A Night of Rebirth and Reflection at the Wole Soyinka Centre for Culture and Creative Arts
Nearly five decades after it hosted FESTAC ’77, the iconic National Theatre has been reborn as the Wole Soyinka Centre for Culture and Creative Arts. This transformation brought together Nigeria’s political and cultural elite in a Lagos evening that blended memory, music, and pageantry.
The event marked a significant moment in Nigerian cultural history. For many, including myself, the theatre holds personal significance. I was not born when the National Theatre was built, nor had my parents met, but I have an interesting connection to the building through a story shared by my father before he passed away in 2020. It involved the Agosu family deity, Bosinkpe, a carved wooden figure that once belonged to my uncle. The tale highlights how even before my feet touched the grounds of the theatre, now renamed the Wole Soyinka Centre for Culture and Creative Arts, my ancestors had already made their mark.
Arrival and Security Measures
Arriving via the Lagos Blue Line, which has a stop at the National Theatre, I was met with a swarm of security operatives, policemen and women, soldiers, and black-suited operatives. It was expected, given the President of the most populous black nation was coming. However, the entrance process was not straightforward. I had to walk alongside slow-moving traffic until I found the right gate where I presented my PUNCH Identification Card and was let in.
Multiple security checks were mounted across the terrain. I showed my ID again, a private security guard scanned my body for metal, and I was directed to the registration tent where I received my press tag. One more security check later, I was in the well-lit lobby of the renovated Wole Soyinka Centre for Culture and Creative Arts.
A Transformed Space
The transformed space looked better than the last time I was here, with beautifully dressed people milling about, chitchatting, and having a drink or two. I was there for work, not pleasure, so I proceeded up the flight of stairs to the main bowl, where the unveiling was scheduled to be held.
Upon entering the main bowl, I was struck by the chill that hit my skin. The red chairs invited you to take a seat, the huge stage called for your attention, and the horizontal abacus-styled chandeliers embedded in its curved roof bed added to the grandeur. Despite the cold, the renovation efforts were evident, and a lot of money had clearly been invested in the project.
Speeches and Performances
The event began with the national anthem performed by the Apex Ensemble of the CBN and the military band. The President’s arrival was announced, and everyone took their seats. The speeches were filled with historical references and praise for the contributions of various stakeholders.
Governor Babajide Sanwo-Olu delivered a speech that took the audience down memory lane, highlighting the importance of culture in national development. He spoke about the 65th independence anniversary and the significance of the Wole Soyinka Centre for Culture and Creative Arts.
Professor Wole Soyinka, the namesake of the centre, gave a speech that was both humorous and reflective. He recounted recent events and even accused the President of conspiracy in renaming the edifice after him. His speech also included a reflection on the structure of the building and its origins.
Cultural Performances
The performances were a highlight of the evening. The National Troupe’s performance showcased Nigeria’s diverse cultural heritage, while other acts like the Gerald Eze Ensemble and BAP Production delivered powerful performances that captivated the audience.
The CBN governor’s speech emphasized the role of the arts in national development and acknowledged the contributions of the Bankers Committee to the renovation. He also paid tribute to the late Herbert Wigwe, whose imagination and passion were instrumental in the project.
President Tinubu concluded the evening’s speeches, addressing Professor Soyinka’s claims of conspiracy and expressing his satisfaction with the event. He also mentioned the significance of the reopening of the national theatre.
Final Thoughts
With the National Theatre now fully operational, one can only hope that the renaming of the edifice after Wole Soyinka will serve as an inspiration to younger creative people in the years to come. As I walked to the bus-stop and observed the yawning gap in the interlocking road, I couldn’t help but wonder about the cost of the road construction and why a portion of the road would cave in even as the building had just been declared open for public use.
