Why we must restore public confidence in National Theatre

Tag : Marble Bowl

Since it hosted the Second World Black and African Festival of Artsand Culture (FESTAC) in 1977, the National Theatre, unarguablyAfrica’s citadel of artistic excellence has come a long way.After it escaped the auetioneer’s hammer a few years back,the culture icon is on the march again, thanks to the indefatigableand tenacious management, headed by the Director General, ProfessorAhmed Yerima.

A visitor to the National Theatre, recently would notice a steadyimprovement in the state of its infrastructure. From the marblefloors, to the air-conditioned cinema halls, a functioning sewagesystem, steady power and water supplies, the cultural edifice maybe on its restoration journey as the pride of Africa.

Meanwhile, DG is never oblivious of federal government’spositive disposition toward the National Theatre’s rebirth.So, what is in store in the next phase of the repairs, Yerima, whois also a playwright, and Director General, Abuja Carnival 2008sheds light on these, and how a functioning theatre would boost thetrouper’s activities, and restore stakeholders’confidence in the edifice.

National Theatre| Troupe merger
The National Theatre has a long history behind it, and a lot ofpeople also know the National Troupe. So, with the merger, peoplewanted to know if the quality of perfomances has improved.Actually, it has improved because unlike before, we no longer haveto beg for the use of the facilities in the National Theatre. Nowthat people have started returning to the theatre ,we decided tohave a three–stage programming. There are the ones theNational Troupe does and can do here; we also ensure they showcasethem abroad. Aside that, there are productions that people bring,and the ones we organise.

For example, the AY show is a collaboration between the stand-upcomedian AY, and the parastatal. The show takes place once everymonth. I am also trying to encourage young drama groups.We’ll look at what they have, what they are doing, clean itup and bring it to the National Theatre. The show would run for oneweekend and it ends there.The onus is that the National Theatremust be kept alive with activities.

Another programme coming on the bill now is a dance workshop,scriptwriters workshop and the Alliance Francais has also indicatedits intention to bring the next edition of its dance meet dansehere. The most interesting thing is that, the National Theatre isbeginning to enjoy a level of confidence in the public.This levelof confidence has also prompted us to try and convince governmentabout the need to fix certain things in the building.

Mainbowl
In fact, that is the biggest project on my mind now. Government hasapproved money for the re-rug of the main bowl and the fixing ofthe panels. Another major problem in the 5000-seater hall is theair-conditioning system. We are quite aware that the trick we usedin the Cinema and the Banquet halls can be re-enacted in the mainbowl. We can use packets of AC and the place would not take lessthan 40 to cool it.

In addition to that, we intend to fix our grand pianos so that wecan hold concerts there.
I think in the whole of Africa, the National Theatre might be theonly place that boasts of three grand pianos at a time. You knowthat once a grand piano is fixed you cannot move it from that spot.
Also, we’ve gotten money to do some landscaping. The Theatreenviroment may soon look to bland if we don’t plant some palmtrees to give it life. We’ll also construct the car parkwhile the sandfilling of the theatre premises is going on. Once wecan do that, people would then know that the National Theatre isback.

New challenges
By the time we have completed the work on the theatre, the nextchallenge would be, what programme do we have to keep the placegoing. That was why we started the Gown-in-Town theatre project.The last one featured students of the Ahmadu Bello University (ABU)Zaria, and we hope UNN Nsukka will pick it up from there.
The parastatal is also offering job oppurtunities for youngproffessionals like we did in Felix Okolo’s EsotericDialogue, last year and as we’re doing with the on-goingAlante Tatakumi, directed by Makinde Adeniran.

Security
We intend to construct a fence round the theatre, and it would havea main gate. Where there is good water, we might develop it into anice pond. Government is giving us money for that purpose. We alsointend to build toll points so that at a particular time,we’ll be able to lock up the gates. Also, we’ll clearall the overgrown weeds and shrubs so that hoodlums would no longerhave places to hide. By the time we complete works on the carparks, our security men would be able to keep eagle’s eyes onthe vehicles. In addition to patrol motorbikes, we’re goingto purchase patrol vehicles.

Government is committed
I can tell you that three quarter of the funds required to executethese projects have been released. The only thing is that theprocedure of accessing the funds, have to be done properly. Thebeauty of it is that it allows for equity and accountability. Oncewe can access the money, work would start. The money would bereleased at different stages of the rehabilitation works; based oneach project. For instance, N1.5 million was approved for thesandfilling, dredging and fencing of the building. Even if themoney won’t be enough, at least it would start something. Bythe time people see that works have commence, their hopes in theNational Theatre would be rekindled.

N’Troupe’s international outings
I think the credits should go to the Minister of Culture, Tourismand National Orientation, Prince Adetokunbo Kayode and the Ministerof State, Dr. Aliyu Idi Hong who recognised the role of thenational troupe as cultural ambassadors who should launderNigeria’s image and ensure she occupies her pride of placeculturally. According to the minister, selling Nigerian culturesabroad would attract foreign tourists into the country. Thatgesture kind of gingered us and we started working on differenttypes of productions. Initially, we were almost frustrated becausewe did not have funds to travel, neither the connections to attractinvitations from abroad. It was when the invitations started comingthat we began to pick them.

What we have also started is to collaborate with state governments.We found out that having a couple of artistes from the states towork with us for a couple of years is not e nough. So, when theNational Troupe receives international invitation but could notundertake the trip, we’ll forward the invitation to statesgovernments that are ready to pi ck the bills, using theirartistes. The only thing is that, our officers will prepare thegroup for the tour. With that, the National Troupe is beginning toreach out and expand its functions and objectives.