‘The Genius Of Jesus Christ Superstar Berths At MUSON Festival 2015’

Uche Nwokedi is a Senior Advocate of Nigeria (SAN), who has found abiding and irresistible love in the theatre and has produced the excellent musical theatre Kakadu. However, on Friday, October 16 his group, The Playhouse Initiative, will stage the musical theatre Jesus Christ Superstar, as part of MUSON Music Festival 2015 that will run from October 14 through 25. In this interview with Anote Ajeluorou, Nwokedi engages a range of salient issues in Nigeria’s theatre and cultural milieu

Jesus Christ Super Star is your next project on stage at MUSON Music Festival

  Jesus Christ Superstar is one of the most enduring and iconic musicals of all time. It was written by Andrew Lloyd Webber and Tim Rice and has won many awards since it first opened in Broadway and the West End, London in 1972.

Kindly give insight to the performance?

  It is loosely based on the Gospels and tells the story of the last two weeks of the life of Christ from the preparation to entering into Jerusalem until the crucifixion. In actual fact, the sub-themes of the story focus more on various aspects of human emotions and character flaws. So, it addresses the everyday sentiments of doubt, envy, admiration, materialism, loyalty, betrayal, ignorance and greed, in the characters. Judas, Peter, the Apostles, Mary Magdalene, the Pharisees and Pilate are seen for who they really are - ordinary people who did not at the time understand the message. Judas in particular embodies all these and more. His worldliness, greed and ignorance lead him down a path of self-destruction or destiny, which ends with the betrayal of Jesus Christ and his own suicide. Pilate, Herod, Caiaphas, Annas, and to a certain extent Simon Zealotes, all saw Jesus as a leader of the times then, and reacted to him accordingly. Clearly, those around Jesus at the time did not comprehend his divinity. The truth be told, after two thousand years of religious instruction and discourse, we too, do not always appreciate the essence of Jesus Christ.

  The Playhouse Initiative reprises this musical for the 2015 MUSON Festival and it’s part of a series of creative workshops for youth development, and the promotion of musical theatre in Nigeria. We have a young and relatively unknown but extremely talented group of young people who have trained under the Director Kanayo Omo and the Musical Director Benneth Ogbeiwi for this production.

What should it mean to theatre-lovers?

  It is a different genre of musical theatre, and quite unique. There are not too many rock operas out there and Lloyd Webber’s brilliance is such that the scoring of the musical is unique. The structure of the music (five syncopated beats in a bar) is unusual, and the songs linger in your mind long after you have heard them. Then Tim Rice’s style of writing the libretto is quite witty and a bit “tongue in the cheek”. The music, the drama and the stagecraft, all make for a very interesting musical. It is amazing theatre and every theatre lover will enjoy it.

Your next project Kakadu is scheduled for December. What is the significance of this musical theatre project in the light of Nigeria’s historical evolution 55 years on?

  Yes indeed, Kakadu is coming back in December by popular demand. It is a story that addresses the core of our existence as a nation, as well other aspects, such as our music, our love for life, tribalism, inter-ethnic marriages, the influence of western civilization on our national psyche, governance and responsibility. Kakadu itself is a metaphor for Nigeria that asks the question ‘how do we build a nation?’ As long as we have problems with governance in Nigeria, this question will continue to resonate, and each successive administration has to address it in its own way.

Considering the historical import of Kakadu it ought to be taken round the country on tour, but it hasn’t. Any plans for it and what are the impediments?

  It would be nice for Kakadu to tour Nigeria and beyond, since in a sense, it speaks to the African experience with the British style of colonization. But then there are the perennial problems of adequate funding, infrastructure, and, of course, security. We do not have enough theatres, even in Lagos. You would have to tour with a technical crew and almost all of your equipment.

How has theatre fared in Nigerian society today? Is it as effective as it should be?

  Not very well, I would say. Well think of the fact that Nigeria is a multi-cultural society, with a rich and diverse history and interesting political evolution. Think of our ethnic culture and tradition, all of which are rich regardless of your geo-political zone or tribe. These are all excellent source materials for a vibrant theatre culture. But we don't have one. Why? Maybe for the same reason why our education is not what it used to be, or why our hospitals are not what they should be? I don’t know; it is difficult to say.  

How did you come into theatre practice as a legal practitioner, even with a SAN status?

  People always ask that question. All this is recreation for me. I enjoy it. A lot of lawyers are closet writers. In other countries, such as the U.K., there is a close relationship between the Bar and the Stage, and the stage is supported by many professionals and business people. The Bar even has drama societies within it.

Do you see the stage as an extension of the court?

  In a sense, perhaps, but not as an extension. There are similarities. The court, like life, is a stage and all the lawyers are role players. The main difference is that in court you deal with real life issues and problems that affect the lives, businesses and liberties of real people. On the stage, it is make-believe and at the end of the show you are applauded and everyone goes home happy. The messages are usually nuanced or subliminal. In court your message has to be clear and compelling to the judge. I can assure you that if you lose a case, your clients will not be happy with you and they will certainly not clap for you.

  I came to theatre more by accident than by design, I can assure you. I never really planned to do theatre. It started as part of my youth programme in the Catholic Church, as a way of giving back to the younger generation in terms of my time and experience, and it just grew from there.

Some have proposed that a theatre be built in every local government area in the country. Do you agree?

  Maybe not every local government. There must be a programme and a policy towards the development of theatre. A production has many facets that create a series of short-term employments. There are the actors and singers that you see on stage. There are the directors, stage managers and choreographers. There are the set designers and carpenters that work with them; there are the light designers and electricians and riggers that work with them. There are sound engineers. There is equipment hire. There is costume design and tailors. All these different aspects provide employment for people. If we develop theatre fully and productions are regular, that industry will grow and employment within it will become more regular. Case in point is Nollywood. It’s a clear example of private endeavour at its best. Theatre, on the other hand, requires more nurturing and social support. If you build theatres indiscriminately without having a framework in place for funding theatre, it may not have the desired effect.

Between government and corporations’ apathy to support culture, which has done more harm to culture production in the country?

  I would not blame anyone. It is just where we are right now in the country. However, these things have to be private sector driven. Government policy is good to give direction and limited regulation but ultimately it is the private sector that has to be the catalyst for growth in this area.

How can the National Theatre be made to regain its glory days as home for the arts?

  National Theatre needs a complete revamp, to start with. It is a crying shame to have such a magnificent structure in the country in such a poor state. The concept of a National Theatre has to be appreciated, not just as a job but as a centre of creativity and excellence in the arts.

A Country Without Culture Has No Democracy, Says Oguntokun

By Anote Ajeluorou

Like Elder Fred Agbeyegbe and Mr. Uche Nwokedi, a Senior Advocate of Nigeria, Mr. Wole Oguntokun is another trained lawyer who fell in love with the theatre, but unlike the other two, he effectively abandoned his wig. And for over a decade now, he has made a mark in Nigeria’s struggling theatre scene. But rather than bemoan the lack of tools, the stock in trade of a bad workman, like purpose-built theatres, since managers of the country’s cultural edifice, the National Theatre, have failed to put the edifice to good theatric use, Oguntokun has taken the bold initiative to build one at Lekki.

  He calls it The Theatre Republic and it opens in December. The motivation to deepen Nigeria’s cultural landscape, he said among others things, informed the new theatre space due to open in two months.

  “The Theatre Republic will be open to the public by December this year,” he announced excitedly. “It will be a Christmas present to the city of Lagos. At present, there is no single venue in Nigeria with daily programming dedicated solely to the performing arts.

  “It is our desire to create a self-sustaining performing arts organisation that will encourage copycat establishments around the country, which in turn, would help artistes realise their own artistic visions and thus create the ability in them to effect positive change in their individual communities.

  “The Theatre Republic hopes to become part of a strong lobby that continually sensitises government to the importance of the sustenance of culture for the good of the country as well as the development of strategic policies in this regard, and to the essence of arts education among young people. A country without culture has no democracy! I repeat, ‘A country without culture has no democracy.’

  “The venue will serve as a beacon to emerging performing art organisations to help them reach a position where they have options of international collaborators and producing models.

  “It will also help raise the performing arts industry in Nigeria to levels where Nigerian companies can grow networks, have access to international platforms and command the respect that multilateral access to the world can give them.

  “One of our objectives is to see ‘an introduction to the performing arts’ as a core subject in secondary/high schools in the country. In that way it will encourage students to be enlightened performing artistes or appreciative audience members in the future.

  “We hope to see the Nigerian ‘product’ exported to a world that accepts and welcomes it, producing levels of cooperation never seen before.”

  Although some have proposed that theatres be built in every local government area in the country, the award-winning theatre producer/director agrees, but adds a caveat. As he put it, “I believe there should be many performance spaces around the country. Germany and the United Kingdom, for example, have thousands of theatres ranging in size between them. These spaces do not all have to be in the hands of the government, but they must exist and must be available”.

  Last year, Oguntokun put on stage the musical theatre adaptation of Cyprian Ekwensi’s Jagua Nana to critical acclaim at MUSON Music Festival 2014. But he will be missing out this year, as Nwokedi takes over with Jesus Christ Superstar. However, Oguntokun said Jagua Nana would be back on stage next quarter. He added, “We intend to put up Jagua Nana in the first quarter of next year. It has a large cast as well as musicians and most be approached ‘carefully’”.

  Resilience would seem to be second nature to everything Nigerian, with theatre being no exception. Oguntokun argued that in spite of impediments, theatre has continued to make strides and has remained dogged.

  “The peculiarities and challenges in the practice of the profession in Nigeria have produced a rare breed of practitioners,” he said. “Unlike in Europe, North America and most parts of the world, the production model in operation in Nigeria defies any hard and fast definition and will not be found in any manual. 

  “The obstacles facing the presenter/producer from Nigeria are many and they range from unfriendly government agencies to non-supportive state policies.  

The ability to self-fund in the face of lack, run a theatre organisation or Performing Arts Festival on next to nothing, and to present work continuously in an environment lacking enabling structures necessary for the proliferation of the arts, is what sets the Nigerian ‘experiment’ apart from the rest of the world”. 

  Retrieving the glory days of the National Theatre, Lagos, is every theatre practitioners’ expectation. But can this be achieved with the kind of non-artistic leadership in place? Oguntokun thinks not, advising, “The government must speak to theatre practitioners and not just businessmen. The grand ideas of building luxury hotels and all around the theatre might serve some purposes, but there has to be an understanding that the world and audiences are changing. The millenials generation audiences under 30 years of age now have as much disposable income as any other group. If the National Theatre will climb to the position it once held, the government stranglehold on its management must be relaxed and the programming must be an attractive and sustainable one. 

  But how did he come into theatre practice at the abandonment of law? Does he see the stage as some sort of extension of the law court? Oguntokun’s response is startlingly telling, “The stage is what it is; a place of beauty; a place where magic happens. It cannot be replicated in any other arena. It's where I'm the happiest, where I feel complete the most”.

Celebrating MUSON School of Music, countering obnoxious music

By Anote Ajeluorou

A line up of choice musical activities will light up MUSON Music Festival 2015 that starts from October 14 through 25th at MUSON Centre, Onikan, Lagos. It will be a feast of diverse musical traditions ranging from classical music to jazz, African traditional music, chorale music, drama and dance. It is the 19th edition of the music festival dedicated to the highest ideal of music composition and performance. Various professionals in the diverse fields of music, drama and dance will bring their input to bear on the festival to make it MUSON standard of excellence.

  Individuals performers expected to bring their professional excellence to the festival include Mr. Uche Nwokedi of The Playhouse Initiative who will direct the musical drama Jesus Christ Superstar, Mrs. Sarah Boulous of Society of Performing Arts of Nigeria (SPAN), a dance group of immense motivation and Sir Emeka Nwokedi of Lagos City Chorale group whose recent musical exploits in Germany at the Olympic Chorale competition earned Nigeria gold medals. Others are MUSON’s Artistic Director, Mr. Tunde Jegede, MUSON’s Resident Pianist, Mr. Tunde Sosan, MUSON Jazz Band, Girls Rule Band, School Big Band and classical guitarist, Mr. Philip Uzor. Others are Ranti, Mr. Ayo Ajayi, who was music director for acclaimed musical theatre, Saro the Musical, Imole Ayo, Bez (Idukale) and current student and trumpeter, Mr. Etuk Ubong of Ubong Quartet. Many of the performers are mostly graduates of The MUSON School of Music.

  It certainly is an awesome array of performance activities any lover of quality music would regret to miss. But sadly, efforts to deepen the kind of wholesome music MUSON delivers continue to attract little result by way of needed assistance in terms of corporate sponsorship and patronage. It is the harsh reality managers of MUSON Centre and others of like minds are faced with ahead of festival opening.

  However, corporate social responsibility from corporate bodies for cultural productions continues to thin out just as robust support pours in for music on the other side of the divide - hiphop or Afro-pop, as it were. This is the new direction of music craze in the country, with companies queuing up to pick up huge bills for musicians whose artistry is less sterling and appealing and lyrics that are outright ‘unmusical’, but which appeals to the a large section of the youthful population. And that seems the key for companies looking to support the arts and culture production. Demographic bottom line has become the defining impetus! It does not matter the type of value the music is delivering with such lyrics and performance.

  Orezi (Osegine Allen) recently admitted that he does not know the meaning of his hit track Shoki, saying it’s a dance step he stumbled upon. This just about sums up the lyrical content of much of the music on offer in Nigeria.

  Former Performing Musicians Association of Nigeria (PMAN) and philanthropist Mr. Bolaji Rosoji calls it the ‘age of noise,’ and that multinational firms’ patronage tends towards the ‘outrageous’. He said the situation calls for concern, noting, “Music on air now is certainly not as edifying as when Sunny Okosuns, Ebenezer Obey, Osita Osadebey, etc, were playing; there was a compliance with what they said. It made you want to do what they were saying. Now, music is a projection of ignorance, violence and degradation of womanhood. This is a dangerous thing to our children”.

  Rosiji said ‘Clean up your Lyrics’ campaign was part of efforts he made as PMAN president to make music “more edifying, conscious and god-fearing,” but which has since been lost for lack of continuity. He argued that the music videos being made now were even more dangerous in the erosion of wholesome values, adding, “What you’re absorbing into your senses through videos is more permeating and influencing”.

 He called on song and copywriters to think outside the box for a healthy music industry. Also, Rosiji asked companies to reduce the amount of noise they generate in the name of promoting their products and services.

ALTHOUGH Vice Chairman of MUSON Centre Mr. Louis Mbanefo put it down to “donor fatigue and the arts seeming to be fairly low down the list; too many people are asking for sponsorship,” it was culture impresario Chief (Mrs.) Francesca Emanuel, a MUSON patron, who had a handle to the issue at stake when she observed with a hint of sadness.

 “The music featured on our TV is painful. The lyrics are no lyrics from the music being made and played. The female dancers are half naked and the males are wearing trousers almost falling down. At MUSON here, we’re turning up graduates who are disciplined and trained to do music that influences society in glorious and spiritual manner. The purpose of MUSON in impacting the public is bringing up a breed of Nigerians that understand classical music and who will then diversify into other kinds of music”.

  Mbanefo further restated the mission of MUSON and its place in countering the offensive and corrupt music that now dominates the airwaves, and which companies in Nigeria are so eager to promote since its star performers attract a large youthful audience to it, which, ironically, has become the standard to measure the direction the country’s value orientation is headed.

  According to Mbanefo, “Culture is talking about civilization of the human psyche and spirit. We need to urge companies that MUSON has big impact on society in enriching its soul through good music. We can’t do much about current music on the airwaves, but we try to elevate the music we play. The MUSON Music Festival is pointing the way for MUSON as the centre of the arts in Nigeria”.

  He traced the origin of MUSON and blames the new crop of chief executive officers managing corporate companies, as being culturally and artistically illiterate and not enlightened enough. Director of The MUSON School of Music Mrs. Marion Apata said it was poorly designed school curriculum in recent years that has relegated the arts to the background, saying it was reason for lack of music appreciation among many adults today, a situation that has impacted negatively on music tastes for the current fad to thrive.

  Apata said, “If we as parents ask that music should be taught in schools, children will learn new kinds of music. Schools that used to have choir don’t do so any more, including music festivals where prizes were awarded. Not everyone is going to be a lawyer, doctors and so on. Many parents discourage children from doing music because of the kinds of things they see on TV. At MUSON we do a lot of music not just classical, but different kinds, as the music evolution leads”.

  Mbanefo noted, “In the early days, most of the CEOs were foreigners who were enlightened people and older generation of Nigerians educated in Europe. When we asked for funding to build MUSON response was huge. But if it were now, I’m sure we won’t get response and MUSON would never come into being. Back then CEOs saw the importance of classical music, but now it’s about bottom line”.

WITHOUT intending to dilute MUSON’s music tradition and direction, Mbanefo thinks dynamism is the way to go, as with all cultures. Young people hold all the aces and it won’t hurt if MUSON bends over backwards to also cater this powerful demographic group.

  “So perhaps, we need to redirect our focus to young people,” he stated. “We’re going through a process of broadening the programme to include several other kinds of music. We’re not foreclosed on that, but widening the scope.”

  Advertising chief and patron of MUSON Chief Adeniyi Williams brought the demographic angle companies look out for to determine what project to sponsor or not, when he said, “MUSON’s kind of music is slightly different from the kind of music D’Banj and the other young ones are doing, which is for large crowd of youth”.

  Emanuel also took on the question of bottom line companies often ask for in project sponsorship. She noted, “The sponsorship question, what is in it of companies; if MUSON tries to answer that question by saying it’s not in financial terms, but the wholesome edification of society. Money is not everything; values should also count”.

  Mbanefo also cleared the misconception regarding the kind of music MUSON does and said it was not just classical or European music and certainly not elitist.

  Sir Emeka Nwokedi restated what MUSON does with classical music that is lacking in the current music fad that doesn’t seem to have a foundation.

  “Classical music is music that has been properly organised, written down and properly scored before being performed. It’s not just European music,” he said.

  Beside donor fatigue, General Manager of MUSON Mr. Gboyega Banjo blamed lack of sponsorship on poor economy, with companies cutting back on corporate social responsibility alongside demographic spread that determines sponsorship. He, however, sued for support for MUSON’s music activities, as he noted, “The MUSON School of Music is a gift to society. The school does a lot to lift society. We provide a platform for all activities in the arts and culture sector”.

  A former student of the music school Ranti said MUSON was trending in the right direction even though the music is not super popular as the fad on the airwaves. She, however, blamed the high brain drain among graduates of the school who would have influenced Nigeria’s music direction on poor appreciation of good music in the country. “There’s brain drain of our scholars going abroad to excel,” she noted.

RUB-A-DUB master Orits Williki blames Nigeria Broadcasting Corporation (NBC) for the rot in the airwaves, saying they should wake up from slumber. “It’s for NBC to wake up,” he said. “It’s NBC’s responsibility not to allow bad lyrics to air on radio or TV. The law also requires grading so you don’t kill creativity. In our airwaves, NBC has failed our nation. In our time there was what we called ‘Not-to-be-broadcast’ (NTBB) adopted by the quality control section of radio stations. I don’t know if they still have it these days. So, everything is doing down. Until quality control is brought back things will remain bad.

  “Those in corporate firms massively supporting these bad lyrics with money don’t know better. They don’t even know what the lyrics are saying. Most of the time they are watching cable TV and don’t know what is happening on terrestrial TV or radio. So, if you try to control TV, cable TV is still on”.

Imasuen… Celebrating 20 Years As Filmmaker

By Anote Ajeluorou

LAST Friday marked a significant milestone in the film career of one of Nolywood’s most creative and innovative directors, Mr. Lancelot Oduwa Imasuen, also popularly called D’Guvnor. He clocked 20 years as a film director and his family, friends and associates did not allow the day to pass without a gig in his honour. It was tagged ‘An Evening of Fun and Art Appreciation’ and held at Ayo Bankole Centre, at the heart of Nigeria’s filmmaking hub, Surulere, Lagos.

  Even the heavens acknowledged the day. Just before the show started, the heavens darkened and heavy rains poured down. But it only served as stimulant to heighten the enthusiasm of admirers of Imasuen and associates. Soon enough, the space at the centre filled up with some of Nollywood’s top directors and producers. Zik Zulu Okafor, Mahmoud Ali-Balogun, Lilian Amah-Aluko, Emem Isong, Mike Nliam, Mena Amata, Fidelis Duker; the list was endless. However, only Hon. Desmond Olushola Elliot was the big actor in the house, as it appeared an all producers, directors’ affair. Comic stars were also among those who honoured Imasuen with their craft.

  Recall that Imasuen’s epic film Invasion 1897 that details the fall of Africa’s last empire of Benin Kingdom is still trending. The movie seems to sum up the totality of Imasuen’s filmic art.

  Mr. Chukwuma Agwu was first to pour encomiums on Imasuen who hails from Edo State. His story is moving; already an executive business owner, he’d come to Imasuen to learn filmmaking, and found the man humbling in his approach to filmmaking.

  According to Agwu, “Lancelot is a star, a star-maker,; he is a luminary”.

  For Mr. Famous Otakponmwen, “Imaseun is bigger than he is, than he makes himself to be”.

  Founder of Abuja International Film Festival (AIFF) Mr. Fidelis Duker simply said Lancelot has done very well in his chosen career as a filmmaker and wished him the best in the years to come.

  Also, for the most prominent film producer in the country who has worked closely with Imasuen, Ms Emem Isong, Lanncelot could only be described a phenomenal filmmaker. She said, “He is a great friend who brought out the best in my films. We have done 12 blockbusters together”.

  President of Association of Movie Producer, Mr. Zik Zulu Okafor, said Imasuen is the symbol of resilience that typifies Nollywood. As he put it, “We have walked through the longest road to get here. Invasion 1897 is the signature tune of a great career. Our story (of Nolywood) is one of hopelessness to songs of glory. We have passed through pain. Lancelot is a symbol of where we are going. I celebrate you”.

  For Hon. Desmond Olushola Elliot, Imasuen is the only ‘governor’ worth celebrating, saying, “I have always loved this man’s work. I always wanted to meet him. When he introduced himself to me in Benin City, it was as if I had met a god. Games Men Play was the first film I did with him. You are such a great man! You have influenced me. He’s a no nonsense person. He is a disciplined person. He will never play with his work. Come and learn under him and I’m sure you will be glad you did”.

  In his response, Imasuen expressed his appreciation to everyone who came, and said he was marking his 20 years as a filmmaker “to serve as inspiration to young people. It’s sad that what we have are selfie stars these days. Young people come to you these days and ask you to make them stars; just like that. They don’t want to work”.

  He paid tribute to film editor Mr. Mellanby Iluogbem and Otakponmwen with whom he squatted when he arrived Lagos. Others were Emen Isong , Emmanuel Isiaku, Fidelis Duker who gave him Not My Will to direct.

  “I appreciate my family, my beautiful ladies. I thank all Benin people, home and abroad. I thank Igbo people. Igbo people made me. They were led by the indefatigable Emmanuel Isikaku who first believed in me to direct an Igbo language film even when I didn’t understand what was being said. I always believed that art is spiritual; I couldn’t speak Igbo, yet I directed an Igbo language film Year 2000 with N700,000. Mr. Andy Amenechi commended me for directing Yesterday and I felt lifted.

  “I advised myself to go into directing. I didn’t think I could compete with the likes of Charles Okafor and Ranson Noah in acting. Lets begin to appreciate what we do in Nollywood”.