129 ‘Rantimi – Theatre Arts Curriculum and Events Management

Julius-Adeoye Jays ‘Rantimi

NIGERIAN THEATRE ARTS CURRICULUM AND EVENTS

MANAGEMENT

Abstract
Starting from the 1990’s and with the advent of the video-film in Nigeria, live theatre
has suffered a near extinction on the nation’s theatrical stage. The reasons adduced
to this are myriad, but one that is without controversy is that it is not economical to
invest in live stage performance because of the lack of ready audience. Ironically
while that of the live theatre is dwindling, there is audience for other entertainment
events like musical concerts, comedy and variety shows, festivals, corporate branding
theatrical events. This paper seeks to draw attention to the ever-growing need of
events and artistes management courses in the Nigerian academic theatre curriculum.
In order for the theatre to remain relevant in an age of information communication
technology and ‘star branded’ entertainment performances, there is need for
repackaging the theatre curriculum to accommodate the management and
organisation of theatrical events for the yearning audience. This is a concept known
as ‘mastering the art of show business’. The theatre must train events’ managers to
handle the packaging, audience sourcing, crowd control, events venue management
and relevant publicity gimmick necessary for a successful production. The theatre is
an event that can be economically viable, as well as make available jobs for teeming
graduates of the profession if handled by a well-trained Events Manager.

Introduction
Starting from the 1990‟s and with the advent of the video-film in Nigeria, live
theatre has suffered a near extinction on the nation‟s theatrical stage. The
reasons adduced to this are myriad, but one that is without controversy is that it
is not economical to invest in live stage performance because of the lack of
ready audience. Ironically while live theatre audience is dwindling, there is
audience for other entertainment events like musical concerts, comedy and
variety shows, festivals, and corporate branding theatrical events.
In order for the theatre to remain relevant in an age of information
communication technology and „star branded‟ entertainment performances,
there is need for repackaging the theatre curriculum to accommodate the
management and organisation of theatrical events for the yearning audience.
This is a concept known as „mastering the art of show business‟. The theatre
must train events managers to handle the packaging, audience sourcing, crowd
control, theatrical venue and relevant publicity gimmick necessary for a
successful production. The theatre is an event that can be economically viable,
as well as make available jobs for teeming graduates of the profession if
handled by a well-trained Events Manager. Attention must be drawn to the
ever-growing need of events and artistes management courses in the Nigerian
academic theatre curriculum.
 130 ‘Rantimi – Theatre Arts Curriculum and Events Management

This paper is not pretending to teach theatre scholars a novel idea, but
rather it aims to reawaken their consciousness towards that which they have
neglected. While it is normal parlance in the theatre to do business with
theatrical productions, making profit with it is another issue in itself. To
reiterate the words of Chris Nwamuo (2007) “It will be a grievous mistake for
one to think that because one is in the arts business, one is removed from the
realities of existence in a world governed by the matrix of demand and supply,
selling one‟s product in order to survive” (35). This paper concerns itself with
the pragmatic approach to the subject of theatre. The Nigerian theatre arts
curriculum is at present too rigid because any adjustment to it must receive the
approval of the school senate and the National University Commission.
However there is room in it to allow for the theatre management students to
embark on industrial attachment to existing performance/production
organisations within the country. New theatre arts curriculum should be
designed in a format that will allow for the acceptability of new innovations in
order for it to continue being relevant in every age. Chris Nwamuo argues that
for theatre to survive it must either be well supported by the government
immediately or the organisations must go commercial (34). This writer is not
unmindful of the fact that paying undue emphasis on commercialization of the
theatre can breed its own negative development; nevertheless it will portray the
profession as one that is viable commercially.
Though many theatre arts graduates‟ are already relying on their talents
in order to survive the harsh economic reality outside the higher institutions,
however there is need to effectively utilize the many spaces available in the
country for economic gain. The thrust of this paper is to raise awareness on
how theatre students‟ of this age can sustain their living through well-
packaged, well-marketed, and well-managed theatrical and other entertainment
productions. Theatre is marketable only when the practitioners consider it from
the business point of view. The management and marketing of the theatre is
undergoing changes in the face of capitalism and financial survivalism.
Today‟s theatre practitioners have to study those factors that accounted for the
success of Hubert Ogunde, Kola Ogunmola, and Moses Olaiya Adejumo‟s
theatres, before the era of the cinema in Nigeria. Ebun Clark, and other
historians of African theatre considers Hubert Ogunde a “thoroughly
professional, secular theatre artiste” (Kerr 84). Ogunde started his theatre in
1944 as a professional organisation. This was also the case with Ogunmola,
Duro Ladipo and Olaiya Adejumo. Although, these theatre groups were
itinerant in nature, yet they attained success and prominence through effective
management system.

The Nigerian Theatre Arts Curriculum

According to Ayo Akinwale, “the most important aim of education is to
lift man to higher level of understanding and awareness, a development
of intellectual ability and a method of making him grow effectively
within his society” (5). The growth here is of two fold, one is social
placement by the reason of the new acquired knowledge, and the other is
 131 ‘Rantimi – Theatre Arts Curriculum and Events Management

economic emancipation.
The theatre curriculum must be designed to incorporate elements
of dynamism as pertaining to dealing with social and economic realities
as evidenced in the society. The curriculum must be tailored towards
empowering the graduates of the discipline to achieve economic
independence. The Ibadan theatre curriculum has served as a model for
almost all other theatre curriculums in Nigerian Universities; this is
because, apart from the university being the first in the country, the
theatre arts department is the first of its kind in the whole Africa.
Despite its position, it has had to undergo modifications on few
occasions to accommodate new trends in the industry. While this is not a
negative idea, one should be mindful of the shortcoming that such a
curriculum will encounter in a changing economy. The ideology of art-
for-art-sake is not popular with this generation of artistes; rather it is arts
for sustainability. The question concerning the curriculum meeting the
expectation of scholars, demands of the industry, and accommodating
enough indigenous courses is another issue entirely. It is a fact that the
situation of the Nigeria‟s economy in 1970‟s is not the same in the
twenty-first century. While the economy was gravitating towards
itinerants and academic theatre artistes in the 1970‟s, an era of oil boom,
the reverse is the case at present, especially with the Structural
Adjustment Programme (SAP) of the late 1980s and Global Economic
Meltdown of 2009.
Many Nigerian theatre scholars postulated different theories as to
why there is a decline in patronage of stage theatre. Obafemi posits,
“The Yoruba travelling theatre has retreated somewhat from the roads
and the stage to appear on television and cinema screens” (265). To
Ekwuazi, television and film are guilty of edging the stage performances
from “some indeterminate position at the periphery of the centre towards
the very periphery of the Nigerian society” (162). Scholars like Lanrele
Bamidele (1992; 1993) and Okome (1993) shares Ekwuazi‟s position.
Other scholars put the blame on insecurity, bad road, economic
recession, austerity measures of the early 1980s, lack of adequate
security in the nation, low turn-out at production venues and the
problem of Structural Adjustment Programme (SAP) by the late 1980s.
The introduction of the video-film put a final seal on these myriad
causes. Albeit the presence of the screen, the problem of insecurity and
bad roads that put an end itinerant nature of theatre troupes stage
performances has witnessed a rebirth. Stand-up comic and musical
shows are drawing huge audiences everywhere in the country. The
theatre has also resurface in a rather upsurge form within the numerous
institutions of higher learning in the country. In the first four decades
after the establishment of the premier university in the country
(University of Ibadan) the number of universities offering courses in
theatre arts was less than ten, but the number has since climbed to more
than thirty by year 2005.
 132 ‘Rantimi – Theatre Arts Curriculum and Events Management

It is neither by coincidence nor by default that the decline in

development of contemporary Nigerian stage performance, especially in
the late 20th century, has occurred simultaneously with the rise in video-
film productions as well as stand-up comic and musical shows. The
people have desire for entertainment even in the face of a biting
economy. Since the academic curriculum is an all-encompassing one, it
is wide enough to accommodate a course that will see to the packaging,
branding and sales of its theatrical performances and actors as profitable
products.

Management in the Nigerian Theatre Arts Curriculum

The area of specialisation known as theatre management should be broaden to
include courses like events management and artistes‟ management in order for
it to be pragmatic and contemporary reality sensitive. In the context of an
integrated management perspective, students must know the history and
aesthetics of theatre art, the functionality of production organization, the
collaborative process, decision-making, organizational direction, motivation,
organizational design, human resources, financial management, development,
marketing, and technology, as well as law and copyright policies governing
theatrical productions. This need is expedient in order to place in good stead
theatre arts graduates‟ who desire position in the entertainment industry in view
of the changing demands of the professional job market.
Theatre Management or Administration and Publicity as a specialized
area, is taught over four semesters in the Ibadan theatre arts curriculum starting
from the third year. The problem is that over the years theatre students are not
made to undergo intensive practice of the course. They come to the theatre on
the day of the production to sell tickets, clean the theatre, and distribute
programme notes. It should be the duty of the management students to be part
of the production processes from the outset and even made to design how to
raise fund for the execution of the production, as well as how to draw audience
to the production venue. The description of the courses clearly suggests this,
especially in the second semester of year three and first semester of the fourth
year:

THA 323: Students are to participate in practical administration

and publicity through departmental productions as well as short
play done under THA 320, 321, and 322.

THA 413: A study of the principles and techniques of theatre

administration and management in arts organisations; and the
processes of planning, financing and marketing artistic
programmes in educational, commercial and community theatres
including the legal aspects of the performing arts with emphasis
on copyright.
 133 ‘Rantimi – Theatre Arts Curriculum and Events Management

The students should put up a production, do the management and publicity, at

least in the final semester of their programme. They should have the ability to
conceptualize an event/ production from the beginning, drawing up the budget,
sourcing for the funds and other resources needed, to audience generation, and
actual presentation to post production. The post-production phase is crucial to a
theatre and events managers, it is stocktaking stage, the moment to make the
decision to either re-strategizes for future production or maintains the winning
skill.
Theatre managers have responsibility for all the artistic work produced
within a theatre and for the management of all parts of the organization, in a
career that demands both commercial and creative skills. He/she is responsible
for recruiting and managing staff from the box office to back stage, he may
also be responsible for leading marketing and publicity activities. Ensuring that
a theatre works successfully on a commercial and a practical level requires a
passion for theatre, enthusiasm and a hands-on approach.
Theatre management and events management may seem, to a novice,
same but on a second look they differ a great deal from one another. Though
theatre is not confined to just a particular building, however as the name
suggest, it revolves around the theatre either as a structure, company of
practitioners or an ensemble. Typical activities vary according to the size and
type of theatre (for examples, repertory and commercial) and the structure of
the management team. The task of the theatre manager includes the following:

 liaising and negotiating with production companies to plan the

programme of work;
 getting involved in artistic direction and the commissioning of new
pieces of work;
 carrying out educational work by promoting arts participation in the
community, which may include visiting schools, colleges, community
centers and youth clubs to encourage the public to engage in
professionally-led artistic activities;
 taking responsibility for all staff in the theatre, often heading a
management team, the members of which deal with specific areas such
as marketing, finance and artistic production;
 overseeing training for front of house and stage door staff;
 liaising closely with the theatre's board of directors;
 ensuring that the theatre meets the requirements of legislation such as
health and safety and licensing laws (theatre managers may act as
licensees);
 attending marketing meetings and undertaking marketing activities;
 dealing with the budget and exercising ultimate financial control;
 negotiating with any charities and funding bodies providing financial
backing;
 speaking and lobbying at arts-related conferences;
 networking with local industry, local communities, educational
organizations, relevant bodies and the public;
 134 ‘Rantimi – Theatre Arts Curriculum and Events Management

 Keeping in touch with other theatre managers and producers in order to

stay up to date with developments and new productions.

Theatre management focused primarily on theatre organizations, today‟s

discussions incorporate other performing arts organizations, other non-profits,
and for-profit organizations in order to help identify the factors that can make
theatre organizations succeed. It is training in the practice, informed by up-to-
date theoretical knowledge.
It is essential here to give definitions of management and events
management. Though both subjects might look different, yet the latter is only
an offshoot of the former. There is no single definition universally accepted for
management, however for the purpose of this discourse it will be expedient to
stick to that of, Mitch McCrimmon which says, “Management is an
organizational function, like sales, marketing or finance” (1). The goal of
management in business or organization is to create wealth for the owners by
providing some value that consumers need. The process of business
management involves, researching the market for profitable business
opportunities, developing strategies for marketing management, operations
management, financial management and human resources management. It also
involves implementing the strategies through planning, organizing, motivating
and control.
Long-term functioning and survival of any organization require that the
business, be managed in a responsible and ethical manner by addressing the
client need, environmental issues and employee career goals. There is also the
issue of complying with the laws of the land, especially that of copyright. Chris
Nwamuo, ranks legal as the second basic consideration when planning artistic
event, the first is artistic while the third is commercial considerations (12).
Events on the other hand are products meant for consumption by audience or
participants. Though it is ephemeral, it is taken as a means to psychological and
physiological satisfaction. Events management is a way of outsourcing
occasions that are either business, social or a combination of the two
(Wisegeek par 1). This implies that it is about planning and material gathering
in order for perfection in execution of any engagement which entails the
drawing together of people towards achieving a commercial end or otherwise.
Gerz and Wicks specify the following event-specific areas of knowledge
as appropriate for inclusion in events management training:
History and meaning of festival, celebrations, ritual and other
events, historical evolution and type of events, trends in demand
and supply, motivation benefit sought from event, roles and
impact of events in society, the economy, environment and
culture, who is producing events, and why? Programme concepts
and styles, events setting, operation unique to events,
management unique to events and marketing unique to events.
(qtd in Glenn Bowden et al 12)
 135 ‘Rantimi – Theatre Arts Curriculum and Events Management

While management is about reducing expenses, the case might be different in

order to achieve a successful commercial event. Every effort is made not to
allow cost to stand in the way of future profit, potential sponsor and so on, yet
effort is made to maximize profit. A good event manager source for potential
audience wherever they may be and take the show to them in their
neighbourhood if the need arise. Ayo Makun and Wole Oguntokun are noted to
have moved their shows and stage plays from MUSON Hall to Eko Hotel &
Resort Centre, and Terra Kulture, Victoria Island respectively. The organizers
changed location for many reasons, and one of them is due to the inadequacy of
the space for the number of audience that attends the events.
A good events Manager handles the budget for a production and takes
responsibility for its financial outcome. Its functions cover a whole lot of
celebration and occasion which might be non-theatrical. Additional tasks of
events manager include the following:

 planning of events by applying knowledge of audiences, ensuring a

balance between different types of productions, being aware of which
productions have been well received elsewhere and accepting new work
offered by reputable production companies;
 researching and including well-known actors in productions;

There are some notable branded theatrical events in Nigeria today; the
organizers of these events have had to be steadfast in their management
approaches in order to arrive at the stage they are currently enjoying.

* ATAS Initiation Night organized by the University of Ibadan Theatre

Arts Department.
* Laff 4 Life organized by the Redeemer‟s University Theatre Arts
Department with Julius-Adeoye‟s Real Image Productions &Consults.
* Crack Ya Ribs and Laugh 4 Christ Sake organized by Julius Agwu.
* Night of a Thousand Laughs organized by Opa Williams.
* AY Live and Open Mic Night organized by Ayo Makun.
* Uncensored organized by Basketmouth.
* Star Mega Jam organized by Nigerian Breweries Plc.
* Kennis Music Easter Jam organized by Primetime Entertainment,
owned by Kenny Ogungbe and Dayo Adeneye.
* Most Beautiful Girl in Nigeria orgainzed by Silverbird Entertainment.

The list is longer than listed. These events have raised the economic status of
the individual organizers above the poverty level. The events have also become
the avenue for discovering new talents in the Nigerian entertainment industry.
Corporate sponsors are identifying with both the events and the organizers by
utilizing the platform provided for publicity of their businesses and products.
For example, Guinness Nigerian Plc maker of Malta Guinness drink is the
official sponsor of Basketmouth‟s uncensored. At present all the major
telecommunication providers in Nigeria sponsor events year round, they have
 136 ‘Rantimi – Theatre Arts Curriculum and Events Management

gone to the extent of setting-up events coordination and sponsorship

department in their various organisations.
Events management is broader in scope, it also comes in all sizes from
the Olympics down to a breakfast meeting for few business people to tourism
and hospitality packaging and most of all organizing „for profit‟ comedy and
dramatic performances. Every government organisation, industry, charity
organisation, society and student group will hold events of some sort or size in
order to market itself, build business relationships, raise money or celebrate a
successful outing. There is no restriction on how small or big an event can get.
For example, the yearly Calabar Carnival, Abuja Carnival, the 8th All-African
Games held in Nigeria in 2003, the 1999 and 2009 FIFA Youth Championship,
Nigeria, and the 2010 FIFA World Cup in South Africa are example of how big
events can get. Performances as events take place in any given environment,
which could be an open arena, a hall in a hotel, stadium or the theatre stage.
Theatre curriculum must be developed to accommodate the training of people
to handle these venues of performances for profit. The theatre must train both
events and theatre managers to write proposal for sponsorship, handle the
packaging, audience sourcing, crowd control, theatrical venue and relevant
publicity gimmick necessary for a successful production. The theatre is an
event that can be economically viable, as well as make jobs available for
teeming graduates of the profession if a well-trained event manager handles it.
The events industry requires people with informed understanding of, and
ability to anticipate, the needs of audience and to suggest solutions to problems
and improvement to plans.
The recent growth of stand-up comedy and musical events as well as
emergence of iconic figure in Nigeria and Africa entertainment industry means
that its management can no longer be a neglected area. Therefore a would be
events manager must endeavour to study the intricacies of the brand,
identifying the target audience, devising the event concept, planning the
logistics and coordinating the technical aspects before actually executing the
modalities of the proposed event.

Ways of Selling Productions and Making Profit.

* Seek for sponsors to bankroll the production/ Partners to share the risk.
* Reward the audience.
* Sell your ticket before the production date.
* Liaise with a popular organisation/ eatery where people patronize
frequently.
* Advertise on various media.
* Use stickers and Flex banners/Large format print for publicity.
* Brand your productions.
* Make „stars‟ of your actors/artistes.
* Pay your actors/artistes a negotiable fee.
* Enter into contract with your actors/artistes.
* Give the audience choices.
* Choose the right venue for your production.
 137 ‘Rantimi – Theatre Arts Curriculum and Events Management

In prosecuting one of the many series of the event branded LAFF 4 LIFE in
April 2007, Five Hundred Thousand Naira (N500, 000.00) was budgeted by the
organizer (Real Image Productions &Consultancy). However, one single
comedian would have collected the whole amount before appearance, through
astute events management skill, eight notable stand-up comedians and two
musical artistes performed. It featured Basketmouth (the most expensive of the
Nigerian stand-up comedian at present), Laff Up, SoundSultan, W4 etc.
Marketing and Publicity, including ticket took 5% of the budget, while another
5% went to venue, and 10% was expended on audience refreshment and
lodging of artistes. Classification of the events tickets ranged from N500.00 to
N2000.00 and N7000.00 for a table. The irony of this particular event that took
place in the University environment (Redeemer‟s University) is that the
organizers staged the show without recourse to either personal or company
resources, even when the final cost rose to more than 45%. It was sponsored
100% by an independent corporate organisation. On the proceed from the sale
of ticket it was shared 50% each between Real Image Productions &Consult
and a partnering organisation who had earlier bought 50% of the event for
N250, 000.00. All the acts were paid, and all expenses taken care before the
event. Audience turnout was impressive and the expended resources recouped
with profit of almost 100%.
On many occasion Real Image Productions &Consult had to purchase an
already rehearsed play from the producers or directors and source for the
audience as an events and theatre management organisation.
Sponsorship is a cheap publicity for corporate bodies who want to
associate with popular brands. When seeking sponsors it is important to define
your target audience, because it will go a long way to determine the
organisation that will likely be interested in your production.
Telecommunication providers roll out programmes for young adults and are
looking for where they can find their large concentration, so approach them for
sponsorship, etc. While seeking sponsors or partners break the responsibilities,
by not trying to make single organisation to bankroll the whole project.
Refreshment is an incentive, likewise recharge cards or any other prizes
of interest, especially an opportunity of buying two tickets for the price of one
for early buyers. Hansen, points out that this system was used in order to get
audience for the production of The Kentucky Cycle in Tennessee State
University:

In order to make ticket prices more attractive, an early decision was

also made to provide a discount to anyone purchasing tickets to both
parts at the same time. Patrons had the full choice of performances and
could enjoy the security of two reserved seats with a single
transaction. Obviously, by giving audiences such a wide range of
options, not every person wound up with the exact same seat for both
parts. The "same seat" benefit was first offered to subscribers as much
 138 ‘Rantimi – Theatre Arts Curriculum and Events Management

as possible, and thereby encouraged making early reservations. Ticket

buyers could also order Saturday dinners through the box office (6).

Another possible system is to make your venue comfortable enough to attract

audience; this will help when you desire to sell your ticket before the night of
the event. Suitable examples are the Civic Centre, Silverbird Cinema in
Victoria Island, Lagos, and Musical Society of Nigeria (MUSON) halls.

Conclusion
The overall interest of this paper is to imbue in the students of theatre
management the principle of return on investment. The Theatre Management
courses should prepare aspiring leaders and managers to create organizational
environments increasingly favourable to the creation of theatre art and its
presentation to appreciative audiences. Events management must be introduced
into the Nigerian theatre arts curriculum to cater for the ever-increasing need of
experts to take handle events and show business professionally.
The course (Events Management) should be an area of specialization in
the curriculum where the students can major beginning from the first semester
of year three. For effectiveness and mastering of the course, any student who
hopes to specialize in it should be made to undergo at least four academic
semesters of practical training.

The description or course content should include:

1. Practical studies of how to manage both theatrical and non-theatrical
events, from proposal writing to sponsors or collaboration to production
actualization. This can be achieved through the attachment of the
student(s) to directing major students, the theatre manager and students‟
association towards their day.
2. The students should be encouraged to utilize the long holiday of the
third to do an industrial training with an existing Events Management
organization; at least many of them exist in the country.
3. A semester should be devoted to the studies and analysis of Nigerian
copyright law and cultural policy, and attending various commercial and
non-commercial events.
4. Finally, the students should learn the process of packaging, organizing,
marketing, and staging of commercial events and presentation of financial
outcome or balance sheet to the lecturer in charge at the end of the
production. He must be made to stage a commercial event wholly on his
own, at least in the final year.

Although theatre profession was not viewed as a commercial viable profession

by most Nigerian parents in the 1980s, however the perception has change
today. The trend seems to have changed owing largely to the popularity of the
video-film and television. Musical performances and stand-up comic art are
also drawing attention to the theatre profession. All these events require the
stage lights, set and décor, as well as managers to handle the execution of the
 139 ‘Rantimi – Theatre Arts Curriculum and Events Management

production and management of the artiste itself.

The history of modern events management in Nigeria is more than
twenty years. Ben Bruce Most Beautiful Girl in Nigeria pageant and the now
rested Dapo Adelegan‟s Lekki Sunsplash of December 1988 opened the
floodgate of the industry. At present the longest running commercial
events/entertainment in the nation is the Kenny Ogungbe and Dayo Adeneye‟s
Prime Time Entertainment „Easter Jamz‟, which is more than a decade old. Opa
Williams‟ Night of a Thousand Laugh is the longest running event that is
wholly devoted to stand-up comedy, after it started in 1995 with its first
performance. Apart from the now rested nationwide musical and comic events
packaged by Tequila Events between the mid-1990s and 2005, the Nigerian
Breweries „Star Mega Jam‟ is the most expensive show in the country today. It
boasts of budget running over N200 million every year since its inception some
ten years ago. The Star Mega Jam is unique because apart from celebrating
Nigerian musical artistes it parades every year the biggest musical act in the
US. Since its debut in 2000, the music concert has attracted a lot of music super
stars to the country including Awilo Logomba and Koffi Olomide in the debut
year and 2003. It has continued to introduce US musicians and Rappers to
Nigerian stage starting with Shaggy in 2001, Usher Raymond in 2002, 50 Cent
in 2004, Ja Rule and Kevin Lyttle in 2005. In 2006, it featured LL Cool J and
Akon in 2006 whilst Kanye West and T-Pain were guests in 2007, Nas and
Nelly performed in 2008.
Some of the young people who run Events Management Companies in
Nigeria today have theatre background. The lists include Julius Agwu, Ayo
Makun, Julius-Adeoye, and Segun Ogundipe whose companies‟ produces
Crack Ya Ribs, Laff 4 Christ Sake, Open Mic Night, Laff 4 Life, and Effrebor
Night. These young men have successfully packaged comedy shows as well as
stage plays for audiences in Lagos, Ibadan and Abuja. Some of the tickets for a
single performance by these producers go for as much as N25, 000.00. The
influence of a trained events manager contributed to the success of Theatre @
Terra, the only wholly professional theatre company in Lagos. Wole
Oguntokun, the founder of Renegade Theatre and Artistic Director of Theatre
@ Terra direct the affairs of the only professional company that is producing
plays consistently every weekend in Lagos. The irony in this case is that
Oguntokun is a trained lawyer, who employs an events manager for his theatre.
„Theatre @ Terra‟ is located in Victoria Island, a highbrow area of Lagos.
Ticket for a single performance sells for N2000.00 each. He runs two to three
performances each day. Apart from the activities in Lagos, the other active
theatre companies in Nigeria today are Patrick-Jude Oteh‟s Jos Repertory
Theatre based in Plateau State and Yemi Akintokun‟s Oracle Theatre Company
based in Ibadan.
 140 ‘Rantimi – Theatre Arts Curriculum and Events Management

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