 
Music, April, 1973.
7. Peter Brook and others, Workshop/
Performances, sponsored by British 
Council, 1973.
8. Julian Mitchell, Seminar on Drama,
British Council, April 9, 1973.
9. Ipi Tombl from South Africa, Nov., 1976.
10. A classic Dance Drama by
Swapnasundari and Shastri Sisters from India, 
1982.
UNIVERSITY OF IBADAN LIBRARY 
221
11. Dramatic Reading from African and 
Afro American Literature by Cicely 
Tyson from U.S.A., 1982.
12. Odehe Folkloric Troupe from Ghana, 1982.
13. Ellen Stewart, Founder and Managing 
Director, La Mama Experimental Theatre 
Club, New York City, Sponsored by the 
United States Information Service USIS, 1983.
14. American National Theatre Express,
Except performances and workshops, by 
Jack Cantwell, Katherine Ferrand
and Allen Nause 1985.
15. Peter Brook, Film Recruitment Drive 
to Ibadan, 1985.
From the above, it can be seen that the Arts Theatre and 
the Ibadan Theatre Arts students have been able to 
interact with international artistes and explore their 
professional advantages to enhance competence. It can 
therefore be concluded from all these activities, that 
the Arts Theatre was the enviable goal of all troupes,
UNIVERSITY OF IBADAN LIBRARY 
222 -
amateur or professional, in the 1960s and 70s for 
Ibadan was their Stratford-Upon-Avon and the Arts 
Theatre was their Shakespeare Memorial Theatre in 
terms of excellence and inspiration.
UNIVERSITY OF IBADAN LIBRARY 
CHAPTER 4
Notes and Bibliography
1. Oti, Sonny, "Nigeria Theatre Toady" in
Nigeria Magazine. Vol. 53, No. 2: 31.
2. Yerimah, Ahmedo "Axworthy in Interview"
18-19. The Play was written in 
standard and Pidgin English and 
was so hilarious that the Eastern 
Nigeria Television, Enugu, televized 
it. But the play did not go beyond 
Eastern Nigeria.
3. Wole Soyinka's The Trials of Brother Jero
Premiered by UCIDS in 1966, was considered 
popular in the South, but its Christian 
orientation had not much attraction to 
the Islamic North.
4. Yerimah Ahmed, 15
5. See Plates 6 and 7
6. Brown T. William: "Shakespeare-on-Wheels": 36
Brown noted that the idea of a Travelling 
Stage germinated from a casual comment 
made by Axworthy.
7. Oti, Sonny. "Nigeria Theatre" : 31
8. West Africa Magazine. April 2, 1966 :372.
9. The works of U.T.T. inspired Adelugba's dissertation.
See Adelugba, Dapo. "Nationalism and the 
Awakening National Theatre of Nigeria."
10. Adelugba, Dapo, "The Professional and Academic
Theatre" :343
11. In fact all Acting Company activities from UCIDS to
Unibadan Masques were regarded as integral 
members of ETW. See Appendix 8.
UNIVERSITY OF IBADAN LIBRARY 
224
12. Adelugba, ThDeaapto.r e";’’ The3 46P.rofessional and Academic
13. See Depart1m9e7n0t/ 71of  bTyh eWaotlre e SAoyritnsk aA.nnual Report
14. Gibbs, James. Modern Dramatists :99
15. Theatre Arts Annual Report 1970/71.
16. Adelugba Dapo. "The Professional and Academic
Theatre" ; 347.
17. Adelugba, Dapo. "The Professional and Academic
Theatre" : 347
18. The present researcher was a member of that class.
Although the class started the Diploma 
in Theatre Arts Programme it was awarded 
"Diploma in Drama' Certificate,
19. Cited from "Aims of the Performing Company of the
mDeempoa rttmo enDtr.  ofJ .AT.h eaAtdredee jAir tsd:a tedI nt2e9r/n1a0l/ 75
20. Minutes of the Annual General Meeting held on
Sunday 29/6/75 inform us that the Company 
was founded with a grant of M6,000 and 
staff employed at a post-Udoji Salary.
21. Malomo, Jide. "Resident Theatre Companies in Nigerian
Universities: A Study in Development and
Management". Unpublished Ph.D Thesis, 
University of Ibadan, 1986: 500-501.
22. U.P.C. First Annual Report and Accounts 1980/81 :2.
23. See Unibadan Performing Company Staff List as of
March, 1981. Cited from UPC Annual 
Report, March, 1981 :7.
*
UNIVERSITY OF IBADAN LIBRARY 
225 -
24. The Artistic Director, Business Manager and a
driver were seconded from the Department 
of Theatre Arts while the Accounting 
Officer was from the Bursary Department.
25. Rubicon. Nigeria Showcase Ensemble for Olympics *84
(Lagos; Rubicon Advertising Co., 19841): 5.
26. Cited fromA  Ftlhaes hN igien ritahne  TSruinb. uneW edR.e vMiaeyws  5,o f1982 
edition, page 7.
27. The present researcher compiled the list
from the Business Manager Records.
This is one of the privileges our 
position as Business Manager afforded us. 
There are no posters or programme notes 
for many of these performances.
UNIVERSITY OF IBADAN LIBRARY
CHAPTER 5
5.0 CONCLUSION
5.1 Fields Covered
We began by investigating the social status of 
the theatre and its practitioners from the ancient 
classical Greek period to the present time. The review 
of relevant literature revealed that Dionysiac artists 
were doted upon, subsidized by the community and were 
a little lower than the monarchy in social recognition. 
Theatre declined in prestige after the conquest of 
Greece by Rome and not until England knighted Henry 
Irving in 1895 did theatre recover its importance in 
society.
The opinion of Plato in his book The Republic 
did not favour the image of theatre, and his was a 
reflection of long enduring prejudices in the society. 
Therefore we studied the uneasy process of integrating 
theatre into the University curriculum from the time when 
Carnegie Institute of Technology Pittsburgh pioneered 
a four year degree programme in 1914. The theatre 
became accepted as a viable means of teaching good speech, 
oratory and declamation. Britain established her own
UNIVERSITY OF IBADAN LIBRARY 
227
first Drama Department at Bristol University in 1946. 
Except for Yale University which used its theatre exclu­
sively for staff and student productions, the majority 
of the University playhouses in America and Britain 
extended their theatre facilities to the community 
at large. This also became the tradition at Ibadan.
Three famous Arts Theatres, the Moscow Art 
Theatre (MAT), the Cambridge Arts Theatre (CAT) 
and the Arts Theatre Club, London were studied and 
compared with Ibadan Arts Theatre. All the three 
foreign theatres served at tone time or the other as 
national theatres of their countries because of their 
high standards and leadership roles. The Arts Theatre 
in Ibadan has played a similar role, as our investi­
gations revealed.
The origin of the Arts Theatre was related to 
the origin and purpose of the University College,
Ibadan which was to promote learning and culture in 
manners that enhanced African identity and development. 
We scrutinized the early dramatic activities of Randall 
Hogarth (1948-50) and saw their relevance to academic
UNIVERSITY OF IBADAN LIBRARY 
228 -
projections and particularly the Italian Teatro
Olimpiico 1585 the first known academ.ic theatre of 
Italian renaissance. Teatro Olimpico was opened with 
Sophocles' Oedipus Rex which Randall Hogarth also 
produced in 1949/50 session as first notable dramatic 
presentation at Ibadan.
Randall Hogarth's activities we suspected must 
have among other reasons influenced the changing of 
the Open Air Theatre designed for U.C.I. to the Arts 
Theatre. Kenneth Mellanby, the first Principal of 
UCI paid eloquent tribute to Hogarth's Oedipus Rex.
He also informed us about frequent changes made in the 
University buildings and their locations which probably 
also affected the size and location of the Arts Theatre. 
We studied theatre forms and highlighted their advantages 
and disadvantages in order to determine why proscenium 
stage theatre was built at Ibadan. Our research revealed 
that all the famous Arts Theatres studied had proscenium 
stages, and that naturalistic staging was fashionable in 
the 1950s. Theatre designers and architects like Richard 
and Helen Leacroft, Ivor Prinsloo, Burris-Meyer and
UNIVERSITY OF IBADAN LIBRARY 
229 -
C. Cole described proscenium stage as a most ideal 
structure for presentation of drama, concerts and 
lectures which are the fundamental purposes for which 
an educational theatre like Ibadan Arts Theatre was 
required.
The establishment of the Arts Theatre Management 
Committee which unshered in structural and artistic deve­
lopments at the Arts Theatre was also considered. This 
was an area where Axworthy demonstrated the greatest 
zeal and imagination. Further developments to the 
Arts Theatre through the contributions of Soyinka and 
Adedeji were discussed and evaluated. We discovered that 
the physical presence of the Arts Theatre at Ibadan 
inspired the establishment of the School of Drama 
in the Arts Theatre in 1963 which eventually became 
the Department of Theatre Arts in 1970. We also 
reviewed the struggle of the Department to secure the 
management of the Arts Theatre from the aTMC in order 
to facilitate its programmes.
Theatrical productions constituted the main 
channels through which the Arts Theatre promoted theatre 
practice througout Nigeria and overseas. These
UNIVERSITY OF IBADAN LIBRARY 
230
productions were mounted by various resident Arts 
Theatre troupes such as the UCIDS, ATPG, University 
Travelling Theatre, Unibadan Masques, School of Drama 
Acting Company, UTAC and UPC. All these exposed theatre 
culture and taste in various forms on stage, radio, 
television; and some of them went on national and 
international tours pbpularizirtg Nigerian theatre and 
winning prizes and commendations. Various other amateur 
troupes emerged to use the facilities of the Arts 
Theatre. Through their activities, press coverages and 
many other contributions they increased the fame of 
theatre profession and made it the respectable vocation 
and academic discipline that it is today.
Extra-mural productions which included theatre 
workshops, children's theatre, film exhibitions, 
visiting foreign artistis, and secondary Schools drama 
projects, all these too contributed to the success of the 
Arts Theatre as a functional theatre centre in an African 
University. In spite of all its inadequacies Geoffrey 
Axworthy, Joel Adedeji, Dapo Adelugba have attested in 
their writings to the contribution of the Arts Theatre.
UNIVERSITY OF IBADAN LIBRARY 
231
The various productions embarked upon by 
various troupes to satisfy diverse aesthetic tastes 
introduced us to the essense and the phenomenology 
of ’style* in theatrical producing. This dimension 
obviously strengthened the urge to experiment with different 
stage forms in order to maximize audience enjoyment in 
a theatrical experience.
The central role of a playhouse in the fostering
of theatre arts was also given prominence. We
established that without theatre halls, artistic
explosion would be hindred if not made impossible.
Conclusively, we came to the understanding that it isn*t
the commodiousness of a physical structure that matters
in theatrical functionality but rather it is the
ingenuity and finesse the artists bring into it and
Peter Brook , Margo Jones etc. underscore this point »
of view in their various discourses. This work believes
in Lovelace's aphorism:
Stone walls do not a prison made,
Nor iron bars a cage2.
UNIVERSITY OF IBADAN LIBRARY 
232
In the process of our research we discovered that the 
Arts Theatre represented no colonial outlook but was built 
to fulfil basic academic and cultural needs of the 
University. However, the enthusiasm of those charged 
with the management expanded the scope of its potential 
to embrace professional development of theatre and 
serious academic projection. We realized that its name 
had correlation with the hope and aspirations of the 
world famous Arts Theatres and was vital centre for the 
promotion of the African theatre, and playwrights. And 
finally our research indicated that age is no barrier 
to the Arts Theatre’s functionality; and that if it could 
be refurbished and maintained properly, it would be able 
to play more vital roles in the promotion of African 
theatre in the future.
UNIVERSITY OF IBADAN LIBRARY 
233
NOTES AND BIBLIOGRAPHY
1. Brook, Peter. The Empty Space: 65
2. Coombes, H. Literature and Criticism
(Penguin Books, 1980): Zl
UNIVERSITY OF IBADAN LIBRARY 
-  234
BIBLIOGRAPHY
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1. Building
A personal study of the Arts Theatre 
structure as source of history®
2. Official documents/correspondence on:
(a) The University College, Ibadan.
(b) The Arts Theatre and Management 
Committee.
(c) The School of Drama®
(d) The Department of Theatre Arts®
3. Recorded Plays and Operas
(1) Oqunmola, Kola, The Falmwine Drlnkard
Recorded/Editod by R. G. Armstrong, 
Institute of African Studies,
Vol. 10 - 12, 1Q73.
(ii) Nwankwo, Nkem. Panda. Video Recording 
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April - June, 1985: 30-36. /.
Sofola, Zulu. "The Playwright and Theatrical Creation." in Nigeria Magazine 
Nos. 128-129, 1979: 68-74.
Sonuga, Gbenga. "From School of Drama to Department of Theatre Arts - an 
evaluation of the University of Ibadan's curriculum for 
Theatre Arts." New Culture Magazine. Feb. 1979:37-47.
Timothy - Asobele, Jide. "Development of Children Theatre and Eo0ks in 
Nigeria" in Nigeria Magazine No. 151, 1984: 46-62.
Yerimah, Ahmed. "Geoffrey Axworthy in Interview with Ahmed Yerimah" in 
Lace Occasional Publication Vol. 1 No. 9, Aug. 10, 1984.
Fd. Dapo Adelugba. West Africa Magazine. April 2, 1966.
(h) Newspaper Articles
Ibeabuchi, Aloysius,t,Yinka Adedeji - Theatre is his business" Daily Times 
July 17, 19B20
Nigerian Daily Times, 19th March, 1984.
UNIVERSITY OF IBADAN LIBRARY 
244
Appendix I
Dimensions and Facilities of the Arts TheatrejProuramme 
and Suggestions
Prepared by Geoffrey Axworthy for the visit of Nottingham
Playhouse 1959
AUDITORIUM: 301 tip-up seats on raked floor.
STAGE: 30' x 14*6" high proscenium. 25 feet
depth to permanent curved cyclorama.
12' clear wing space each side. 6* - 8' 
of apron.
12 sets of pulleys at 18" centres (except 
for places taken by battens) permit flying 
of objects of limited height (109 or so) 
anywhere from 6* back of curtain line.
CURTAINS: Two sets (grey and black), borders,
trayerses, and wing curtains. Four 35 
Hall medium tracks cord operatedQ 
LIGHTING: Strand Electric 18-dimmer board in glass-
panelled control room back of auditorium,
Telephone, monitor, and cue-light links 
with promptside (L).
Footlights, and three top battens. 6-patt 
23 spots (500) 4—patt 123 Fresnel spots 
(500w) 4-patt 243 1/2000 Fresnel spots;
UNIVERSITY OF IBADAN LIBRARY 
245
4 patt 49A- Wing Floods (1000), 4-5C0w 
wing floods, 4-patt 52 Effects projector 
spots, with 3" projection assemblies.
2 old—type 500w spots. 3—phase 230—volt 
supply - standard British fitnings.
6-units may be located in light trap in roof 
of auditorium 15 feet from front of stage. 
Other units on front batten, and lighting 
platforms in wings, or as required in audito­
rium. A lighting catwalk is to be constructed 
shortly in place of front batten, which will 
then be replaced by area lamps0
SOUND EQUIPMENT: Leak 25 watt amplifier, with gram and 
tape (all speeds)
DRESSIN3 ROOM: Only three available at present (2 about
15* x 10*, largest adjacent to prompt side, 
about 28* x 14'. All with make-up lights 
and fixed mirrors. Only one toilet and one 
wash-basin in dressing rooms, but more in 
adjacent Arts Block.
STORAGE AND WORKSHOP SPACE: 14C0 sq« feet floor space 
immediately behind stage. Equal space 
below stage. 22* feet high paint frames
UNIVERSITY OF IBADAN
LIBRARY 
246
(2) with hoists and floor slots. Loading ramp. 
SCENERY: 3 sets standard flats from 1* increasing by 
6" intervals to 6', each with single door, 
double door (2) and French Window (2) flats 
26 rostra units, 16" high, in various shapes, 
boxes, steps etc.
GENERAL: The theatre has excellent accoustics, and 
visibility is good from all seats. Design 
is by Maxwell Fry and Jane Drew, 63,
Gloucester Place, London, W.I. from whom 
detailed drawings could no ■ doubt be borrowed 
if further details are required.
The theatre has a permanent stage manager,
Mr. Geoffrey Axworthy, and electrician,
Mr. Frank Speed, who will give all technical 
assistance required by the Company. The 
University Maintenance Department will provide 
any labour required for unloading and setting 
up of equipment. Staff and student assistance 
would be available for front-of-house, sale
of tickets, and publicity
UNIVERSITY OF IBADAN LIBRARY 
247
The University tress has rataprint equipment capable of 
producing posters and programmes cheaply by photocopying 
and typesetting methods. About two weeks required.
The theatre is located in the college grounds. The student 
population is about 1200, with a staff of about 300.
Ibadan, the largest city in West Africa, (Population, 
nearing 750,000) is ten minutes away by the road. There 
is no doubt that a professional company with a varied 
repertoire of first-class popular.plays would draw larger 
audiences than could be seated.
PROGRAMME AND SUGGESTIONS: African audiences appreciate
most plays with clear plots and well- 
defined characters, preferably with a 
moral or argumentative flavour. Shaw 
is a best-seller throughout Africa.
The classics, particularly school texts, 
have a great drawing power - e.gQ 
The Rjvals8 School for Scandal, She 
Stoops to Conquer. Costume plays are- 
preferred to modern dress. Ibsen is 
possible.
Plays dependent on subtle mannerrisms and
UNIVERSITY OF IBADAN LIBRARY 
248 -
dialect are not very suitable, but colourful 
language, such as Fry's The Lady’s not for 
Burning, A Phoenix too Frequent) is appreciated 
at top cultural levels. Flays of action are 
likely to be more successful than wordy 
plays. Wilde is much admired, though 
difficult. The Importance of being Earnest 
is possible. Religious plays draw the 
largest audiences. Murder in the Cathedral 
Tobias and the Angel would both be appreciated. 
The European community, numbering many 
thousands, is largely lowbrow, but would rise 
to Christie, Sayers, Priestley etc. A broad 
farce, like Pinero's P‘aqistrate would 
probably span both audiences.
PLAYS PERFORMED by amateur companies in the theatre in recent 
times include the following:
Obey's Noah 
Merchant of Venice
The Government Inspector
UNIVERSITY OF IBADAN LIBRARY 
@ 249
The Gentle People (Irwin Shaw)
Arms and the Man
Androcles and the Lion
A Midsummer Night’s Dream
Antigone (Sophocles and Anouilh versions)
Ring Round the Noon
The Miser
Coriolanus.
UNIVERSITY OF IBADAN LIBRARY 
- 250 -
APPENDIX 2
ARTS THEATRE PRODUCTIONS FROM 1955 - 1995
No. Date of Per formance Production Title Author Director
April 16-18,1957 NOAH Andre Obey Geoffrey 1 . Axworthy
2. 1957 (2nd THE MERCHANT OF William
Production) VENICE Shakespeare f t  f t
3. Feb.20-22 THE MAGIC FLUTE Nozart Peter Kenstam 
1958 (Conductor)
4. Dec. 16,1958 ANTIGONE (2 Ver­ 1.Sophocles 
sions) 2.J.Anouilh G.Axwor thy
5. 1958 THE SWAMP DWEL­
LERS AND THE 
LION AND THE 
JEWEL, W.Soyinka I t
6. 1959 AN ENEMY OF THE 
PEOPLE H.Ibsen G.Axworthy
7. April 15-18, A. MIDSUMMER NIGHTS William
1959 DREAM Shakespeare G.Axworthy.
8. Dec., 1960 CORIOLANUS I f f t
9. Feb. 3-4, THAT SCOUNDREL An Adapta­
1961 SUEERU tion of LFS 
FOUBLRIES ♦
SCAPIN by / 
Moliere Dapo Adelugba
UNIVERSITY OF IBADAN LIBRARY 
/
251
No. Date of Per
fdrmance__________Production Title_______ Author_________Director
10. May, 1962 THE MAGISTRATE Sir Arthur Geoffrey Axv:orthy 
W. Pinero
11. 196: THE TAMING OP William
TOE SHREW Shakespeare " •*
12. 1962 CAUCASIAN CHALK Dertcld
CIRCLE Brecht " "
13. May, 1963 THE PALM WINE 
DRINKARD Amos Tutuola Kola Ogunmola
14. 1963 COMEDY OF ERRORS William
Shakespeare G. Axworthy
15. Mar., 4-7, MEASURE FOR 
1964 MEASURE " Martin Bonham
16. Nov. 28—30, OBA KOSO Duro Ladipo Duro Ladipo Arts
19..... Theatre, U.I.
17. Mar. 1964 THE PLAYBOY OF
THE WESTERN WORLD T.M. Synge U.I.D.S.
18 REPUBLICAN (Sati-
rical Revue) Soyinka W. 1960 Masks /* 
19- Dec. 1964 THE MIKADO Sir William (ICS)
Gilbert and 
Sir Arthur 
Sullivan
2 0 . 1960 THE GOOD WOMAN OF Bertold
SETZUAN Erecht GeoffreyAxworthy -awn
UNIVERSITY 
F IBADAN LIBRARY 
252
No. Date of Perfor­ Production Title Arthur Directormance
21. 1964 SHAKESPEARE Plays by 
FESTIVAL Shakespeare
Geoffrey 
Axwor thy
i. Richard II I
ii. Henry IV 1*
iii. Julius Caesar II
iv. A Midsummer ♦1
v Night's Dream
v. The Taming of 
the Shrew 1
vi. Twelfth Night II
vii. The Tragedy of 
Hamlet II
22. May 21-23, THE DOCK BRIEF) John
1964 RobbertMortimer Moulthrop
23. II THE FIRERAISERS) Max Prisch Geoffrey 
Axwor thy
24. March 2 — 6 
1965 THE ALCHEMIST Ben Johnson Martin Bonham
25. Jan. 8, 1966 ADUFE (Extra 
Mural T.W.P.) ImprovisedFolktale Peggy Harper
26. Nov. 1965 HORNSTEINER - German Cultttral 
PUPPET THEATRE Institute a'nd 
School of Drama
27. Dec. 1965 danda Nke Nwankwo G. Axworthy
28. Dec. 1965 THE VISIT Friedrich Geoffrey
Durrenmatt Axworthy
29. 1965 RUMPLESTILSKIN Alfred Alfred Brcwn
Brown
UNIVERSITY OF IBADAN LIBRARY 
253
No. Date of Per­
formance Production T it le Author D irector
30. 19b5 FREE AS AIR Dorothy Dorothy Renolds 
Eenolds and & Julian Slade
Julian Slade
31. Nov. 24-26, THE MEASURES TAKEN Bertolt Errol Hill 
1966
ACT WITHOUT WORDS S. Beckett Eetty Okotie
32. 1966 THE WOOD CARVER AND THE IROKO 
MAN D. Olagoke
33. 1966 PUPPET PLAY K. Omotoso Dolores Viola
34. 1966 SANYA AND THE 
sky ABOVE K. Omotoso Dolores Viola
35. It THE TELEPHONE Gian-Carto Geoffrey 
Menotti Axworthy
36. Nov . 2 3—26, DINNER FOR J. Ene 
1966 PROMOTION Henshaw G. Axworthy
37. Nov. 24-26, BAS TIEN Afro 
1966 BASTIENNE W. A.Mozart J*ames Iroha
38. Nov0 29,Dec.2, . THE SERVANT OF Carlo
1967 TOO MASTERS Goldori Uriel Worika
39. March 9 - 1 1 ,  THE ROYAL HUNT Geoffrey 
1967 OF THE SUN Peter Shaffer Axwor thy
40. 1967 HENSEL AND GRETEL - Monica
Sharraocks
41. Dec. 14-16, 
1967 THE BLACK JACOBINS G.L.R. Dexter
James Lyndersay
42. Feb. 28,29 
& Marc. 1,2, rIHE DIARY OF Frances 
1968 ANN FRANK Goodrich & Joel AdedejiAlbert 
Hackett
UNIVERSITY OF IBADAN LIBRARY 
254
No. Date of Per­
formance Production Title Author Director
43. Dec. 11-16, THE GOOD WOMAN OF 
1968 SEZUAN BertoldBrecht .
44. Feb., 1967 AD1TU OLODUMARE Kola
Ogunmola
Travelling
Theatre Kola Ogumola
45. Nov.20-23, TWO MASKS—ZINGAY Freddie
1968 Kisson Dexter Lyndersay
ARE - AKOGUN Wale Ggunyemi Wale Ogunyemi
46. 1967/68 ONE MAN IN HIS James
TIME (One Man Show) Caincross SBcrhiotoils h oCfo uDnrcaimla/ 
47. 1967/68 the; l i o n and the V.'ole
JEWEL Soyinka Dapo Adelugba
48. 1967/68 TO EVERY MAN A Wale
WOMAN Dgunyemi Dapo Adelugba
49. Nov. 6-9, 1968 Femi
VIDS ODUDUWA DON'T GO Oaofisan Femi Csofisan
50. I t The Informer Bertolt
Brecht »» f t
51. I f A Pound on Demand Sean Ocasey l l  I*
52. May 21—25, Eugene
1968 THE BALD SOPRANO Ionesco Ted Freeman *
53 May 21-25, 
1968 THE AMERICANDREAM Edward Albee
Dexter
Lyndersay
I I
5554.. POOR LITTLE BIRD Wale School of Drama OBATALA AND CJIYA Cgunyemi Acting Company
UNIVERSITY OF IBADAN LIBRARY 
255
No. Date of Per­
formance Production Title Author Director
56. 1968/69 BE MIGHT BE'JMINE Wale School of Drama (Three Plays) Ogunyemi Acting Company
57. THE GREED OF MAN tf »»
58 1968/69 THE SWAMP DWELLERS Wole
Soyinka Dapo Adelugba
59 »» IGHOR Gevin Dexter
Bantock Lyndersay
60. Feb.19-26, 
1969 LUTHER John Osborne Uriel Worika
61. May 14-17, THE CARETAKER Harold Lynn
1969 Pinter Leonard
62. July 1968/ THE MASQUERADE 
Mar., 1969 (MBARI THEATRE) J.P. Clark Demas Nwoko
63. Mar. 11-15, Arts Theatre
1969 AtPG LOVE FOR LOVE Production Geoffrey
Group Axworthy.
64. Dec. 1969 DOCTOR FAUST Christopher Micheal Carre
Marlo^Jd
65. Dec. 2—6 
1969 ATPG HADRIAN VII Peter Luke George Jackson
*
66. Mar. 11-16, /
1968 OTHERLLO Shakespeare Derek Bullock
67. Nov.19-22, Wole
1969 KONGI'S HARVEST Soyinka Wole Soyinka
68. Dec. 16-19, Gilbert, W.S.
1970 THE SORCERER & Sullivan, A. George Jackson
69. Feb. 4-7, 1970 AFFAIRS OF STATE Louis 
Verneil Ayo Ogunlade
UNIVERSITY OF IBADAN LIBRARY 
No. Da t.e of P er— 
formance Production Title Author Director
70. 1970 TIGER AT THE Jean
GATES Giraudoux Cyin Ogunba
71. 1970 SPACE TREK Deny and Deny and I'exter
D. Lyndersay Ly rider say
72. Mar. 28,1970 A RESTLESS RUN Fetni
OF LOCUSTS Csof isan . Uriel Worika
73. Dec.2-5, 1970 TANGO Slavmir Arts Theatre Fr.
Mrozek Group.
744 Dec. 6,1970 CHAKA THE ZULU Leopold
MARRICR) Senghor Akin Euba
75. Jan. 20-23, rVM\PAvD IEMNV UAEN DP' Wole
' 1971 SPECIALISTS Soyinka Wole Soyinka
76. Mar. 12-15,
1971 GevinVOICES AND echoes Bantock Dexter Lyndersay
77. Mar.10-13, MR. THREE AND William Dexter
1971 ALLIAS BLACK MAGIC Butle-r Lyndersay
73. Feb. 27, -
1971 VOICES CONTACT Seve Rhodes S teve Rhodes
79. June 23-26,
1971 TRIAL BY JURY andCAKPF.NEILO W.S. Gilbertand Arthur
Sullivan
Gaetonao Barbara Cox ♦
Donizetti /
80. 1971 KIRI^I Wale
Ogunyemi Dapo Adelugba
UNIVERSITY OF IBADAN LIBRARY 
257
No. Date of Per-
formance Production Title Author Director
81. Oct. 27-30, THE. SHADOW OF THE John
1971 GLEN AND THE Millington
TINKERS WEDDING Synge
Dapo Adelugba
82. 1971 THE HOBBIT J.R.P.Tokien Deny Lyndersay
83. Dec. 16,1973 MURDER IN THE 
CATHEDRAL T.S. Elliot Ezenta Eze
84. THE LADY’S NOT Christopher Peggy
FOR BURNING Fry Cruiokshank
Nov.30 to THE DOCHESS OF John Arts Theatre 
Dec.4,1971 MALPI Webster Production Group
86. May 20-22, 
1971 KING LMENE Zulu Sofola Zulu Sofola
87. March 1-4, Dexter Dexter
1972 AFTER ONE Lyndersay Lyndersay
88. 1972 THE WIZARD OF OZ L.Frank
Ê aum Dany Lyndersay
89. May 17-20, 
1972 THE HOSTAGE Brendanbeham. S teve Daniels
90. April 12-14, 
1972 CMO ODO B0de Osoyin Fend Joshua
91. 1972 Hassan Elroy
Flecker bcnyo Oduneye /
92. Oct.31 & Nov. PEPUSCH (The 
1, 1972 German Mime) German Embassy
93. Nov. 21-24, 
1973 THE THIRD WOMAN J.B. Banquah J.A. Adedeji
UNIVERSITY OF IBADAN LIBRARY 
i•CnO
No. Date of Per- -
formance Production Title Author Director
94. Mar. 1-4,1974 A THEME FOR LINDA Non Milner Regge Life
95. Mar.23,1973 CHILD'S PLAY Barbara Barbara H
Hardaway Hardaway
96. 1973 THEATRE DE LA 
MANDEGGUE 
(Fantomime from French Embassy
Paris) - -
97. 1973 DIDJERIDOO 
(Australian George Wlnu^gu 
Aboriginal•Music) David Mindabal
April 17, 1973 THE TRIAL OF V/ ole
BROTHER JERO Soyinka -
99 CHILD INTERNATIONAL
tl
99. Sept. 15,1973 FOURSOME ' ..̂ L, Bayo Oduneye
LOO. Nov.12,1973 ESAN Kola Ogunmola J.A. Adedeji
L01 Oct. 13,1973 YORUBA RONU H. Ogunde Ogunde H , and 
J.A. Adedeji
L02 May 10-12, MIDSUMMER NIGHT'S
1973 DREAM WilliamShakespeare Micheal Gregory
L03 April 17-19, OLD WINES ARE
1974 TASTY Zulu Sofola Zulu Sofola
L04 Nov.21-23, Wale
1974 Langbodo Ogunyemi Bayo Oduneye
.05. Jan. 26—27,
1974 OGUN ONIRE Peggy H a r p e r Peggy Harper
UNIVERSITY OF IBADAN LIBRARY 
00•cr>
I
- 259 -
Date of Per-
No. formance Production Title Au tli or Director
106. March 20-23, • Jimmy
1975 DAY OF DEITIES Solanke and 
' Wale 
Ogunyemi Wale Ogunyemi
107. Mar. 10-14, INTERNATIONAL FILMS — Organised by
1974 the Dept, of 
Th. Arts.
108. 1975 KOLERA KOLEJ Femi Dexter
Osofisan Lyndersay
109. - LQOT Joe Arton Ian Pawley
110. tm THE ROSEX THE KING W.M. Christians
Thachersay Heath
111. April 30 and ZuluMay 3, 1975 THE SWEET TRAP Sofola Zulu Sofola
112. 1975 THE CHILD FACTOR Emmanuel Emmanuel
AVbiorokoma Awbiorokoma
113. Dept. 12-13, WORKSHOP ON THE Organised by
1976 NIGERIAN TRAVELLING Goethe Inst. -
THEATRE. Lagos & Dept, 
of Theatre 
Arts, U.I.
Sept. 12,1976 AREMO AYIBI 
(Cultural Drama in Osumare Osumare
* Yoruba) Theatre Theatre.
114. /Sept. 13,1976 THE GODS ARE NOT Ola Rotimi Unife Theatre
TO BLAME
115. Sept.14,1976 EFUNSETAN 
ANIWURA (Yoruba Isola V Isola Ogunsola
Drama) Ogunsola Theatre.
116. Sept. 15,1976 FOPAWON by
Alawada (Inter- Moses
national) Group Olaiya Moses Olaiya.
Limited
UNIVERSITY OF IBADAN LIBRARY 
260
Date of Per-
No. formance Production Title Author Director
117. Sept. 16, MOREMI by Duro
1976 Ladipo Cultural Theatre Duro Ladipo Duro Ladipo
118. Sept. 17, THE CHATTERING pemi /
1976 AND THE SONG by Osofisan Jf̂ emi Csofisan 
Unibadan Masques
119. Sept. 18, SERANKO S'ENIA 
1976 by Ogunde Dance Hubert
Theatre Ogunde Hubert Ogunde
120. Nov. 1976 KING EMENE Zulu Sofola Zulu Sofola
121. 1976 THE DIVORCE Wale 'Wale Ogunyemi 
Ogunyemi ft
Bayo Odvmeye
122. 1976 IJAYE WAR Wale
Ogunyemi Bayo C^uneye
123. 1976 ONUGBO NLOKO Samson Amall &O dDu.kLwyen Sdaeorksfaeyyfio 
124. Nov. 4-6,1976 IPI-TCMBI Bertha Egnos U0A.P0 Worika
125. 1976 SIZWE BANZI Athol Fugard Biodun Jeyifo
IS DEAD
126. Mar.16-19,
1977 BEHIND THE Yemi Yemi MOUNTAINS Aj ibade Ajibade
127. 1977 BETRAYAL IN THE Franci s
CITY Imbuga J.A.Adedeji/
128. 1977 REVENGE Odukwe Odukwe
Sackeyfio Sackeyfio
UNIVERSITY OF IBADAN LIBRARY 
No. Date of Per­
formance Production Title Author Director
129. 1977 KIMJEKETILE Ebrahim
Hussein Yemi Ajibade
130. 1978 DOMES TIC STRIFE Emmanuel Emmanuel
Awbiorokoma Awbiorokoma
131. 1979 EMPEROR JONES Eugene
O'Neil Esi Kini-01 usanyin
132. 1979 THE GREENER GRASS Rasheed
Gbadamosi Eayo Odtmeye
133. 1978 MONYELUM Eidelma
Okwesa Fidelma Okwesa
134. Mar., 1979 THE SHATTERED Bode
BRDIGE Osanyi J.A. Adedeji
135. May 8-11, 
1979 MOKAI Yemi Yemi Aj ibade Ajibade
136. 1979 WHO*5 AFRAID OF Fern! Femi
SOLARIN? Osofisan Osofisan
137. 1979 MONKELUM Fidelma
Okwesa Fidelma Okwesa
138. 1979 KALAKUTA CROSS BODE 
CURRENT Sowande Bode Sowancle
139. Dec. 8,1980 OUR SURVIVAL Nasiru 
AkanjI Akanji Nasiru
140. 1980 BARABBAS AM) THE Bode
MASTER JESUS Sowande Bode Sowande
UNIVERSITY OF IBADAN LIBRARY 
No. Date of Per­
formance Production Title Author Director
141. 1980 OUR HUSBAND HAS 
GONE MADE AGAIN Ola Rotinti Bayo Oduneye
142. 1980 THE FATED HUNTER Esi Kinni- Esi Kini- 
Olusanyi Olusanyin
143. 1980 MADAM TINUBU Akin Isola Femi Euba
144. Jan. 9-12,1980 PULSE Alem Kezgebe Bayo Oduneye
145. May 13-14, THE HOUSE OF Gracia Lola
1980 BERNARDA ALEA Lorca Fanikayode
146. June 24-27, 
1981 THE WIND Obi Egbuna Kunle Famoriyo
147. June 11-14, LUCIFER AND THE Jean Paul 
1981 •LORD Sartre Carrol Dawes
148. June 25,1981 AN IDEAL HUSBAND Oscar Wilde A.¥o0. Taiwo
149. 1981 THE BEAR Anton Chekhov -
150. 1981 THE SURVIVAL Tar Anura -
1534 1981 HUNTER KING Martin Owusu -
152. 1981 ASYLUM Ahmed Yerima Ahmed Yerimah
153. 1981 THE MARRIAGE OF Efua T0 Tunde Laniy^h & 
ANANSEWA Sutherland Kunle Adeyemo
154. 1981 April DAYBREAK IN JEBANA Showcase J.A. Adedeji
155. 1982 A CLASSICAL DANCE Swappresondari Swapnasundari 
DRAMA (Indian) & &
Shastri Sfsters Shastri Sistei
UNIVERSITY OF IBADAN LIBRARY 
No. Date of Per­
formance Production Title Author Director
156. May 7-9, 1982 A FLASH IN THE SUN Showcase by
J.A.Adedeji J.A.Adedeji
157. June 24-26, Wolfgang Moloye
1982 DON GIOVANNI Amadeus Bateye
158. June 3-5, FLAMINGO AND THE Bode Bode
1982 NIGHT BEFORE Sowande Sowande
159. Jsn* 26j DRAMATIC READING
1982 FROM AFRICAN AND Cicely
AFRO AMERICAN Tyson Cicely Tyson
LITERATURE.
160. May 29,1982 CONCERT OF MUSIC Rosemary Rosemary
Clark Clark.
161. July 31,1982 ODEHE FOLKLORIC
TROUPE FROM GHANA - -
162. 1982 NIGHT OF THE MYSTI- Olu-
CAL BEAST Obafemi Olu-Obafemi
163. Aug.28,1982 FLAMINGO, THE Bode
NIGHT BEFORE Sowande Bode- Sowande
164. July 27-30, THE GOOD IDEOLOGY Sola Sola
1983 FOR NAIRA REPUBLIK Aborlsade Aborisade
165. 1983 THE ISLAND Athol Fugard Phillip Igetei
CHILD INTERNATIONALE Wole S0yinka Abimbola Bakare
♦
166. Dec. 4, 1983 THE SLAVE Leroy Jones Segun Ojewuyl
167. 1984 PEPPER SOUP E-lechi Amadi Wale Ige
168. 1984 GLASS MENAGERIE Eugene
y O’Neill Dapo Adelugba
169. Nov. 15-17,
1984 LAGOON-DE COME I si
Agboaye A. Cyesoro
UNIVERSITY OF IBADAN LIBRARY 
264
Vs. Date of Per­
formance Production Title Author Director
Jk • Feb. 13-17; THE MAN WHO NEVER Barrie
1985 DIED S tavis Yinka Adedeji
» ' «. • Kar. 14-15, RECITALS IN SONGS Sam Ayivie Sam Ayivie and
1985 AND DANCE and Dos Dos Santos
Santos
April 10-14, THE MAN WHO NEVER
1985 DIED BarrieStavis Yinka Adedeji
I T3« Cct. 22,1985 AMERICAN NATIONAL (Jack Cantwell
THEATRE EXPRESS O’Neil & (Katherine
(Excerp Performan- Twain Ferrand
ces and Workshop) (Allen Neuse)
174. Novo17-20,
1985 CIRCUS OF FREEDOM) Bode
SQUARE Soviande Bode Sowande
♦
UNIVERSITY OF IBADAN LIBRARY 
265
APPENDIX 3
AN INTERVIEW WITH CHIEF WALE OGUNYEMI J.P. MON 
IN HIS OFFICE AT THE INSTITUTE OF AFRICAN STUDIES, 
UNIVERSITY OF IBADAN ON JULY 7, 1989 AT 9. A.M.
Adedokun: Good morning Chief Ogunyemi and thank you for granting
this interview.
Chief Ogunyemi: You are welcome.
Adedokun: My investigations into the history of the Arts Theatre
and theatre development reveal that you were an active 
participant in the Arts Theatre programmes in the 1960s. 
Can you tell me what theatrical life was like art^Ehe 
at the Arts Theatre in those days?
Chief Ogunyemi: Well, it seems you want a comprehensive detail of 
what happened in the sixties which I am afraid time 
is not enough to cover. So many things happened 
involving so many people in the passage of times that one 
had better be brief to really cover the length of time.
Adedokun: Please limit yourself to the extent that the Arts Theatre
has been instrumental in your artistic pursuits as 
playwright and actore
Chief Ogunyemi: That is right: The Arts Theatre that we have today, 
sad to observe, is the shadwo of its former self. In 
the sixties, particularly when the School of Drama was 
established, the Arts Theatre was a hive of cultural ♦
activities. Various societies rehearsing one play or •
the other at various times. Artists fluttered all about 
in contagious excitement just as it is now existing at 
the National Arts Theatre, Itagos, today0
UNIVERSITY OF IBADAN LIBRARY 
266
Adedeokun: Are you saying the Arts Theatre was so full of
activities as to compare favourably with the 
National Arts Theatre?
Chief Ogunyemi: Yes it was. There was no other modern theatre 
in Nigeria beside it ... and the fact that it 
was located in the Nigerian Premier University made it 
so preeminent. And with regard to my playwriting - 
the Arts Theatre - as a venue, was my main inspiration. 
One cannot adequately describe the excitement of 
having a new and beautiful theatre like that with all 
the great artistic talents that the University 
community and the School of Drama could affordi
Adedokun: But how a particularly has it inspired you,
realizing it is a proscenium stage theatre with certain 
limitations?
Chief Ogunyemi: I never consider the proscenium as of any hinderance 
so long the directors of my plays could make meanings 
out of them and audience respond adequately ...
Although people were talking about its inhibitions 
but I was more concerned about my writing and getting 
my plays staged. It gave me inspiration. It gave 
me opportunity to grow, mature and maintain stable 
consistency in my work,,
Adedokun: And was it in recognition of these cultural
contributions you were honoured with a chief­
taincy title and a national honour of the Member 
of the Order of the Niger?
Chief Ogunyemi (Laughs) Yes, you are correct ... and the Justice 
of Peace (J.P0) too ... ^o if the Arts Theatre 
has helped my development it could help any other 
writer as well... afterall the resources are'," ; 
still there in terms of material and human, it.is only
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that the quality has changed. Everything is 
a question of style, ^aybe I write for 
proscenium stage and I couldn’t have done 
otherwise because it is the only available 
medium which I have learnt to master. Most 
of my plays like Kiriji, Ijaye War. Langbodo^ 
To Everyman a Woman, Poor Little Bird, Obatala 
and Ojiya, Be Mighty Be Mine. Enja. The Greed 
of Man. The Divorce, and many others have all 
been successfully staged at the Arts Theatre.
Adedokun: Are you saying that theatre form or rather the
shape of the stage and the auditorium in 
relationship to each other does not affect drama 
and audience perception and enjoyment?
Chief Ogunyemi: Definitely people argued about stage forms and 
need to experiment as done overseas, but I have 
never bothered about them since they were not 
available® I believe I can write for any stage®.. 
With them I might probably not have achieved as 
much as I have. I am not being pessimistic and 
I am not against other stage forms as 7. long as they 
allow creative development.
Adedokun: Now, that the Arts Theatre is old and
depreciated in standards, as a beneficiary of 
its largess, what is your suggestion for its future 
development? Do you want the present structure 
demolished and a new one built there?
Chief Ogunyemi: No. Never. Even if the University is going
to build one thousand theatres for the University, 
it should preserve the Arts Theatre as historical 
relic. Do you really know what the Arts Theate means 
to some of us? You really cannot. But let me give 
you an illustration of what I mean. Sometimes in 
1967 or so, Matt Imerion, a product of the 
School of Drama and a very gifted actor and 
an active participant in our Arts Theatre 
productions of those years, but now working
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with the Nigerian Television Authority 
(NTA) Benin City, came to Ibadan. He 
sat in front of the Arts Theatre for so 
long that I asked him why he was doing 
that. You know what he said? He said 
the Arts Theatre was the greatest thing 
he cherished in his life and his staying 
in Benin had deprived him of his greatest 
pleasure and source of inspiration! 
Likewise me. In those days if I have not 
been to the theatre in any day, I really 
would not feel happy» I acquire my 
inspiration at the Arts Theatre, do my 
writing at the Institute and also practice 
my arts of play production and performance 
at the Arts Theatre.
Adedokun: It's good to hear that
Chief Ogunyemi: Afterall what is a play without a place to
perform it? The question of demolition does not 
arise at all. No one should demolish the Arts 
Theatre - It is a history by itself. It should 
be our archive. Afterall there are two theatres 
at Ife... the Pit Theatre and O^uduwa Hall. A 
new theatre may be built elsewhere on campus, 
but the old jewel must be retained.
Adedokuns But one wonders if the chief knows that the
theatre is leaking badly and is also lacking in 
lighting equipments and some other infrastructural 
facilities?
Chief Ogunyemi: You are telling me? I know all the problems 
of the Arts Theatre.
4
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Adedokun: M'hat then do you propose as solutions?
Chief Ogunyemi: Repair the theatre and put it under a
management like it used to be under Geoffrey 
Axworthy.
Adedokun: ^ir what would you say was responsible for
the vibrance of the theatre in the sixties?
Chief Ogunyemi: Commitment. Devotion to theatre,
opportunities and talents. People were 
really devoted in those days. They did 
theatre for the love of it and not for any 
material gain. People like Professor Wole 
Soyinka, Chief Bayo Akinnola, Femi Johnson, 
Segun Olusola, Aiyegbusi and a lot more.
Troupes like Wole Soyinka's 1960 Masks, Orisun 
Theatre, Players of the Dawn, Mbari Theatre, 
etc. Theatrical life was really active and 
interesting as the British Council hall at 
Dugbe, Mbari Club at Adamasingba, Obisesan Hall 
and the Arts Theatre were filled with various 
theatrical activities. Such enthusiasm and 
devotion are no more nowadays... although 
there exist abundant opportunities for 
development.
■
Adedokun: What is your opinion about the Arts Theatre
and its programmes?
Chief Ogunyemi: Update the Arts Theatre, get eminent
people interested in financing it and make 
its programmes as attractive as possible to 
playwrights, artists and audience.
Adedokun: How about a resident troupe?
Chief Ogunyemi:• It is a must.
Adedokun: What form should it take?
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Chief Ogunyemi: Like the Unibadan Performing Company
Adedokun: But the experience of its predicament is still 
fresh to do it that way all over again. Is it 
not possible for it to be run as professional 
unit of the Arts Theatre .... having its own 
administrative staff and independent operations
Chief Ogunyemi Any way that will best serve the interest 
of theatre development. The tradition of the 
Unibadan Masques seems fascinating if the 
management can give it a thought.
Adedokun: In what ways in yourr opinion has the Arts 
Theatre contributed to theatre development in 
Nigeria?
Chief Ogunyemi In several ways. All those who have been 
trained in Theatre Arts at Ibadan now fill 
key positions in theatre professions, in 
Universities, media houses, civil service, 
and private sectors and are promoting theatre 
in different ways. That is it.
Adedokun:? Thank you for sparing the time for this 
interview. But, as a building that has made 
so great contribution, don't you think the 
Arts Theatre deserves a merit award?
Chief Ogunyemi (Long hearty laugh.... joined by the writer) 
Yes, You are right .... (laugh....)
Adedokun: Thank you Chief Ogunyemi. I wish you further 
success and good health.
Chief Ogunyemi: Thank you
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271
APPENDIX 4
A RECORDED INTERVIEW WITH PROFESSOR FEMI OSOFISAN BY 
REMI ADEDOKUN IN HIS OFFICE (AS HEAD OF DEPARTMENT),
DEPARTMENT OF THEATRE ARTS ON AUGUST 9, 1990 AT
10.00 A.M.
Adedokun: Good morning Professor Femi Usofisan. I am very
glad to find you on seat today August 9, 1990 and interview 
you on a few things about what you've been able to do for the 
theatre, and in the Arts Theatre in particular over the years. 
Please sir, reflecting on your past experience as playwright 
and possibly as director and producer, do you think the 
Arts Theatre has played any significant role in the development 
of theatre in Nigeria?
Osofisan: Oh yes. The Arts Theatre was for a long time the only
modern theatre available in Nigeria and the School of Drama 
was the only place where drama was studied in the University.
And the Department of Drama also was unique. Now, without 
the institution like the University and the School of Drama 
it is very difficult to talk of the development of literary * 
drama. So because the Arts Theatre was built long ago and there 
was a Department of Drama located here obviously the Arts 
Theatre has then come to have that kind of central role in 
the development of modern drama. That means that in fact 
most of the playwrights and directors, actors and so on have
UNIVERSITY OF IBADAN LIBRARY 
272
grouped round the Arts Theatre because that’s been the
only place, in fact, which groomed such people and in which they
could operate.
Adedokun: Can you tell us sir, the nature of interaction between 
your plays and the Arts Theatre over the years. And possibly 
tell us when you started either writing or producing your 
Plays at the Arts Theatre.
Osofisan: I was a student here and also I studied at the Arts 
Theatre. So, I have that opportunity of working here.
In my student days T was also the President of the Student 
Dramatic Society.
Adedokun: When was that?
Osofisan: Well, I am rather bad about dates.
Adedokun: May be around 1969 because your play Oduduwa
Don't Go was performed in the Arts Theatre that year.
Osofisan: Yes certainly around 1968 - Oduduwa Don't Go 
but then there were quite a number of others - the 
playlets for the welcome weeks. Vie used to have *
welcome week for freshers and we acted all those 'Minor* 
scripts.
Adedokun: Are all these still available or they are lost?
Osofisan: These were not scripts that one tries to keep
at all. I don't know where they are now and I cann't
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273
even remember some of the titles. These were juvenile 
works. Well you know I have had a long relationship 
with the Arts Theatre then. And then I came back to 
do postgraduate here and also to teach here. That means 
in fact that em ... I have not needed to look elsewhere to 
work or write my plays*
Adedokun: sir, if I may ask, have you been writing plays before 
you came to the University of Ibadan.
Osofisan: Oh yes. I. wrote plays in Secondary School for 
entertainment. Having come from a School with a very 
strong drama tradition - I wrote a couple of plays, 
not many. But certainly being Close to the Arts 
Theatre has provided an opportunity to continue that 
kind of work and then since I studied drama, well the 
Arts Theatre has been available to do my work. But I 
have written for the Arts Theatre, the fact there is that 
most of my plays are against the Arts Theatre in the sense that 
I have written deliberately to break the proscenium stage style > 
which the Arts Theatre provided. So that you know its been good 
to have the Arts Theatre, then you know that you don't want, 
what to write against to break that proscenium 
tradition. But you see it has meant that, well you 
know, that the plays I do can be done in a proscenium form but
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- 274 -
can also be done outside the proscenium.
Adedokun: That is another interesting area - the
proscenium stage form. Artistes and scholars alike 
have complained bitterly about the proscenium.
I remember in 1973, while I was a student here, 
Professor Adedeji restructured the proscenium 
drastically by giving it the extended sides which it 
has now. But how has it affected you, now that you are 
not writing for a strict proscenium as such? Has .the 
present shape affected your productions in any way 
that you wouldn't like?
Osofisan: Definitely it hasn't affected the way I don't 
like in the sense that since I am in charge, I can 
dictate what I want. What, am saying is that if I was 
going to write strictly in respect of what the Arts 
Theatre provides, then my plays will be totally 
different. I would write totally different plays.
But you know, when I write, I think of the Arts 
Theatre as only one of the possible places in which 
I can do my plays.
Adedokun: Do you keep the structural picture in your
mind while you are writing?
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275
Osofisan: Yes. The Afts Theatre is there, but so you
can think of what you don't want. You know that an 
influence can be two-way either you write consciously 
for the Arts Theatre or you write consciously knowing 
the limitations of the Arts Theatre and write against 
those limitations. But ideologically, the Arts Theatre 
doesn't provide the kind of things I want. I do not 
want a kind of .'fourth wall' mentality which the 
proscenium provides. I want a theatre that would 
rather prepare a theatre — in — the round - where 
the audience can participate. The problem with the 
proscenium is that it separates the audience from 
the stage. Vie want a situation in which the audience 
can be very much involved and participate and so on.
I have in fact tried to rearrange the Arts Theatre 
myself a number of times and I gave up when I finally 
realized its limitations. But you see that when I do 
my plays finally there are plays which I write for 
the proscenium and they are usually comedies, the 
plays like Midnight Hotel, Who's Afraid of Solarin.
I write some plays conscious of the proscenium stage 
but the one I consider the very serious plays where 
I am trying to come nearer to the African tradition
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276
are written more for 'the round'. These are the 
moments when they are best realized - that is when 
we take those plays out of the Arts Theatre and do 
them elsewhere where we can have them done in the 
round. That is when we achieve our best effects.
Adedokun: All the same sir, the Arts Theatre has remained 
very inspiring to you, encouraging you to write 
because it is physically there all the time. Will you 
say that because of its limitations it cannot inspire 
new and younger writers?
Osofisan: Why not? Writers will take their inspirations 
from variousjsources. The fact that it is there, it's 
got all the facilities you need, ensures that people 
would always work there. But, developing a theatre - 
in - the - round, particularly at the open courtyard 
of the Institute of African Studies would provide a 
good alternative. I mean there are plays which are 
good for the proscenium. As I said I have written 
some - Midnight Hote]^ Who's Afraid of Solarin 
Birthdays are not for Dying. Certainly there will be 
plays which are good for the proscenium, but it isn't 
sufficient. And if we had had the means of developing 
a courtyard, that would be a different something.
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277 -
We need a theatre that is more flexible. In fact what 
I am trying to say Is that we need a theatre that can 
be rearranged. I have gone abroad to various places 
and studied some of these theatres. I haV,e seen all 
kinds of aesthetics. Nobody builds this kind of 
theatre nowadays, what you build is a theatre that' 
is flexible....
Adedokun: Bo in short you would prefer a theatre-in-the-round 
to^arthrust stage theatre?
Osofisanl Certainly, I prefer a theatre that is flexible.
Adedokun: A multiform theatre where you can achieve any 
stage forms.
Osofisan: Yes. I have seen so many examples in Britain 
and America. These are the results of the modern 
contemporary movements in the theatre... This archi­
tecture was built following the old models...
Adedokun: Will you then recommend that the Arts Theatre 
be demolished and replaced by your dream theatre at 
the present location?
Osofisan: Not a matter of demolishing. The amount you
spend demolishing and then rebuild is stupid. In any 
case, you need a different location now...
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278 -
Adedokun: What is your impression about the present form
of stage (extended stage) which is not completely a 
proscenium? Is there any noticeable difference?
Osofisan: Yes. This is what I mean by when you notice
the fault or incongruities, you rectify them... What 
you have now is an attempt to deal with the short­
comings that you have. So now people can enter from 
the aisles, then there is an apron and all that.
Obviously these are attempts to make the stage a bit 
more flexible. Now you can have illusion of 
audience involvement when actors come through the 
aisles, ’̂hey come through the aisles and go out 
through the aisles and the audience. The changes 
we have here are quite intelligent and they have to 
be used that way...
Adedokun: Sir, let us now look at your approach to playwriting.
Really I see a lot of socialist intonation, overtone or
undertone in some of your plays. Particularly when it comes *
/
to the hero or heroism. Let's take Yunqba Yunqba and the 
Dance Contest for instance. Ayoka is just an ordinary 
woman in the community and yet she rose to challenge 
the leadership. 1 want to ask whether you are more 
on the Marxist or Breahtian ideology or trying to
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279
evolve a class of your own. This is simply because 
most of your plays are highly dialectical, urging 
people to think, encouraging them to discuss some 
national issues and arrive at their own conclusions.
Osofisan: When you started with socialist things I was
a bit worried. But then you have clarified it. If 
that is what you mean by ’socialist’, yes. I believe 
in materialist reordering of society, giving cause to 
social justice or levelling of classes.
Adedokun: The rise of common man.
Osofisan: But without being doctrinaire or without being
extremist as they say, I hate labels. When you put a 
label, then you are dealing with prejudice. Because 
when you say socialist, infart, you say socialist and 
thpee of us can be saying socialist and we mean three 
different tilings.
Adedokun: Surely.
Osofisan: You see, that's the problem. So when there are 
labels for instance "Marxist", infact, three, four of 
us can claim we are war£^sts and we are not even doing 
the same thing. So, this is the problem with labels. 
But if we begin to talk of values, what do we believe 
in, this is what and what I believe, and then we 
begin to see that labels are not necessary at all.
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280 -
Adedokun: Maybe labels are not necessary, but writers
grov; out of social backgrounds with which they are 
associated and to which they yeepOhd.
Osofisan: Yes but I don’t want to be labelled. They are 
dangerous.
Adedokun: But you give the common man a voice, to rise
and to challenge the oppressor. If one looks at your 
work from that perspective and compares it with Brecht' 
one sees areas of similarity.
Osofisan: Oh, yes, certainly your mentioning of Brecht is
very relevant. Except that I hope you don't get into 
the trap like some of these critics tend to get into,
.'■* •" ; '  » "  • . • 5 k ...
because Brecht has become the easiest way out.
When they just say Brecht, they think they’ve done all
their work. Tis true that I. started off being
influenced by Brecht. Brecht is my favourite playwright.
But it amuses me sometime when people talk of Brecht,
Brecht all the time and infact as if all I do is just
to reproduce Brecht.
Adedokun: No, not like that...
Osofisan: No, this is the most of the criticism. There 
are ways in which I have in fact surpassed Brecht.
Adedokun: Its true there are many many ways but one can 
only say that writers giving voice to the rise of
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281
the poor masses believe in socialist or Brechtian 
philosophies.
Osofisan: But there are lot of socialists.
Adedokun: But ^your plays are more political than historical...
Osofisan: Well, yes, that’s what. I say, well its true.
Brecht and I share a lot in common, but it would be 
too simplistic to say Brecht, Brecht.
Adedokun: Brecht and Aristotle are about the most prominent 
drama theorists that form the foundation of theatrical 
criticism...
Osofisan: Yes, its true but I have been equally influenced 
by Soyinka for instance.
Adedokun: But Soyinka himself also claimed being influenced 
by Brecht. No doubt one can say there are ecclectic 
borrowings from his style.
Osofisan: 'Yes infact Brecht infact keeps asking himself 
what is plagiarism. Without plagiarism, you cann't 
write.
Adedokun: No writer can be isolated from the society.
Osofisan: Yes, we are all plagiasts.
Adedokun: Terry Eagleton in his book Literary Theory
UNIVERSITY OF IBADAN LIBRARY 
stresses the farct that it is quite impossible for 
a writer to say that his work is completely his;
for there would be some borrowings here and there
to complete his own theme. The writer would have
been influenced one way or the other and that might
have sunk into his subconscious, that when he is
manifesting it, may be a long long time later, it
can still be quite relevant to the society and to the people
of the time.
Osofisan: Quite so.
Adedokun: Thank you sir for the great insight into your
work and the wealth of your theatrical involvements.
Brecht is very relevant to the third world realities, 
although ideologically Brecht's Germany or Europe 
and Nigeria or the third world in general may be 
poles apart in politico-cultural ideals.
Osofisan: Quite relevant.
Adedokun: His writing style that urge on the poor
masses on the paths to progress, self realization, 
communal reorientation and social stability as 
exhibited in The Goodwoman of Setzuan, Caucasian
Chalk Cjrcle. and Mother Couraoe are useful works
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283
from which the third world could borrow ideals.
These are even much more useful to the development 
of African creative writing - the Ereclfjtian complex 
social problem and dialectical solutions. Development 
of heroism from common humanity as ■;.» opposed to 
Aristotelian nobility of birth are instances that can 
lead the third world to new socio-political evolution. 
Thank you sir, for sparing the time for this interview 
and providing this useful information. Have a nice 
day.
Osofisan: Dame to you also.
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284 -
APPENDIX 5
A TRANSCRIPTION OF THE TAPE-RECORDED INTERVIEW WITH 
MR. VAL. OLAYEMI BY REMI ADEDOKUN IN MR. ADEDOKUN'S 
OFFICE, DEPARTMENT OF THEATRE ARTS, UNIVERSITY OF 
IBADAN ON MONDAY, AUGUST 6, 1990 AT 9.a.m.
Mr. Adedokun: Good morning Mr. Val. Olayemi. Thank you
for making yourself available inspite of your tight 
schedules. Sir, I wish you share with us your 
artistic experience with the Arts Theatre ... that 
Is, what the Arts Theatre has been to the development 
of theatre, Nigerian artists, playwrights, and so 
on. And of course, looking through the Arts Theatre 
Box Office records, one discovers your name occurs 
frequently in productions, particularly the production 
of The Ibadan Players. Sir can you tell us what 
The Ibadan Players is all about, its activities, 
how it was founded, its productions, and when it 
finally sank into oblivion?
Mr. Olayemi: Let me first comment on the first part of
your inquiry. The Arts Theatre, University of Ibadan, 
has been of tremendous importance in theatre develop­
ment in Nigeria. It can even be said that the Arts 
Theatre is a fountain from which flows so many good
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285
things, for actors, for directors, for producers, 
for even property managers and everybody down the 
line as far as carpenters and painters. The Arts 
Theatre has inspired very many people and it is going 
to be difficm:lt for us to quantify the amount of 
influence it had done in Nigeria. But taking the 
second part of your statement which has to do with 
the Ibadan Players, I want to say that this group was 
formed as a result of residents of Ibadan feeling 
that a group that could weld the University together 
with the Ibadan Community was desirable. And so people 
from the University like Dapo Adelugba, Dexter 
Lyndersay, and a few others, came together with people 
from the Television House at the time known as WKBS/ 
WNTV. People like Ayo Ogunlade, Sam Adegbie, and 
Mrs. Anike Agbaje—Williams. And then people from 
other sectors of the community, bankers, school 
teachers, private businessmen and even students.
All these people came together to form Ibadan Players. 
And as I said it was intended to act as a kind of 
bridge between the University and the larger community 
of Ibadan.
Adedokun: Since there were other community oriental ciroups
at the time, I wonder what other factors inspired the
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286
formation of this group.
Mr. Olayemi: The prime movers were outside the University.
And this was because the groups in existence then 
such as the Arts Theatre Production Croup, The Music 
Circle, the Operatic Society consisted heavily of 
University of Ibadan oriented people., So there was 
the feeling that there ought to be a greater Ibadan 
Community kind of theatre group.
Adedokun: What then can you say guide your selection of 
plays?
Olayemi: *'or the most part, people in the group tended to 
go for plays they enjoyed very well or plays they 
had produced before in terms of the resources of the 
group. There was also a second consideration. That 
of trying to balance the plays, having English or 
American plays side by side with Nigerian plays.
¥hat is to say if you act an English or American 
play this time, the next production shourld be Nigerian. 
But I don't think the group ever achieved that kind 
of balance. But it was the ideals the group set itself.
Adedokun: But did you study other groups' repertory to know 
the plays they will be producing before you chose 
your own plays?
Olayemi: It wasn't possible to sound anybody's opinion
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about what was happening in other groups. The general 
feeling was that there were so many plays around that 
one did not in fa£t have to worry that there was 
going to be a clash. There was never a clash.
Adedokun: To what extent did you use the Arts Theatre?
Idas it for performance, rehearsal ... one would like 
to known how influential it was on your productions.
Olayemi: From about 1969 when the group was very active 
with its first production Dial M for Murder until 
about 1973 or so when it acted its last production, 
the Arts Theatre was the centre of our activities for 
rehearsals and performance, everything was built 
around the Arts Theatre.
Adedokun: 1970s were vital years for new concepts in
African theatrical development initiated by various 
amateur groups. Why in your opinion did The Ibadan 
Players die at this crucial time?
Olayemi: The group died because the key members were
either transfered as it happened in the case of the 
Treasurer Mrs. Olutayo. She was a moving force.
She was then working with what was known as Barclays 
Bank now called Union Bank. And when she was transfer­
red not many members had the amount of energy which 
this woman had. A few people made efforts like
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- 288
Sam Adegbie of WNBS/WNTV fame but he was a top 
Executive in that company and could not afford much 
time. Of course to^ there was Zulu Sofola of the 
University and Dapo Adeluqba. These two people were 
very busy and it was difficult for them to have as 
much time as they needed for getting that kind of 
Group together. Because it was not based in one 
place, you had to write letters, you needed an active 
Secretary, and we were fortunate enough to have a good 
Secretary for a number of years who happened to be 
Hannah Ikime who was working in the same place with 
the treasurer - that is Union Bank. But I must say 
that when Mrs. Olutayo was transferred or resigned 
or retired, I am not too sure, she moved from Ibadan. 
And Ayo Ogunlade also had other interests, I am not 
sure whether this time coincided with when he became 
Federal Commissioner for Information. But people 
moved into various things. Sam Adegbie began to 
operate from the Rational Building at that time he 
left the WNBS/WNTV, so, the key people were no longer 
in the group that they were before, and this made 
things difficult for them theatrewise.
UNIVERSITY OF IBADAN LIBRARY 
289
Adedokun: The Arts Theatre as a structure has been
viewed with great skeptism by theatre scholars and 
practitioners alike. £>ome believe it is too small 
for its present need and because of its proscenium 
stage it is irrelevant to African cultural develop­
ment and should be replaced. What is your reaction 
to this?
Olayemi: I don't know why we seem to like to destroy our 
monuments in this country. The Arts Theatre as it 
is in my opinion should be left for generation yet 
unborn to see and study and admire. That does not 
mean it cannot be refurbished. It does not mean 
that technical development cannot take place within 
it. But essentially it ought to be left as it is. 
’What the University Community needs in my opinion
is another theatre. A bigger theatre far away from
/
the present noise which disturbs the Arts Theatre 
programmes. Also 1 will like a new theatre with 
a much larger sitting capacity and it should be 
sited in a place which is far from the "madding crowd" 
to borrow an expression from Hardy. So that it can 
be properly enclosed where one can go and relax and 
not bother about the noise of passing traffic or 
sounds of "Give Peace a Chance" from student demons-
UNIVERSITY OF IBADAN LIBRARY 
290
trators and so on.
Adedokun: Now that you h a W  suggested building a new
theatre, what in your opinion should be* the sitting 
capacity?
Olayemi: I think for this size of community and community
here is not just limited to the University of Ibadan 
and its environment. We need a theatre which has 
a sitting capacity of at least one thousand. That in 
my opinion is what will do justice to what is 
happening in the University, in the theatre circle 
in the University. This theatre was built at a time 
when the numbers were small. The University will 
become even bigger in the future.
Adedokun: What advice do you have for the Arts Theatre
towards the development of African drama and play 
writings?
Olayemi: I still find it a little difficult to assimilate 
when people continue to prefer say that plays by 
Ibsen, Shakespeare, Fry and so on when we have had a 
long history of these kind of productions on this 
stage. I believe now the emphasis should be 
shifting more and more to African works. And by 
African works I don't mean Nigerian works only but 
works from the entire continent ô - Africa. And there
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291
are very talented playwrights right through Africa. 
This way, I think we will be encouraging more people 
to write. When you see a good African play, it 
triggers off something in you and you say of course 
I have that material but why am I sitting on my 
bottom? Let me now do something tangible. There are 
people who have plays in their wardrobes or in their 
drawers but are ashamed as it were to bring these 
things out - but they don't know whether it will fit 
into the conventional theatre. Eut if they see 
something similar to it, of course they will come 
out with will be bright gems. This is something 
which we discovered in Publishing. That there are 
some people who are so shy of their materials and 
they may be sitting on pots of gold.
Adedokun: Thank you Mr. Val. Olayemi. I would have
wished you tell us about your publishing career but 
for now it may be out of our present focus. However, 
we appreciate your sparing the time for this lengthy 
interview which is w'ell studdded with nourishing 
information about your theatrical involvements, the 
Arts Theatre, theatre people and theatre development 
in Nigeria. Thank you greatly and have a nice drive 
home.
Olayemi: Thank you.
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APPENDIX - 6
RECORDED INTERVIEW WITH PROFESSOR FOLA AEOABA AT HIS 
SANKORE RESIDENCE BY REMI ADEDOKUN ON SATURDAY OCTOBER 
27, 1990 AT 10.00 A.M.
Adedokun: Good morning Professor Aboaba.
Aboaba: Good morning.
Adedokun: Thank you for sparing the time for this
interview. Precisely sir, we would like to share 
from your experience in theatre production at the 
University of Ibadan beginning possibly from when 
you were a student here and your activities .in the 
University Dramatic Society, other production groups 
and so on. The period of your interview covers 1955 
to 1985 and we are examining specifically the 
significance of the Arts Theatre to theatre 
development in Mgeria. Thank you for welcoming me 
into your house.
Aboaba: Well, thank you very much for coming to interview 
me, X hope I will be able to answer your questions.
If I don't remember some dates or names you will 
forgive me. If I find them I will let you know
later on
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Adedokun: Sir, can we begin from 1955 or when you came
into the University of Ibadan.' •'■'hat was theatrical 
life or dramatic life was at the Arts Theatre or at 
the University itself?
Aboaba: Well, at that time the Arts Theatre had just been
built not too long before then. Before then I was in 
Ibadan. Of course I was in the British Council 
Singing Group together with Yinka Adedeji who later 
on became head of Department of Theatre Arts at 
Ibadan0 I remember on one or two occasions we came 
to sing at the Arts Theatre, it was a concert and 
we had people like Francesca Perera later on 
Francesca Emmanuel, retired Federal Permanent Secretary 
for Establishment, we had people like Christian 
Clinton, now Christian Gomaelo, Patience Ogunnaike 
and so on. Ckong Donard Fkong, former Vice-Chancellor, 
University of Calabar. 'They sang and we sang and 
that was it. As far as I know that was what was 
happening ...
Adedokun: Was it only singing alone? No dramatic perfor­
mances - British plays, American or European plays?
Aboaba: Not really. I think there was a group a
play-reading group on campus, made up mostly of 
expatriate lecturers. They would go to each other’s
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houses on Sunday evenings and read plays and have 
funs generally. 1 remember in 1955 there was a play 
by the University College Ibadan Dramatic Society 
(UCIDS) t a student body. I have forgotten the play 
but people like late Deolu Lawson...
Adedokun: Is it Outward Bound?
Aboaba: No. Not Outward Bound
Adedokun: Records show Outward Bound as the first
production of the UCIDS.
Aboaba: That was the first production I think that the 
staff actively participated in the production.
People like Martin Banham, a lecturer in English 
at the University; Ben Driver produced Outward 
Bound. Ben Driver was an Administrative Officer in 
the Civil Service and he was a very good actor. And 
infact he was a lead actor in Mikado — he played 
the part of Koko. Mikado was the first opera staged 
by the Ibadan Operatic Society in 1956/57 session. 
And he was so good the students felt he should 
produce our next play, Me chose Outward Bound 
himself, because he really liked it. Martin Bqnham 
also assisted him in the production - but he finally 
ended up producing it. This was followed by
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The Gentle People produced by Ben Driver. By this 
time Ben Driver had become an Assistant Registrar 
in the University College.
Adedokun: Sir, looking through the Box Office records
one sees your name occuring in several productions 
by various groups, particularly it is thrilling to 
see your name in the first production of the Arts 
Theatre Production Group - Noah. Can you tell us 
how you got to be cast into that production.- ?
Aboaba: Well5 what happened was, Geoffrey Axworthy, I 
think was a Senior Lecturer then in English.
Martin Benham, few people felt there was a need for 
a dramatic society to cater for the needs of both 
staff and students - because hitherto there was the 
Dramatic Society of the student body and there was a 
play - reading group for staff. And that was it.
Bo the Arts Theatre Production Group (ATPG) was 
started and some of us were invited to participate. 
People like Ralph Opfî ra, myself, Pisu Olley,
Frank Aig-Umuokhuede, who is now Director of the 
National Theatre, tagos. Bo we held all those first 
meetings and then what they did at that time was to 
cast the staff, and asked us (students) to be 
understudies. I was understudy to Noah. But in
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addition to that, I played the part of the monkey 
also, Being an understudy to somebody like Den 
Driver really really helped me a lot0
Adedokun: Was Gordon Umuigore also in the cast a 
Nigerian?
Aboaba: Yes.
Adedokun: Nigerians must have been very few in that
production.
Aboaba: Yes. Very few. With Frank Aig - Imoukhuede 
we were three perhaps.
Adedokun: You must have been very talented otherwise 
they wouldn't have invited you there.
Aboaba: I think they invited me after Outward Bound.
I played one of the lead roles in the Outward Bound. 
And Ben Driver and Axworthy felt that I had some 
talent.
Adedokun: I am wondering what your size was physically
at that time to be understudying Ben Driver because 
Ben Driver was Noah as shown by the programme notes 
I am now holding before me. And for you to be 
understudying him, what do you think the organizers 
were trying to achieve? Were they trying to 
encourage Africans or Nigerians to ...
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Aboaba: Yes. I think that was what they were doing to
make sure that Africans or Algerians could step into 
their shoes when they left. Decause Ben Driver was 
about the best actor around at. that. time. , i
Adedokun: Sir can you tell us about your background in 
theatre which equipped you with such a skill that 
gave you entrance into The ATPG’s Noah. Have yOU 
been acting before coming to the University?
Aboaba: Before coming to the University, I had done a
few plays in school many years ago when I was just 
entering Secondary School. I remember playing the 
part of Adolf Hitler. I remember one or two little 
plays in the Grammar School also. That was it before 
coming to the University.
Adedokun: Can you tell us something about Noah? What is
actually theatrical in it. that recommended it to the 
group? Or was it not discussed in your meetings?
Aboaba: Yes, Noah was a very profound play. It enabled 
people with talent to act different parts because 
there were different parts that were for the part of 
Noah himself who was a serious old man. And here was 
Ben Driver who had always played the part of a comic. 
He was cast in this part and you could see the 
versatility of the man-somebody who anytime he5 came
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on stage you were expected to laugh, playing this 
very serious role. And then there was Martin Bonham 
who played the part, I think of Ham, who was one of 
the naughty sons of Noah. Then there was the 
opportunity to make costumes for animals. We didn't 
bother much for the costumes for the principal actors 
but the backstage boys and women had a field-day 
building costumes for the lion, for the monkey, for 
the cow, for the birds and so on. It was a challenge, 
Then building the ark itself, that was also a 
challenge. Well, it was something new and we all 
felt happy about it because an opportunity for 
different areas of the Theatre to exhibit talent.
Adedokun: Did it have any academic or cultural relevance 
to the society before you decided on the choice?
Aboaba. No. We just felt it was fun, that people would
love it. We didn't think of the culture of the people. 
We just wanted a play that would lift people's spirit.
Adedokun: And might be because of its religions...
Aboaba: No, in fact there is very little Christianity
in it.
Adedokun: Very little Christianity in it?
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Aboaba: Well, well, as I said, when Noah talked to God,
God replied but we didn't see the face of God. But 
then that was it, the others was fun.
Adedokun: A careful look at the background of Axworthy
who was coming from Baghdad, a muslim country where 
drama was nonexistent, one felt by coming here and 
realizing that people were Christians, he could 
introduce drama through religious plays.
Aboaba: No, no, not at all.
Adedokun: Can you tell us about the dramatic society,
-the choice of plays, where regularly you performed or 
at the Arts Theatre.
Aboaba: It is interesting that when I was a student all
the plays we performed were written by expatriates. 
There was no indigenous play. 1 mean no play written 
by an indigenous writer. Until later when people 
started producing Wole Soyinka's plays. I remember 
before I left University there was a prociuction of 
The Lion and the Jewel in 1958 in which Olusanya 
featured. Olusanya is the present director of 
Nigerian Institute for International Affairs, pagos. 
Mrs. Soyinka, Laide Idowu then. She is now the 
Librarian of the Ogun State University, Ago - Iwoye,
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Mrs. Cmisade - they were all in it. basically we 
started off by producing either Shakespeare or 
something from Bernard Shaw or something, expatriate.
Adedokun: Why?
Aboaba: I think mostly because one, the producers were
mostly expatriates to begin with. And there was nobody 
studying theatre as such. So that all we know was 
plays we have read, plays we did in school or popular 
plays or popular authors. Put later on when people 
started studying drama and theatre, I think they 
started with em ... they were studying what do you 
call it - contemporary authors? And so they started 
looking into the Nigerian authors. And Wole Soyinka 
quickly came to mind.
Adedokun: You graduated 1959, you must have been a part 
of most of the performing groups i.e. Arts Theatre 
Production Group, Ibadan, Operatic Society, Music 
Circle and so on. Can you tell us about the inter­
relationship of these organizations. Also we see your 
name in most of the productions of all these groups, 
were you a member of all of them?
Aboaba: No. I was a member of the Arts Theatre Prodi’ction 
Group and the Drmatic Society. But I was invited by 
the Operatice Society. I had a lecturer who war, very
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keen on operas, Later on he came into plays — that 
is ^rofessor Desmond Hill (now retired). And he 
invited me to take part in The White Horse Inn.
It was an operatta in 1957/58. That was my first 
operetta and I must say I like singing. I didn’t 
take part in any other operatta until after I had 
graduated and gone for my postgraduate overseas.
When I came back, the same Brofessor Hill invited me 
to come and join the Operatic Society. And I was 
able to take part in Ahmal and the Night Visitors.
But then there was also the late Frofessor Ferguson.
He also encouraged me to take part in straight drama. 
Later on he himself took part in some operas with us.
So there was a< lot of interrelationship.
Adedokun: Is it because they invited you or you were
naturally interested in opera? And what is the cultural 
relevance of Opera to Nigerian or African society? 
Aboaba: I was interested in music and opera in those days 
we felt was reserved for staff. So I felt it was 
an honour when I was invited to take part in an opera 
^Aboaba & Adedokun (Laugh)
Adedokun: But you must have had a good voice 
Aboaba: Sort of (Laugh)
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Adedokun: We learnt you even became the Chairman of 
the Music Cirple.
Aboaba: I was Secretary of the Operatic Society and then
later on we merged the two (Operatic Society and the 
Music Circle).
Adedokun: When was that?
Aboaba: I think it was in 1971 or 1972.
Adedokun: What was responsible for the merger?
Aboaba: We found there was a lot of duplication of
efforts and the Music Circle was doing more or less 
what the Operatic Society was doing. And then we 
^ound that many of the people who were taking part 
in these operas and so on were going because they 
were expatriates. A few of us who were Nigerians 
felt well, let's get together. Some of us opposed 
-̂ he merger in that we wanted autonomy for the 
Operatic Society. Eventually we merged and jointly 
put up one or two productions.
Adedokun: Every session?
Aboaba: Every session we had at least one or two 
productions.
Adedokun: How did you finance these productions?
Aboaba: From the takings.
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Adedokun: Did the University subsidize you.
Aboaba: No, no no.
Adedokun: But it is a University based group:
Aboaba: It is, but the University didn’t have anything 
to do with it.
Adedokun: When were you President of the Music Circle?
And for how many years?
Aboaba: I was President of the Music Circle from about
1980/81 till 1988 - about eight years. Then I was 
Secretary of the Operatic Society frem 1964/65 till 
1969.
Adedokun: Who succeeded you?
Aboaba: As Secretary? Margaret Webster. She was an
expatriate gone now. Late Feroi Johnson was President 
for sometime too. Desmond Hill, Ferguson. AhJ We 
interracted with a lot of people that time they 
started the International School with a lot of 
expatriate staff. And they came. John Gillespy was 
one of the fantastic actors. His own was straight 
drama. Harry Potts was in Operas, both of then were 
A  the International School. People also from the 
Civil Service. Christopher Kolade, when he was here 
took part in a number of operafc, produced one or two 
himself. Christopher Oyesiku, before he eventually
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came to the University was in Ahmal and the M.nht 
Visitors. He sang.
Adedokun: Were you performing at the Arts Theatre 
exclusively or you had other places?
Aboaba: Well, mostly in the Arts Theatre. Occassionally 
we went out. There was one play we took to the 
British Council — I think it was the Arms and the 
Man; and then we went on the television.
Then, Won GjovannJ was taken to University of uaqos, 
just for one performance. But most of the plays 
and operas were done at the Arts Theatre.
Adedokun: Do you think these your efforts had any impact 
on the generality of Nigerians? I mean, do people 
who graduated here go out to do similar things in 
places they went to work?
Aboaba: Yes
Adedokun: And can you name some of them?
Aboaba: Somebody like John F.kwere, went to the Last.
Started some croups there. He was working with the 
Broadcasting Corporation. Ralph Opara, of course, 
and still active. He is now the head of MAMSER 
(Mass Mobilization for Social and Economic Recovery) 
in the East. He went into radio. Frank Aig-Imoukhuede, 
now the Director of the Kfetional Theatre, Ĵ agos.
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Some who went into Secondary Schools as Principal 
and teachers started drama groups there immediately. 
Somebody like Yetunde Esan, later on Yetunde Omisade 
became Principal of Ypjide Girls Gramma School 
and started a drama croup there. And so on.
Adedokun: In your opinion sir, what can you say has
been the major contribution of the Arts Theatre to 
theatre development in Nigeria?
Aboaba: Arts Theatre for example was about the first
theatre in Nigeria that had everything that modern 
theatre should have. The lights were excellent.
The stage was built j.n such a way that it could 
bounce sound up the roof. All the gadgets there, 
the curtains and the accoustics - the make ups, the 
costumes were things that were eye openers to many 
people in Nigeria. Ifcater on all these things were 
duplicated in many of the theatres round the; country.
Adedokun: Were you a member of the 1951/62 University 
Trammelling Theatre?
Aboaba: No. I was in Eggland for my postgraduate work.
Adedokun: When did you come back?
Aboaba: I came back in 1962.
Adedokun: As a lecturer in the...
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306
Aboaoba: No, I was in the Civil Service.
Adedokun: But when did you come back to the University?
Aboaba: 1964 December - because I had tc go and serve my
bond with the government.
Adedokun: As a government scholar?
Aboaba* *g s *
Adedokun: In the intellectual circles there exists 
divergent opiniond about the status, physical 
structure and cultural relevance of the Arts Theatre.
^ome people feel the Arts Theatre is too small for 
the present demands on it. Others feel it is colonial 
in outlook and structure and as such should be 
demolished to be replaced by a bigger one. Dir, what 
do you think of such a situation?
Aboaba: First, the place is old and it looks old right 
now. It is disheartening to see bartered chairs, 
the lights not functioning properly. It is a sign 
of I don't know what to call it DAP (Structural 
Adjustment Fr0gramme) or decadence. Things have gone 
really poorly with the Arts Theatre. That apart, the 
size is too small for present day theatre. I don't think 
it should be demolished. It. should have its own uses 
for concerts and things like that. But we could build
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30 7
a bigger one without destroying this one. There's 
still land around and we can build a bigger theatre. 
Look at the one in Unilag (University of tacos) it 
is quite big. Or we need one that, could he even more 
modern, this one is no lonqer modern. Most of the 
things are manually operated. You have to climb up 
to the roof to adjust lamps and so on.
Adedokun: ^eing a witness and participant in the colonial 
day productions in the Arts Theatre, one is tempted 
to ask about your impression of the African plays 
that now fill the Arts Theatre. Is the Arts Theatre 
as interesting as in those days?
Aboaba: No. No. No. No longer as interesting as it used
to be.
Adedokun: What is responsible for the difference?
Aboaba: First of all I think people who are not
professionals or people who are not aspiring to be 
professionals should be given a chance to use the 
Arts Theatre. Nowadays, the Arts Theatre is so busy 
That amateurs don't have any time to use it. Or if
you want to use it, you find that you probably, have 
two days before the production to familiarize
yourself with the Arts Theatre. It doesn't make for
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good production. Also you find a lot of people who 
are talented and amateurs are loosing interest, 
because of the reason I have given you and because 
nobody is really interested anymore in promoting 
drama for the amateur, Dor instance, the Arts Theatre 
Production Group, what was their last performance?
Are they still functioning?
Adedokun: Now that it is impossible for us to have
foreign initiative because the expatriates are gone, 
who do you think will be able to make this balance 
possible?
Aboaba: People in the English Department, people in
Theatre Arts, 1 am sure they study comparative theatre.
Adedokun: Yes. Occasionally we do that, for instance 
Barrie Stavis. The Man Who ^ever Died was ...
Aboaba: But you should invite people from outside the
Department. I am sure the cast was all your students.
Adedokun: Tes
Aboaba: Ah ha ...
Adedokun: O.K. if that is what you mean ... involving 
people. But if they don't signify or indicate 
interest ...
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Aboaba: You have to initiate the resurgence of the Arts
Theatre Production. Somebody has to, you cannot let 
Arts Theatre Production Group die, because it 
performs a certain functi°n in the society.
Adedokun: Might be the emergence of the Unibadan Masques 
and later the Unibadan Performing Company negated 
such initiative.
Aboaba: Those were exclusive, They became exclusive
preserves of Nigerians. Why can't we have expatriates 
also taking part in some of our productions? You see, 
there's a place for Nigerian plays, but there's also 
a place for classical plays.
Adedokun: so this is what you would like to see in tire
Arts Theatre to really encourage people to come in 
there.
Aboaba: You know we performed Greek plays there before.
We had the two Antiqones in one night.
Adedokun: But Societies like Hoi Phrontistai, Cercc
Francais, they are still there but not functional ... 
So is it the responsibility of the Arts Theatre 
Management to make them functional?
Aboaba: Not really, But if the professionals are there, 
they could initiate these things.
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Adedokun: Maybe financial limitationis the great 
hindrance.
Ahoaba: Interest is the major hindrance.
Adedokun: You mean people are no longer committed.
Aboaba: '̂ es. People are busy looking for other things.
Adedokun: You said the Arts Theatre should be left as it
is and could be refurbished. Will you suggest building 
a bigger one?
Aboaba: Yes, yes.
Adedokun: Where could it be that would not be too far 
from students now?
Aboaba: We could have one near the student village.
Adedokun: You think audience woulci go there?
Aboaba: People will get there. Buses are provided ana
cars can get there. That is the only area I can see 
some available land right now. There is no land 
around the Arts Theatre anymore except you want to 
demolish the old WISER (Nigerian Institute for Social 
and Economic Research). Since WISER has some land 
you can rebuild that area to be theatre. And the 
Car Park is already there.
Adedokun: That is an advantage. But sir, how did you
blend Agriculture which is your own discipline with
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your theatrical activities?
Aboaba: I find theatre very relaxing. It gets me out
of the academics and enable me relax in the evenings.
Adedokun: How often do you go to theatre nowadays.’
Aboaba: Nowadays? Not tô oiimuch. I still go to some 
concerts on campus.
Adedokun: When last did you see a show in the Arts 
Theatre?
Aboaba: At the Arts Theatre? About two years now.
Adedokun: What type of play do you think can attract
you there since there are no longer operas and the 
Music concerts are occasional?
Aboaba: Even the concerts are mostly held in Trenchard
Hall nowadays. Hun hun hun ... maybe an international 
play or a good Nigerian play.
Adedokun: Sir, are you satisfied with the present 
dramatic development in Nigeria?
Aboaba: Yes. It is caning on fine. Doing very well and 
there is a lot of Nigerianization - the plays and 
the actors. But then again as it is done everywhere 
in the world there must be a sort of balance.
Adedokun: You are insisting on this balance -
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Aboaba: Otherwise people get too Nigerian orientation
and you don't know what is going on in the world.
Why do we still have people studying tnglish 
Literature? You cann't beat something like a good 
Shakespearean play once in a while, You see, it is 
educating to learn about the culture of some other 
people. Shakespeare did not confine himself to 
England. Some of his plays have Roman background.
Adedokun: Othello fo examp>le
Abaoba: Right. You see, I don't like- a play where there
must be an oba (king), there must be his wife, there 
must be ar babalawo (ifa priest) (Both Laugh).
Adedokun: In yoruba or in English or in both?
Msoaba: In both. It is like a fornul a now. Some of
the plays you see on television - there is the oba, 
his wife, a babalawo etce tera.
Anedokun. Perhaps because these are our daily experiences 
in our culture.
Aboaba. Every Play ... (Laugh)
Adedokun: S0 they are natural turn off for you?
Aboaba: Yes. You watch it and eventually somebody comes 
and overreacts. Everybody talking at the same time
n°t giving themselves room to talk. itL  iiss U ko they
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are ad libbing - no script.
Adedokun: Yes that is so common. '■’hey depend on
improvisation, but do you knew why we no longer have 
anything like the Dramatic Society on campus? Do you 
think the existence of the Department of Theatre 
Arts has anything to do with non resurrection?
Aboaba: The Department of Theatre Arts more or less
killed the amateur theatre on this campus.. Let'us 
look at it this way. - The people who eventually 
started the Theatre Arts Department were the ones who 
encouraged amateur theatre. The baby that they 
started (Theatre Department) eventually was the one 
that killed amateur productions.
Adedokun: Dut don't you think amateur productions 
encourage haphazardness ...
Aboaba: No. Amateur production for example keeps
know what to do wi th their time, ‘̂hey then do all 
sorts of wild things. There are some of them who are 
talented and they want to relax with amateur production. 
You see, same thing with staff, they want to relax.
Adedokun. 'what advice do you have for the Arts Theatre 
to help its promotion of African drama?
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Aboaba: The Management should look for fund outside the
University to help in refurbishing the Arts Theatre.
I was shocked the other day I was beaten by the rain 
in the Arts Theatre. We were watching a play and it 
was raining outside and the rain was coming in. I 
could not believe it. 1 was almost in tears. So 
look for fund outside. I don't think the University 
can afford needed capital from the little money that 
is given to the University.
Adedokun: It is a pity we didn't talk about the School
of Drama and its international contributions; but all 
the same one would like to know your opinion...
Aboaba: School of Drama? It was a good move. That was a 
good smart move A lot of people being turned cut 
from the School of Drama are now teaching drama in 
Schools, in the society, and everywhere in Nigeria. 
And they are projecting the image of Nigeria through 
drama. It was a good move to have started the 
School of Drama.
Adedokun: And realizing that everything started from the
Arts Theatre, what then is your conclusion about the
contribution
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Aboaba: That the Arts Theatre has done a lot for this 
country. Has produced talents that helped some 
people keep their sanity because coming to watch 
plays relaxes your brain. And it has provided a 
sort of leadership for the theatre in Nigeria, indeed 
all of black Africa.
Adedokun: Are you withdrawing from theatrical productions 
because of advancing age, or lack of interest or 
because of all those circumstances you have quoted...?
Aboaba: No, no no, but due to more commitments. I haven't 
withdrawn totally. But as you grow older you have 
more commitments, family commitments, societal 
commitments, then academic commitments, research 
commitments, national commitments. So all these 
things are pilling and you find that the energy 
cannot cope with all these things. 1 still want to 
do one or two operas and plays before I finally 
retire (both lauqh).
Adedokun: It is our prayer that you do that, to remind 
people of the glorious past. But before we round 
up this interview sir, can you enlighten us briefly 
on how consciously the foreigners promoted African 
culture through their productions? There were no 
African plays to which one can point to from 1955
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to 1958/59 when Soyinka's plays were first performed 
in the Arts Theatre. Are there any means by which 
they consciously promoted African culture?
Aboaba: Not between 1955 and 1958. There was no conscious
effort. The only thing they did was to slot in 
Nigerian names or places in place of some of the 
English ones in some of the operas. Like there was 
a play in which somebody was mad and there was an 
English word that'they used to bring sanity to that 
person. So they changed that word to Abeokuta (You 
know Aro). So it was Abeokuta and the person would 
come back to his senses. That was the only effort 
I could see. After that, gradually, sometimes in the 
costumes, they tried to bring in local dresses 
occasionally. But there was this lady Peggy Kruchang. 
She was headmistress of the junior section of the 
Staff School. She adapted a number of operas and 
substituted Nigerian names, Nigerian places and we 
used some occasional Nigerian costumes. Those were 
the only efforts they made. They didn't pretend to 
understand our culture. So they didn't want to make 
a mockery of it.
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Adedokun: Thank you Professor Abosba, for sparing the
time and for this opportunity to share your experience 
from 1955 up to the present. May C-od continue to be 
with you and grant you good health, successes in your
endeavours and happiness. 
Aboaba: Amen. Thank you very much.
UNIVERSITY OF IBADAN LIBRARY 
318
APPENDIX 7
ARTS THEATRE PRODUCTION GROUP 
PRODUCTIONS 1957 - 1973
No, YEAR play AUTHOR
t\oclre
1. 1957 NOAH And Obey
2. 1957 THE MERCHANT OF VENICE Shakespeare
3. I t THE GOVERNMENT INSPECTOR Gogol
4. 1959 A MIDSUMMER NIGHT'S DREAM ' Shakespeare
5. »f RING ROUND THE MOON Anouln/Fry
6. 1958 ANTIGONE (with U.I.D.S.) Sophocles
7. 1958 ANTIGONE Anouilh
8, 1960 CORIOLANUS Shakespeare
9. t t AN ENEMY OF THE PEOPLE Ibsen
10o 1961 LYSISTRAIA Aristophanes
lie t t A PHOENIX TOO FREQUENT Fry
12. 1962 THE MAGISTRATE Pinero
13. t t THE CRUCIBLE Miller
14. t t KING ARTHUR (with Music Dryden/Purcel1
circle)
15. 1963 PYGMALION Shaw
16. f t PEER GYNT
UNIVERSITY OF IBADAN LIBRARY 
NO. YEAR PLAY AUTHOR
17. 1964 MEASURE FOR MEASURE Shakespeare
1964 THE FIRE RAISERS Frisch
19. 1964 THE DOCK BRIEF Mortimer
20. f t THE MATCHMAKER Wilder
2 1 . 1965 THE ALCHEMIST Johnson Ben
22. AN EVENING WITH W.B. YEATS Yeats
23. 1965 TMESIS IT Duerrenmatt
24. I I UNCLE VANYA Chekhov
25. »» YOU NEVER CAN TELL Shaw
26. 1966 THE IMPORTANCE OF BEING EARNEST Oscar Wilde
27. 1967 THE ROYAL HUNT OF THE SUN Shaffer
28. IT WAITING'FOR GODOT Beckett
29. 1967 THE BLACK JACOBINS James
30. 1968 OTHELLO Shakespeare
31. 1968 THE BALD SOPRANO Ionesco
32. 1968 THE AMERICAN DREAM Albee
33. 1964 THE GOOD WOMAN CF SETZUAN Brecht
34. 1969 LOVE OF LOVE Congreve
35. 1969 THE CARETAKER Pinter
36. 1969 HADRIAN VII LLuke
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320
NO. YEAR PLAY AUTHOR
37. 1969 TARTUFFE Moliere
38. »» RASHOMON KARIN
39. 1970 TANGO Mrosek
40. 1971 MR THREE Butler (adopted
by Lyndersay)
41. 1971 THE DUCHESS OF MALFI John Webster
42. 1972 HOSTAGE Brendan Behan
43. 1971 THE LADY’S NOT FOR BURNING Fry
44. 1973 THE WATERS OF BABYLON John Arden
. Compiled from programme notes for THE WATERS 
OF BABYLON by John Arden and Directed by 
Peggy Cruickshank.
NOTE
Acknowledgements in the Programme of THE WATERS 
OF BABYLON read:
The Staff School U.I. for Rehearsal Facilities 
The Department of Theatre Arts for their 
co-operation.
UNIVERSITY OF IBADAN LIBRARY 
321
APPENDIX 6
EXTRA-HUR AL THEATRE WORKSHOP HANDBOOK 
UNIVERSITY OF IBADAN
DEPART!'!ENT OF THEATRE ARTS 
EXTRA-MURAL THEATRE WORKSHOP HANDBOOK 
Introduction:
The Extra-Mural Theatre Workshop is a six month practical 
training Scheme in Theatre Arts with special focus on Acting}. Music, 
Dance, Speech Practice, Theatre Management, Plavwrit.ing, Radio/ 
Television Production, Technical Theatre, Rehearsal and Performance»
The Course is designed for theatre enthusiasts.
The Workshop is an evening programme. A three intensive 
hours of contact (' 4 p.m. - 7 p.m.) on Mondays, Wednesdays, Thursdays, 
Fridays and on Sundays O  -7). This is subject to change as need 
arises.
Workshop activities include Improvisation, Ensemble technique, 
stagecraft, Playmaking, Singing and Music composition, Speech work, t 
Television and Radio recording, Dance and Choreography, Performance 
practice and Publicity.
The programme of the course is designed to develop latent creative 
gifts and broaden the scope of intellectual possibilities through a 
variety of activities and programmed study.
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322
COURSE BREAKDOWN - 
ACTING: .
(a) Actor: Body dynamics and drill
(b) Acting technio.ue and Role - playing
(c) Eurhythmies for the Actor
(d) Motivation/Reflexes and improviRational exercises. 
DIRECTING
(a) The arts of a director
(b) Selecting play/audition and casting
(c) Creative Interpretation of playscript
(d) Blocking and characterization
(e) Rehearsals/Performance.
MUSIC
(a) Music: Thought and organization
(b) Vocal/'Dhoral Music
(c) Musical Instruments; uses
(d) Music composition/Rerformance
(e) Contemporary Music and Electronic Production. 
DANCE:
(a) Anatomy for Dancers
(b) Choreography and Dance Composition
(c) Rhythm in music and movement
(d) Dance as a theatre Art/Dance project
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323
voice - speech -:z s::-
(a) The vocal chores and Voice production
(b) Speech Art and Public speaking ^
(c) Speech drills
(d) Singing
PL A YW RITING ;
(a) Theme and idea development
(b) Plot/Scenerios sketching
(c) Thought/tanguage/Play form and creative writing exercise
(d) Workshop play project/Rehearsal/Performance
THEATRE management
(a) The Business of the Arts
(b) Theatre Organisation: Types
(c) Publicity/P.ox office practice
(d) Theatre Hanagement in Nigeria; Appraisal
STAGECRAFT
(a) Functions of Stage Manager
(b) Set, Props and the Stage: Appraisal
(c) Rehearsal, Call-board and Discipline
(d) Performance/Relationship with production crew. 
RADIO/TELEVISION PRODUCTION
(a) Media drama: impact
(b) Telescript: writing
(c) Styles and Techniques of Radio/TV production
UNIVERSITY OF IBADAN LIBRARY 
324
REHEARSAL/PERFORMANCE
(a) Rehearsal Organization
(b) Technical/Dress Rehearsal
(c) Performance
DESIGN
(a) Basic costume and set design assignment's
(b) Designing for workshop Production
0 o 0 o
AGE LIMIT
No. age limit and no sex preference.
QUALIFICATIONS
The Department recognizes the fact, that intelligence and 
creative ability could be expressed in different ways and therefore 
would look beyond the traditional academic criteria in assessing 
the applicants.
Talent, aptitude and previous participation in theatrical
♦
activities are the entry qualifications. It. is essential that applicant 
be proficient in English which is the medium of communicf.it.ion.
ADMISSION
Applicants would be auditioned and interviewed at. a stipulated 
date as may be advertised in Newspapers. Successful candidates would 
be registered on the payment of the prescribed registration feeQ The
UNIVERSITY OF IBADAN LIBRARY 
325
day of registration marks the beginning of the 6 - month workshop.
NOTE; Any student absent, from class for 30 hours would either forfeit 
the certificate of attendance or pay a fine of .*450.00 with a promise 
to cover lost grounds through extra work.
DEFERMENT:
If Illness or temporary transfer from place of work prevents a 
candidate from completing his/her course, such individual should write to 
the coordinator requesting for the deferment of his/her admission till the 
next session. The participant would pay 50% of the required charges the 
following year.
LECTURERS
The workshop lecturers would be drawn from the regular intra-mural 
lecturers, postgraduate students and professionals from outside the campus. 
The mutual interaction between the practising artistes and the academic 
professionals would provide'participants a unique experience in Theatre 
practice.
ENSEMBLE PRODUCTION ,*
The workshop ensemble is expected to present a final graduation 
play at the completion of the course. This production is the outcome of the 
systematic training received within the six months. This project would 
be judged according to the input and impact made by each unit of the 
workshop programme. Candidates would face a panel of judges at a viva after
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- 3 2 6
a performance during «rhicr tr ev would answer questions regarding 
artistic depth and inci.lr_al contributions to the production.
CLRTIFICATE
A certificate of attendance would be awarded candidates who 
successfully complete the 6 - month training. The certificate that would 
be awarded from 1984 is a high quality one which the owner would cherish 
all his life.
CHARGE:
From 1984 workshop session new rates would be as follow:
id K
Application form 10 00
Extra-Mural Handbook 5 00
Registration fee 100 00
Certificate 1C 00
Transport 10 00
Production expenses 20 00
IP RO!■S I ■P EI.C .T.S — II / *
The University of Ibadan has the pride of place as the first 
University to start Professional Diploma and ’degree courses in Theatre 
Arts, Dpj-adcasting and Film. The Department of Theatre Arts has produced 
eminent scholars, theatre practitioners, broadcasters, technicians and 
public servants since its inception.
UNIVERSITY OF IBADAN
LIBRARY 
- 327 -
HAPPY BIRTHDAY
THE DEPARTMENT OF THEATRE ARTS, (FORMERLY SCHOOL OF DHAKA) 
UNIVERSITY OF IBADAN, IS 21 YEARS OLD IN 1984.
THE EXTRA - MURAL THEATRE WORKSHOP WISHES HER MANY HAPPY 
RETURNS OF THE DAY AND MANY YEARS OF USEFUL SERVICE TO HUMANITY.
HURRAH YOU ARE OF AGE* 
HURRAH YOU ARE 21 i*
REN I ADEN OLA ADEDOKUN PRCFESSOR J.A. ADEDEJI 
Workshop Coordinator Head, Dept, of Theatre Arts.
*
UNIVERSITY OF IBADAN LIBRARY 
- 328 -
A) SCHEME OF TRAINING PROGRAM
<
DAY TIME COURSE TITLE LECTURERS COURSE LEVEL
(ORDINARY/
advance
SUNDAYS 3 - 4 p.m. Radio Production AYO AKIN,,'ALE 0 & AL
SUNDAYS 4 - 5 I STage Management )
& Technical Thea-
tre ) KUNLE ADEYEMG 0 & AL
SUNDAYS 5 — 6 I Playwriting &
Creative Dramatics ISI AGI-GAYI I
SUNDAYS 6 — 7 M Directing 0 NY 0 NY OR T. 0.
OYESORO S., MISS
TA1W0 AWOYO' I
PHILIP IGLTEI OL
MONDAY 5 6 M Theatre Management D. OMATGOLA ft Ci.Cc 0; s AL
SALEH
MONDAY 6 - 7 Music ADIGWE J.P.G. OL
MONDAY 7 It- 8 Music S. AYIVIF AL
WED. 5 6 n Costume/Make up/ NDIDI KORDI ft
Design JENNIFER OBATA OL
WED. 6 - 7 If Acting A NT GALA E.A. OL
THUR. 5 — 6 ft Speech Practice MRS. C.F. AJAYI 0 S AL
THUR. 6 - 7 tl Acting MRS. C.E. AJAYI AL
THUR. 6 7 I (Children’s Theatre
Creative Dramatics) JOHN EJEMAI OL *
II 7 - 8 It Di reacting MISS TAIV/O AWCYEM1
FRIDAY 4 - 6 II Dance KISS DOS SANTOS 0 & AL
FRIDAY 6 7 tt Tonelevsion Product!- 0HIRI I.C. QL
(B) - PRODUCTION WORKSHOP
JULY - OCTOBER, 1984
MON. PLAYMAKING
WED. MUSIC & DANCE
FRIDAY ENSEMBLE/THSATRE GAMES
SUNDAYS REHEARSAL/PERFORMANCE
VENUES: ARTS THEATRE and PRACTICAL THEATRE,
Remi Adedokun
UNIVERSITY OF IBAD
N LIBRARY 
329
APPENDIX 9 .
> ...
Mini Festival at the Arts Theatre
UNIVERSITY OF IBADAN  
12TH—18TH SEPTEMBER 1976
THE WORKSHOP ON THE NIGERIA TRAVELLING THEATRE
Jointly Oiuanisec by the department of Theatre Arts University of 
Ibadan n.nd the Goethe Institute in Lagos
PROUDLY PRESENTS
The following Nigerian Travelling Theatre Troupes at the Arts Theatre
University of Ibadan
Sunday 12th Sept. The Osnmare Theatre from Lagos
b. IN *ARE iM O  A Y IB I.11 (Cultural drama in Yoruba)
*  Tima: 9.00 p.m. Admission:* Tickets N1; 60k
Monday 13th Sept The University of Jfe Theatre
IN cG O D S  ARE  NOT TO B L A M E *  by Ola Rotimi 
Tima: 9.00 p.m. Tidutts N 1.60; N1.00
Tuesday 14th Sept. Isola Ogunsola Theatre
INMEFUNSETAN ANIWURA* (Yoruba drama) 
Time: 9.00 p.m. Tickets N1.00; 50K
Wednesday 15th Sept filawada (International) Group Ltd.
IN * FOPAWON vby Moses Olaiya (Bab* Sola) 
Time: 9.00 p.m. Tickets N1.50; N1.00
Thursday 16th Sept.
^ The Dnro Ladipo Cultural Theatre
IN M O R E M I by Ouro Ladipo
Tima: 9 00 p.m. Tickets N1.50; M l.00
Friday 17th Sept. Unihadan Masques
IriThe Chattering end the So n g* (by Femi Osofisan) 
Tima: 9 00 p.m. Tickets 60k; N1 00
Saturday 18 th Sept. Ogunde Dance Theatre
IN vS*ERANKO S‘ENIAM
Time: 9.00 Tickets HI.50; N1h00
ITS A  REAL PACKAGE
^  TICKETS ARE AVAILABLE AT THE ARTS THEATRE BOX 
OFFICE AND AT THE UNIVERSITY .BOOKSHOP U. I
For any further Information contact JMe Malomo 62550 Ext 1020 or Ext 1292
UNIVERSITY OF IBADAN LIBRARY