By Henry Akubuiro
Few theatre practitioners possess the ability to direct and act with equal brilliance like Nigeria artiste, Olamigoke Omowale Okelola, whose mastery of both crafts shows outstanding finesse. His visionary approach to staging African classics has reshaped contemporary theatre, earning him a reputation as a transformative figure on the Nigerian theatre scene.
From his spellbinding portrayal of Odewale in The Gods Are Not to Blame to his electrifying performance as Brother Jero in Trials of Brother Jero, Okelola’s artistry reflects a deep reverence for African storytelling while pushing the boundaries of modern stagecraft.
His recent productions —particularly his groundbreaking work at Alimosho KultureFest 2023 and his powerful performance in early 2024’s Trials of Brother Jero —have positioned him as a name to be be reckoned with in Nigeria’s theatre. With a unique ability to balance cultural authenticity with fresh, dynamic interpretations, he continues to attract critical acclaim from theatre buffs, thespians and audiences.
A director with a bold vision
At the Alimosho KultureFest 2023, Okelola’s directorial brilliance was on full display in his reimagining of Ola Rotimi’s tragic masterpiece, The Gods Are Not to Blame. His version melded traditional Yoruba storytelling with modern theatrical techniques, creating an experience that was both visceral and intellectually engaging.
His innovative use of live drumming, poetic movement, and immersive audience engagement transformed the performance into a multi-sensory experience.
Tony Okuyeme, a theatre critic and actor, described the production as: “A bold and emotionally gripping retelling of a classic. Okelola respects the original work but is not afraid to take creative risks that bring new depth to the narrative.”
One of the most striking moments in Okelola’s production was his reinterpretation of the Oracle scene. Instead of a simple prophetic declaration, he infused the moment with ritualistic choreography and symbolic lighting, creating a dreamlike, almost supernatural atmosphere. His use of shadow play added an eerie, fate-driven undertone, reinforcing the tragic inevitability of Odewale’s downfall.
A veteran Nigerian stage actor, Soibifaa Dokubo, shared his thoughts on his innovative theatre: “Okelola has an instinct for storytelling that goes beyond the script. He builds a world on stage — one that pulls the audience in and refuses to let go.”
Omowale, the actor: A performance to remember
Beyond directing, Okelola delivered a career-defining performance as Odewale, the tragic hero of The Gods Are Not to Blame. His commanding stage presence, emotive depth, and vocal dexterity left audiences spellbound.
Gregory Nwakunor, the Arts Editor of The Guardian newspaper, who witnessed the performance, was impressed with the enactment, describing it as “an intense and deeply moving performance, bringing Odewale’s pain and fate-driven downfall to life with remarkable power. Okelola didn’t just act —he embodied the role.”
The moment when Odewale discovers the truth of his identity —realising he has unknowingly fulfilled a terrible prophecy —was hailed as one of the most powerful theatrical moments in recent Nigerian theatre history. A fellow actor, Jerry Adesewo, who performed alongside Okelola, recalled: “There were nights I forgot I was in a play. Watching him on stage, it felt like I was witnessing something real —his pain, his rage, his heartbreak. He has a way of making you believe.”
In early 2024, Okelola took on a dramatically different role as Brother Jero in Wole Soyinka’s satirical comedy, Trials of Brother Jero. This was a marked departure from his previous tragic roles, allowing him to display his comic brilliance. His portrayal of Brother Jero was both magnetic and mischievous, effortlessly shifting between charisma and cunning, humour and deception.
Yemi Olaitan, who has featured in the play before, remarked: “It takes skill to navigate the wit and irony of Soyinka’s work. Okelola nailed it —his timing was impeccable, and he made Brother Jero feel as relevant as ever.”
Responding to the reading of his theatrical practice as deeply traditional and boldly experimental, Olamigoke Omowale Okelola began with an analogy: “I always say that theatre is like a river —it must keep flowing, but its source must never be forgotten. The beauty of African storytelling is its depth, its rhythm, and its communal spirit. My job as a theatre maker is to honour that tradition while finding new ways to make it resonate with today’s audience.”
His performance in The Gods Are Not to Blame has been called “career-defining.” What was it like for him stepping into the role of Odewale? Okelola said it was intense, exhausting and beautiful: “Odewale is a man trapped by fate, and portraying that journey every night was emotionally draining. But that’s what theatre is about —feeling everything and giving it to the audience.”
Trials of Brother Jero was a huge shift from tragedy to comedy. How did he prepare for that role? The artist noted: “Comedy is harder than people think. It’s not just about making people laugh —it’s about making them see the truth hidden inside the laughter. I studied Soyinka’s text carefully, watching how he weaves humor with social critique. And I observed people —preachers, politicians, even market women —because comedy is everywhere if you know where to look.”
With no intention to rest on his oars any time soon, Okelola told Saturday Sun: “I want to direct more, mentor more, and explore new ways of storytelling. There’s so much power in our narratives —African stories deserve to be seen, heard, and felt. My biggest dream is that, one day, a young actor will perform in one of my plays and say, ‘This story changed my life.’ Because that’s what great theatre does —it changes lives.”
As Wole Soyinka once said, “A stage without passion is an empty platform.” To this end, Okelola is ensuring that every stage he steps on burns with the fire of artistic brilliance. With his bold directorial vision, transformative performances, and commitment to authentic storytelling, Okelola is not just redefining African theatre —he is shaping its future.
He has also acted in a minor role in a stage production at the Lagos International Theatre Festival. Also a playwright, he is the author of Father’s Bird, a story of obedience and the consequences of every action, cautioning youths about making the right decisions. The play has been staged at various arts and culture events in Nigeria, which he also starred in different capacities.
As he continues to push boundaries, inspire new generations and refine his craft, one thing is clear: Olamigoke Okelola is not just a theatre artist — he is a movement. He has gone beyond chasing the spotlight to swapping places with elite theatre greats in whose professional leanings are governed by perfection and the lustre of the stage.