Coordinator, AJOfest at 40 Reunion, Dr Lilian Agbeyegbe, has mentioned that The 1986 AJOfest productions offered Nigerian theatre practitioners with a chance to earn vital pay for his or her work.
Speaking throughout an interview with ARISE NEWS on Sunday, Agbeyegbe mentioned the competition, which introduced 4 Nigerian performs to the National Theatre in Lagos, was an necessary second for practitioners who had been capable of work on productions with higher monetary assist and lodging.
“Since 1986, the conversation has always been around when core theatre people are talking. They talk about the fact that agile productions was the first time where a lot of people had the opportunity to be paid significantly.”
She defined that the reunion was organised to have a good time the contributions of her uncle, Fred Agbebe, who financed the productions, in addition to the solid and crew who introduced them to life. “And then to really tell the people who are coming behind or who are on the scene now that something happened before we got to where we are today.”
Agbeyegbe recognized the performs as The King Must Dance Naked, staged in 1983; Born to Death, in 1984; The Last Omen, in 1985; and Budizu, which was commissioned by the Nigerian Bar Association and later included within the 1986 competition. “So in 1983, it started with The King Must Dance Naked. The King Must Dance Naked in 1983. 1984, we did Born to Death. 1985, we did The Last Omen. And then earlier in 1986, it did Budizu, had been commissioned, I think, by the Nigerian Bar Association. Then he brought those four plays together later on in that year.”
She mentioned the productions had continued to draw consideration. “The King Must Dance Naked has done very well. It was one play of the year since then in Ghana. I think actually Joker Silva took it to the UK at one time, during Olympics, I believe. It’s been re-performed at Glover Hall.”
Agbeyegbe additionally highlighted the political and social significance of Budizu. “It was a bold attempt, really a bold attempt during the military regime to speak power to the people.”
She mentioned theatre had the flexibility to speak social points in ways in which related with audiences and saved authorities accountable.
“My uncle not only put money in it, he also put personality in it. So he had common performances, he would have special guests.”
Agbeyegbe mentioned she was younger in the course of the competition and helped welcome friends to the National Theatre, the place she and others wore Shakiri outfits on the entrance.
“So we will wear a Shakiri outfit, and we’ll be at the entrance of the National Theatre to welcome them in. I’d long been interested in theatre, but that was really the place that cemented my love for the Nigerian theatre.”
She mentioned the reunion was additionally a chance to have a good time Fred Agbebe, who turned 90 in 2025, and recognise the influence of his funding within the trade. “Nothing happened 10 years after. Nothing happened 20 years after. Nothing happens 30 years after. And the man is 90, he’s 91 now. So if we wanted to wait until 50 years after, so we decided to do something now.”
The reunion was additionally being organised largely by private contributions, with Agbeyegbe saying. “People have said to me, who are your sponsors? And we’re like, we’re almost replicating 1986 as it were, because we are self-funding this initiative.”
She mentioned the National Theatre had offered the venue freed from cost by NANTAP, whereas Zimi Raj was supporting the occasion’s setup.
“The programme was scheduled to hold at 4pm on Sunday, November 1, at the National Theatre. It was expected to feature a keynote address by Benton Oluju, a panel discussion and reflections from people who participated in the original productions.”
Erizia Rubyjeana
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