TheCable

To put Nigeria’s National Theatre on sale or not seems to have dragged the entertainment haven to an open controversy in the past one decade. It was development that in no small measure impacted negatively on the currency of this melting pot of commerce and outdoor recreation as brand facility for event managers and the cultural community.

In the creative business of arts, tourism and culture, controversy of any kind easily fuels flight from target stakeholders and possible end users. Indeed, Nigeria’s time tested style of doctoring documents and investigation of possible assets in order to cause such to be sold in the open market for stipend, affected the fortunes of the National Theatre to a prancing give away antiquity.

While the artistic community fought and proposed that the cultural landmark edifice could be turned around to create jobs and drive the dying culture of outdoor entertainment in Nigeria particularly in Lagos, the government insider facilitators and their “foreign business partners with legendary portfolio reputation strategically sponsoring and blackmailing the cultural haven as the devils abode that must be sold.

It was particularly a ding – dong affair with the then PDP government not sure of how to “privatize” the enclave and having failed its bid, resorted to open “commercialization” of the virgin but lucrative massive undeveloped lands surrounding the complex. The story behind the politics of getting rid of the national Theatre complex in Iganmu, Lagos is surely a long and windy one. It is a sad commentary of how not to manage our cultural and tourism edifices in Nigeria and a critical study of how top government officials and greedy business men work hard to reap where they did not sow.

That the complex is still standing today as a pride of Nigeria’s strength and hope in tomorrow’s cultural and tourism industry, the credit goes to the dogged industry stakeholders and the Nigeria media who stoutly stood in opposition to its sale and total striping. The bad news that tailed everyday uncertainty about the complex forced the entertainment, culture and tourism players to drop the location as their veritable address, with consequent drop in volume of trade, contact and new businesses heralding its gradual extinct. In the absence of any meaningful growth and visible contribution to the emerging narratives on open theatre, exhibition, convention, music concerts, film shows and workshops, giant reptiles and sea weeds took over the place, rendering it a ground zero.

Severally whenever I drive through the Lagos carter bridge overlooking this great artistic complex, one wonders why Nigeria hates to be in good news. It is very disgusting to see the best of our institution go the rot way, and no one seem to care. As its with other public utilities that drives tourism, so also this giant on Iganmu soil was allowed to fallow until Lai Mohammed emerged on the scene. Let me confess that Lai Mohammed, our Minister for Culture and Tourism has never met my expectations as chief driver of tourism in Nigeria.

That however does not mean that one would not commend his silent efforts to turn around the fortune of National Theatre. Indeed, his first official pronouncement to remove the seal of sale on the complex brought joy to me and am sure same can be said about many culture and tourism enthusiasts who sees in the culture complex, the true might and power of Nigeria as Africa’s biggest and most viable tourism destination. That was in truth, the real message behind the successful hosting of the African Continent and the black race at Festac in 1997.
It is however unfortunate that we missed the way after that event with over six administrators within that period and now that could not bring life back to the “cheerful” complex. However, the story today is that a possible new dawn is here to change the dull and negative image of the culture complex.

Last week, yours truly sneaked into the place, looking for evidence to nail the “talk, talk” Lai Mohammed but I must confess that the Kwara man had beaten me to it, positioning a new man, a fresh breath and a friend of the culture community, Mr. George Ufot to bring the Theatre back to life, real life. It is an encounter you must read and investigate.

Security Everywhere
From the Iganmu entrance to the back, facing the rail station (National Theatre Station) both conventional security and the private outfits seem to run a ring around the place. It is indeed cheering to notice this critical policing in view of the complex being a major blue chip organization in Nigeria. In fact, the same security web covers inside too and George Ufot told me, that security cannot be compromised here not only to help reassure patrons of their safety but also to protect the multimillion naira edifice.

Nigeria needs this place – Ufot
“I intend to lighten up this place” Ufot told me as he took me around the complex, George Ufot major concern is to turn around the water system in the complex which has gone “brown” due to the galvanized pipes used in channeling water into huge complex. He noted “it is a challenge and I hope to critically address this issue if the Theatre must be returned to its prime and pride status as the biggest events location in Nigeria”.

Neat but still in dark
One major achievement at the complex is its neatness and very natural ambience. Indeed, the walk through revealed a kind of determination to restore the glory of the place but again power appears a major problem. However, the generator house has more than enough power outlets that can keep event patrons happy but cost of diesel, fueling and maintenance will possibly drag the place into a power rotation system. Ufot assures that NEPA bills will henceforth be settled on time and even the outstanding verified bill incurred by the last management to the tune of about ten million naira will addressed to encourage a 24 hour power coverage for the Theatre.

How activities will return
There is no doubt that the Theatre remains the biggest attraction for music concerts and film show. And to make it happen, Ufot is planning a visit and later call a stakeholders meeting to explain his agenda and show off the various facilities at the Theatre. “I am going into collaboration and later when confidence in the place is restored, we shall go full blast.

Mandate to make Impossible possible
George Ufot no doubt is confident he can change the story line of the Iganmu Theatre. The Ikwa Ibom born civil service technocrat says he wished to finish on high with this assignment as gratitude to the government of Nigeria and Minister Lai Mohammed who believes so much in his experience. To those who may not be aware, George Ufot grew within the system, was the Ministry’s former Director of Culture and was part of Abuja Carnival and today, the new General Manager of National Art Theatre, Iganmu, Lagos.

The Theatre – Potential to rebound
Its Architectural masterpiece makes the National Theatre a tourism destination. A multipurpose complex yet to be unequaled in Nigeria and even in Lagos, the complex covers about 23,000 square meters of prime land and notably hosted Festac 77. Opened to the public by Olusegun Obasanjo in 1976, the complex beyond all exaggeration and the community of emerging event Centres and halls in Nigeria remain unbeatable and can be repositioned to drive outdoor recreation, conventions and also create tourism jobs.