In the dynamic world of contemporary theatre, Dr. Iyadunni Gbadebo stands out as a visionary whose creativity has redefined the Nigerian stage. A graduate of theatre arts, she seamlessly blends traditional African story-telling with modern sensibilities, crafting performances that captivate both emotionally and intellectually. Drawing inspiration from renowned African playwrights, Dr. Gbadebo uses theatre as a platform to celebrate overlooked African brilliance, breaking boundaries with her innovative directing, acting, and producing.

A new play, “The Jewel”, explores the complexities of human connection in a fragmented world, with Dr. Gbadebo bringing her extensive expertise as co-director. Her signature approach promises a rich, immersive experience that transcends the ordinary. Critics and theatre enthusiasts eagerly anticipate this transformative piece, knowing her work is more than a performance; it’s a journey. As she continues to push artistic boundaries, Gbadebo’s vision is set to inspire a new generation of theatre makers and audiences.

In this interview, she bares her soul and some more as she takes us on a thrilling journey.

Help us understand Theatre from your perspective. 

Theatre is my greatest love—both as a career and as a passion. The business of theatre and the performing arts is something I care deeply about. From my youth, and even now, I’ve always aspired to be a theatre artist. I overcame numerous obstacles to pursue this dream, including turning down an admission offer to study Mass Communication at the University of Lagos in favour of theatre and performing arts. Looking back, I’m incredibly grateful for that decision because passion was, and still is, my driving force. When passion fuels your pursuit, you pour your entire being into it, excelling not just through effort but through the joy, happiness, and fulfillment it brings. 

If you ask me to tell you about my love for theatre, I cannot over-emphasise how fulfilling and satisfactory it is for me every time I achieve anything that takes me a step further to ensuring that Nigeria fully utilizes all the talent that exists within its vibrant population. Many young people aspire to be famous, as evidenced by the booming music and film industries. However, thespians and theatre artists often lose their way, gravitating towards movies, music, or social media influencing, largely because there isn’t a purpose-built platform to nurture theatrical talent.

The future, if you ask me, lies in creating such platforms. One day, a visionary philanthropist with the financial capacity and foresight will invest in theatre, recognizing its vast potential. It’s a broad industry with numerous specializations, capable of engaging countless creative minds and lifting them off the streets.

Can you share your journey into theatre and your early experiences?

I studied theatre and performing arts at the University of Lagos, and throughout my four years there, I was deeply involved in plays—writing, directing, and producing. Back then, my dream was to transition from the UNILAG Auditorium to more prestigious venues like the MUSON Centre, which was new at the time and represented a professional space where audiences would pay to watch quality productions. There was also the Agip Recital Hall which was the closest thing to staging a proper play in a space where you have people who would spend money to actually pay to watch those plays. 

Of course, there was also the National Theatre, which holds a special place in my heart. I’m thrilled about the restoration efforts by the Bankers Committee, and I hope they have prioritized creating purpose-built spaces with revolving stages and multi-dimensional theatre designs. Producers like Mrs. Austen Peters deserve kudos for investing in the culture, providing spaces where thespians can thrive, even though these venues aren’t purpose-built for theatre and often lack the capacity to fully showcase creativity.

How do you see the current state of theatre in Nigeria compared to other parts of the world?

Globally, purpose-built spaces like those on Broadway allow plays to run for decades, drawing audiences willing to pay premium prices. On the African continent, we’re not short of storytelling talent. Look at the movie industry—there’s deliberate investment in epic stories, cinematography, set design, and casting. The results are evident in the high-quality productions coming out of Nigeria.

This level of investment is what the theatre industry needs. While our storytelling is powerful, we lack the infrastructure and resources that could elevate Nigerian theatre to its rightful place on the global stage. However, with deliberate focus and investment, the potential is limitless.

What role does Eko Hotel play in promoting theatre, and what are your future plans?

Eko Hotel is a force to reckon with in this regard. We have the platform, the audience, and, most importantly, the talent in Nigeria and Africa as a whole. As a hospitality concern, we are making significant investments in reviving theatre. By 2025, our plan is to scale up productions and ensure that the amazing plays presented during the festive season continue throughout the year, at least four times annually. I’m incredibly grateful to the management for their bold vision. They see beyond profits and focus on nurturing talent, boosting Nigerian tourism, and placing us firmly on the global map. I’m immensely grateful to board, starting from the Chairman, Mr. Chris Chagoury and the executive director, Madam Caline Chagoury. Also worthy of praise is the leadership provided by Mr. Ghassan Faddoul, the Managing Director and Mr Danny Kioupouroglou, the general manager. Another worth mention is Zenith bank, our major partners and sponsors whose support has been critical. Nigeria’s younger generation is unstoppable, and this is the perfect time to create a legacy—a platform for them to express themselves and turn their passion into a sustainable livelihood.

What inspired the play, The Jewel?

The Jewel is a play heavily inspired by Ola Rotimi’s Our Husbands Have Gone Mad Again and Wole Soyinka’s The Lion and the Jewel. These are literary classics that many people are familiar with, having studied them in school. If you examine the trend of plays on Broadway, you’ll notice that old stories are often reenacted and transformed into musicals, making them creatively spectacular and engaging without losing their core essence.

Both of these works have powerful storytelling at their heart. The Lion and the Jewel in particular stands out for its satirical approach, which critiques and radicalizes societal norms. For me, theatre is about storytelling – it is a form of documentary, capturing the essence of our past and offering a glimpse into the future. When two internationally renowned playwrights inspire a piece, you know the foundation is a compelling and thought-provoking narrative.

What themes are explored in The Jewel, and how are they relevant today?

At its core, The Jewel explores love, societal dynamics, and the interplay of different societal elements that often create chaos, which ultimately resolves into a meaningful storyline. These are themes that resonate deeply, especially in African societies.

For instance, The Lion and the Jewel tells the story of Sidi, the village belle, and the men who vie for her heart. Isn’t that a narrative that mirrors today’s society? Young women, admired for their beauty and vibrancy, often become the centre of attention, with men of all ages competing for their affection.

This dynamic reflects how societal values persist across time. By retelling such stories, theatre provides a unique lens through which we can document and analyze human behaviours, relationships, and cultural evolution. It allows us to see ourselves – our joys, struggles, and triumphs – through a creative and thought-provoking medium.

Why do you believe theatre is crucial for preserving cultural narratives?

Theatre is an essential tool for documenting history and culture. For example, many of today’s children might struggle to recount the time of slavery because there aren’t enough accessible narratives documenting it. Theatre can fill that gap. It encapsulates the diversity, oneness, love, hate, joys, and struggles of society, creating a rich outlook of our collective identity. In telling stories like those found in The Lion and the Jewel, theatre becomes a mirror reflecting the intricacies of human relationships and societal norms. It’s not just entertainment; it’s an archive of how Africans live, love, and navigate the complexities of life.