The Movie: ‘THE CEO’ Showing at National Theatre this September

Chioma Nnanna Reviews Kunle Afolayan’s New Movie ‘The C.E.O


*Spoiler Alert*

Plot twists revealed

Ok so yesterday, I took my pretty self to the cinemas at 8:30pm to see Kunle Afolayan‘s “The C.E.O”. I can think of a million other things I could have been doing at 8:30pm but it’s Kunle Afolayan so I’m thinking, yeah, this should be worth it. Mind you, I paid full weekend price, popcorn, the works. I like being completely armed so if I don’t enjoy a movie, it’s the movie’s fault. No excuses.

Now, let’s begin with the pros, you know, because positive vibes. The picture quality was good and there were a lot of scenic shots. They made great use of the beautiful ocean scenery and natural light. Loved it. The set, of course, was great (I should have led with this.) Most of the movie was shot in Inagbe beach resort, a really great spot on the outskirts of Lagos. There were a few scenes outside Nigeria as well. The entire production was great; location, casting, et all.

Something else I found really impressive was the dialogue. Tade Ogidan did an excellent job there. I’m always particularly interested in phrasing and diction, and I was not disappointed at all. There were little or no signs of struggle in the back and forth. It’s important to pay attention to all the nitty-gritty of a screenplay, which is something Nollywood movies have shown to lack, so I really appreciate Afolayan’s effort in keeping it clean.

It doesn’t end there. I’d have to give props to the team on appropriate casting. Wale Ojo is always a good choice. The man is just a delight to watch and whatever fitness regime he’s been on is paying off nicely cos that body looking really good. He gave us that sexy sugar pappy vibe playing Kola Alabi. Give me a sugar daddy with ambition and heart any day. Also make sure that bank account fat cos what’s the point if not, right? But, I drift.

Though I was just introduced to a few of the other actors, they showed professionalism and such a wealth of experience that was a delightful relief. Many times, when Nollywood decides to cast non-Nigerian characters they pick the first one they find and call it a day. The result is always a ludicrous mess but it’s good to see the effort put into bringing the best performances.

Still on the casting, I think the most impressive performance, in my opinion, was Nico Panagio as Riikard Van Outen. No, not just because he’s one sexy slice of vanilla; he’s also a great actor. Facial expression for days, body language for years, the man set out to, as they say, killummmm. I, and my ovaries, were mighty impressed. Fatym Layachi and Aurelia Eliam both brought their A-game as well. Oh, and Angelique Kidjo. With charisma like that, it’s hard to find any faults with the music veteran’s performance. Ugh and all that sexy french. Mon dieu!

Read more… click here



 Sequel to our advertisements on local and international media on “Request for Expression of Interest (EOI) for the concession of the fallow land around the National Theatre in line with the Master Plan (Nigeria Entertainment City)” through Public-Private Partnership (PPP) in accordance with the ICRC Act 2005 and National Policy on Public Private Partnership, the National Theatre, held four (4) Investor Road Shows to shop for reputable local and international investors in four locations as follows:

Lagos (Nigeria)——————- 6th November, 2014

London (United Kingdom)———  13th and 14th November, 2014

Dubai  (United Arab Emirate)——16th and 17th November, 2014Johannesburg (South Africa)——-1st and 2nd December, 2014

Thereafter, Ten (10) consortia indicated interest to participate in the PPP Project; to provide the following complementary facilities:

  • Five (5) Star Hotel
  • International Standard Shopping Mall
  • Multi-level Car Park
  • Land and Water Recreation Parks
  • Office Buildings
  • Facility Management

The Consortia that submitted prequalification documents are:

  1. Resilient Africa Proprietary Limited
  2. CCECC Nigeria Limited
  3. Afrebay U.S.A
  4. Quippo Energy Nigeria Private Limited
  5. Neon Holdings Consortium
  6. Trevari Group
  7. Causeway Project Limited
  8. Calzada Limited
  9. RMB Westport
  10. Chrismichaels Limited/Topwide Apeas

Opening and Analysis of Bids

As indicated in the advertisements, the bids were opened on 22nd December, 2014 in the presence of representatives of the companies and the bids were analysed by a team which comprised our Transaction Advisers and National Theatre. The analysis was observed by the ICRC which is the regulator of PPP Transactions.

Pre-Qualified Bidders

From the analysis, seven (7) companies were prequalified. They are:

  1. CCECC Nigeria Limited
  2. Calzada Limited
  3. Chrismichaels Limited
  4. Resilient Africa
  5. Quippo Energy Nigeria Private Limited
  6. RMB Westport
  7. Neon Holdings Consortium

Issuance of Request for Proposal (RFP)

In the light of the above, the seven (7) companies are the ones to be issued with the Request For Proposal (RFP) in continuation of the process.

Signed  A

National Theatre

Iganmu, Lagos




The Federal Ministry of Tourism, Culture & National Orientation/National Theatre in the Expression of Interest (EOI) published on 27 October 2014, invited experienced and competent world-class operators to submit their Expression of Interest as master concessionaires/operators to design, finance, build (construct), operate and transfer (DFBOT) the following sections of the project:

SECTION 1:         Five (5) Star Hotel

SECTION 2:         International Standard Shopping Mall

SECTION 3:         Multi-level Car Park

SECTION 4:        Land & Water Recreation Parks

SECTION 5:         Office Building

SECTION 6:        Facility Management

The procurement process entails two consecutive stages, the current Pre-qualification (or Expression of Interest) Stage and the Request for-Proposal (RFP) Stage.

In line with the requirement of Infrastructure Concession and Regulatory Commission (ICRC) and in accordance with transaction work plan, responses to the Expression of Interest (EOI) for developing the fallow land around National Theatre were officially opened on the 22nd December, 2014 at the bid opening exercise held at the National Theatre’s Board room, Iganmu, Lagos.

Stated below is a key summary of the EOIs opening proceedings.



A total of ten (10) EOI submissions were received as at the 12:00pm deadline of 22nd December, 2014. Three (3) were received on the 15th December, while seven (7) others were received on the closing date. The EOI submissions were securely placed under lock and key in the custody of the National Theatre’s procurement officer.

EOIs Opening

The exercise was chaired by Alhaji Kabiru Yusuf, the General Manager, National Theatre with the representatives of prospective bidders, ICRC official and BGL, the transaction advisers, in attendance. A total of twenty (20) participants witnessed the bid opening exercise. The table below presents the firms whose bids were submitted and opened:

S/N Lead Consortium Member Single Bid/In Consortium Associated Country
Resilient Africa Proprietary Limited In Consortium South Africa
CCECC Nigeria Limited In Consortium Nigeria/China
Afrebay Single Bid USA
Quippo Energy Nigeria Private Limited In Consortium Nigeria/UAE
Neon Holdings Construction In Consortium Nigeria
Trevari Group In Consortium Nigeria
Causeway Projects Limited In Consortium Nigeria
Calzada Limited In Consortium Nigeria
RMB West Point In Consortium South Africa
Chris Michael In Consortium Nigeria

Exercise Authentication

The representative of each bidding firm was required to counter-sign the result of the evaluation checklist in order to confirm and validate the correctness of submitted documents.

  1. Immediate Next Steps

Immediate next steps as communicated to participants include:

The evaluation committee members to reconvene on 5th January, 2014 to commence detail review of submitted EOIs.

All bidding firms will be notified individually to confirm their pre-qualification or otherwise to progress to the Request for Proposal (RfP) stage.




                           In accordance with ICRC Act 2005 and National Policy on Public Private Partnership

1. Since its establishment in 1976, the National Theatre, Iganmu, Lagos-Nigeria, has been the hub of cultural activities, art exhibitions, theatre renditions, symposia and film shows. It has played host to various national and international events.
2. As part of the continuous drive to promote culture and tourism in Nigeria, the Federal Government of Nigeria (FGN) is now revisiting the master plan of the National Theatre, and making necessary arrangements to develop the fallow land into a modern mixed-use commercial and business hub.
3. The planned development will sit on about 134 hectares of land, out of which the existing National Theatre currently occupies just 10 hectares. The initial master plan for the National Theatre will form the basis on which the preferred private sector partner will undertake the project using a design, finance, construction (build), operation and maintenance model.
4. The proposed development will offer visitors and tourists a modern, diverse, localized and exciting experience. It will be characterized by modern architecture and design, with a wide range of business and recreational offerings of international standard withina  friendly environment.
5. OBJECTIVE: The project concept aims to give the National Theatre a vibrant image and increase tourism while allowing concessionaires recoup their investment.

The Federal Ministry of Tourism, Culture & National Orientation/National Theatre is therefore inviting experienced and competent world-class operators to submit their Expression of Interest as master concessionaires/operators to design, finance, build (construct), operate and transfer (DFBOT) the following sections of the project:

SECTION 1:   Five (5) Star Hotel
SECTION 2:   International Standard Shopping Mall
SECTION 3:   Multi-level Car Park
SECTION 4:   Land & Water Recreation Parks
SECTION 5: Office Building
SECTION 6:   Facility Management

The procurement process entails two consecutive stages, the current Pre-qualification (or Expression of Interest) Stage and
the Request for-Proposal (RFP) Stage. Pre-qualified parties will be invited to enter into a consultative dialogue with the Federal Ministry of Tourism, Culture & National Orientation and National Theatre management after which the RFP will be finalized. The preferred bidder will be required to demonstrate significant technical and financial capacities for the execution of a master concession arrangement. Accordingly, Prospective Bidders are encouraged to put together for the purpose of this EOI, a consortium of local and international operators who can deliver on all the sections of the project under a DFBOT arrangement. More details of the Concession plan including a floor plan will be disclosed at the Request for Proposal (RFP) stage.

Method of Application – As master concession arrangement, firms are encouraged to respond to the EOI in formidable consortium. Information on all firms making up the consortium must be provided. It must clearly indicate which firm is the overall lead firm (master concessionaire). It must also indicate which firm or combination of firms within the consortium will deliver on each section of the project (sub-concessionaires). The roles of the firms making each of the sub-concessionaires should be clearly specified, including a consortium letter or agreement signed by all participating firms. Firms are not allowed to participate inside more than one consortium.

Firms/ Consortia would be pre-qualified on the overall strength of the consortium (together as master and sub concessionaires). The Facility Management section of the project will provide common services for the entire National Theatre area. These services include: water, horticulture and beautification, general cleaning and sewage, power and electrical utilities as well as connecting roads. As part of the programmes to actualize the intent of the transaction, preferred bidder will be required to carry-out only the refurbishment of existing National Theatre main bowl.

Each EOI submission should provide the following minimum information as a basis of pre-qualification:

1. Full name and Nationality (country of registration of the firms/consortia)
2. Overall contact person(s), email addresses, telephone/facsimile/

mobile of the master concessionaire

1. Overall contact person(s), email addresses, telephone/facsimile/

mobile of each of the sub concessionaires

. Profile of the firms presented within a consortium including ownership structure and role of each corporate entity
. Firm/Consortium members registration particulars including Certificate of Incorporation or equivalent registration documents, including copies of Memorandum and Article of Association and Form C07
. Most recent 3 years audited financial statements of the firms in the consortium
. Evidence of available financing/access to credit lines to execute all the sections of the projects
. Tax Clearance Certificate/Returns for 2011, 2012 & 2013
. Evidence of capability and previous experience in undertaking PPP projects on a similar scale. Evidence of experience should include the following details:
. Name of Project & Brief Description
. Scope of Work
. Contract Value
. Contractual/Concession Period
. Nature of the Concession Contract
. Name and address of related client’s referee

Each Expression of Interest (EOI) should be submitted in six (6) copies in a sealed envelope clearly marked “Expression of Interest – National Theatre Complementary Facilities Concession”. The overall/master concessionaire name to be used for the bid should be clearly printed on the reverse side of the envelope.

Each EOI should be addressed and hand-delivered, no later than 12:00pm on Monday December 22,2014, to the National Theatre, Iganmu, Lagos.

Roadshow will be held in the following locations: Lagos, London, Dubai and Cape Town. In order to signify interest to participate in the roadshows, Prospective Bidders are encouraged to visit as details become available.

Interested applicants may obtain further information at the address above from 8:00am to 4:00pm, Mondays through Fridays (except public holidays).

Only short-listed applicants will be contacted. Expression of interest through email or fax will not be entertained.

Please note that this is not an invitation to tender. The Federal Ministry of Tourism, Culture and National Orientation and National Theatre management shall not be responsible for the cost of any submission. All submissions shall be at the cost of the Prospective Bidders. The National Theatre management reserves the right to accept or reject any submission that does not meet the requirements. The National Theatre edifice is not part of the concession plan, however, the building and its main bowl will be renovated to meet modern theatre standard.

General Manager/CEO:
National Theatre Complex



Edited Moremi National Theatre



Moremi RSV is a modern / contemporary stage adaptation of the popular Yoruba legend developed by Evolution Media as inspired by Sewedo Nupowaku and scripted by Ayodele Arigbabu in 2003. The play takes many liberties with the original legend, the key one being that it addresses the crisis which sees Moremi offer her child as a sacrifice to save her people, from that child’s perspective.

Based on the legend of Moremi (The Yoruba Queen who through bravery and personal sacrifice liberates her people from external oppression), and drawing exciting inferences from the theme, adapting the tale to contemporary sensibilities, designed for family entertainment but with particular regard for youthful fantasies and energies, Ayodele Arigbabu’s stage adaptation makes a parody out of the original legend, taking liberties with characterization and plot interpretation. A near musical thriller / comedy is enacted in line with the original operatic interpretation done by the late theatre legend- Duro Ladipo. However, succinct communication is maintained on issues of responsibility, and choice, albeit in an “irreverent fashion” at times. Moremi: Revised Standard Version was staged for the first time on the 13th of December 2003 (Produced by Evolution Media and directed by Gbenga Ajayi) at the University of Lagos Main Auditorium to an appreciative audience and critical acclaim in the newspapers.

More about Moremi RSV:

In the RSV, Moremi, lately widowed queen consort of Ife, displayed a passion for social causes early enough in the play when she led the successful rebellion of the market women against the extortionist excesses of their leader, thus earning herself the position of the new leader. But it is a joy short-lived as the Igbo marauders choose the occasion of her installation ceremonies to once again raid the town, with the market being, as usual, their main target. Wares and women are despoiled in the process. The Ifes are no sissies, only may be a little superstitious, for they have never really resisted the Igbo who, covered in grass, are unfathomable spirits to them. Perhaps for the personal turn that this social disgrace has now taken, Moremi soon vows to take an action….

Culled from MOREMI: A MYTH MEETS ITS MATCH, a review by Deji Toye, circa December 2003.

Moremi: The Thriller.

There have been several adaptations of the saga of the brave woman from Ile Ife who ‘slept’ with enemy commanders of the invading troops from Igbo and used the inside knowledge to lead her country to repel and defeat the enemy afterwards. One of the more popular of these is Femi Osofisan’s Morountodun. But no playright has overhauled the story so much and taken it out of the folk setting until Ayodele Arigbabu’s Evolution Media intervened. His postmodern version of the saga is intellectually stimulating….

Toyin Akinosho
(Artsville, Sunday Guardian)

THE CROWN TROUPE OF AFRICA is a Dance-Theatre Company conceptualized on the 1st of June 1996 by a group of young persons who share a common belief in the viability of the arts as a tool for social re-engineering. The group is steeped in the art of creating new works that are relevant, thought provoking and empowering.


The Fela Show(1)


The play depicts the psychological inquest into the minds of few of Fela’s band boys and backup singers that were able to escape from Kalakuta Republic on the day it was invaded in the year 1977. The piece explores certain historical aspects of the then military regime and its attendant brutality. As a theatrical act, the dramatist creates characters that exist entirely on the fictional plane, albeit without an indirect reference to the Music Icon himself.

The play opens with a well-choreographed re-enactment of the events of the day before the attack on Kalakuta. As the play unfolds, some of the boys and ladies are in hiding; hungry and battered. Out of frustration, some of them begin to express their regrets for ever joining Fela’s band. The play exposes some of the remote reasons behind the invasion of Kalakuta Republic; like Fela’s critical comments and anti-Festac stance which necessitated his pre-Festac release of two songs that were extremely critical of the Nigerian Government: ‘Ojuelegba’ which was metaphoric and had a lot of imageries that the government could not really hold onto. ‘Zombie’ did the magic as it was a direct attack on the military and its command structure. The characters in the play find themselves in the dilemma of working out how to survive the present situation as well as facing a future without Fela. While some of the characters believed strongly that Fela will return and rebuild the band, others like Tony and Bosco reminisce the days of ‘Koolalobitos’ with great nostalgia and heap all the woes that have come on them and the band on Fela for allowing himself to be brain washed into the ‘Black Panther Movement’ in New York where the early embers of his confrontational lyrics was shaped by the black power freedom movement of the time. The play reveals some background information on the prevailing economic and social situation in Nigeria at the time of the events that culminated in the fall of Kalakuta Republic. However, the major achievement of the play is its exposition of some facts that have been left unexplored in most of the works about Fela. Some of these issues include; the financial hardship that he suffered for feeding too many mouths, the silent protest of some of his band boys, the spies that work for government while residing and benefiting from Fela’s Kalakuta etc.

In line with the National Theatre‘s objective of bringing back stage Art, this play Fela: Son of Kuti will be staged at the National Theatre Iganmu on the 26th 27th and a grand performance on the 28th of September 2014.

The play will be performed by Troopers Art Production, a registered member of National Association of Nigeria Theatre Arts Practitioners and also a member of Dance Guild of Nigeria. They are one of the entertainment organizations that are championing the continuity of stage performance in Nigeria Entertainment Industry .The play will be produced by Jubson E- Solution a leading Information technology firm in Nigeria whose track record of deploying financial investment solution is second to none.

Fela: Son of Kuti is written by Cornel Best Onyekaba a theatre scholar, arts teacher and journalist. He currently lectures at the theatre arts unit of the Department of creative art, University of Lagos. Mr. Onyekaba is pioneering the festivalization of theatre courses in Nigeria Universities with the Unilag-Africaribbean Festival Carnival already in its seventh year. He has been a research assistant to the Ferguson Centre of the Open University in the U.K, on Nigerian Films and the UK diaspora.

The play is directed by the creative and versatile Toyin Oshinaike, a theatre Director, a Poet and an Actor. He has over 20 years’ experience in the industry. He was recognized with an award by NANTAP for his outstanding contribution to the development of theatre in Nigeria.

The play will be choreographed by another multi-talented theatre art practioner and dancer Tobi Odunsi, who is a graduate of University of Lagos and a member of Dance Guild of Nigeria. His Performances in the theatre project contacting the world in Manchester earned him an award of recognition in UK. Tobi also played the major role of a fugitive in Lagbaja’s hit music video shobolation and he also appeared on the currently most expensive T.V series Tinsel.


coat-of-armsThe evolution of Nigeria from about 1849 until it attained independence in 1960 is largely the story of the transformational impact of the British on the peoples and cultures of the Niger-Benue area.

The colonial authorities sought to define, protect and realize their imperial interest in this portion of West Africa in the hundred or so years between 1862 and 1960, The British were in the Niger- Benue area to pursue their interests, which were largely economic and strategic. In the process of seeking to realize those interests, there were many unplanned-for by-products.

The first critical step in this uncertain path was taken in 1849 when, as part of an effort to ‘sanitize’ the Bights of Benin and Biafra, which were notorious for the slave trade, the British created a consulate for the two Bights. From here, one thing led to another for the British, especially to deepen involvement in the political and economic life of the city states of the Bights and to rivalry with the French who also began showing imperial ambitions in the area. The result, in time, was that the British converted the coastal consulate and its immediate hinterland into the Oil Rivers Protectorate in 1885, which, in 1893, transformed into the Niger Coast Protectorate.

The apparently irreversible logic of this development led to deeper and closer involvement in the administration of the peoples and societies of this segment of Nigeria which, by the middle of the twentieth century, came to be  known as Eastern Nigeria.

The second step, along the same path, was taken about 1862 when the British annexed the Lagos Lagoon area and its immediate environs and converted same into a crown colony. According to the British, they did this in order to be better able to abolish the slave trade which used that area as export point. According to Nigerian historians, on the other hand, they did so to be better able to protect their interest in the vital trade route that ran from Lagos, through Ikorodu, Ibadan and similar communities, to the Niger waterway in the north and beyond into Hausaland. Be that as it may, by 1897, British influence and power had overflowed the frontiers of Lagos and affected all of Yorubaland which was subsequently attached to Lagos as a Protectorate. The political and administrative unit which came to be known as Western Nigeria in the 1950s came as the end of this second step.

The third and final step in this uncharted path came in 1888. The British administered political ‘baptism’ on Greyne Goldie’s National African Company which had successfully squeezed out rivals, British and non-British, from the trade in the lower Niger, following a trade war of almost unprecedented ferocity. As a result of the ‘baptism’, Goldie’s company became the Royal Niger Company, chartered and limited. It also acquired political and administrative powers over a narrow belt of territory on both sides of the river from the sea to Lokoja, as well as over the vast area which, in the 20th century, came to be known as Northern Nigeria.

Thus, by about 1897, the three blocks of territory had emerged, as British colonial possessions, from moves made during the period of the These three blocks of territories One change, perhaps the major one, was that the charter of the Royal Niger Company was withdrawn and the territory under its shadowy control was declared the Protectorate of Northern Nigeria and brought under the Colonial Secretary. Similarly, the Niger Coast Protectorate, which had been under the Foreign Secretary, was renamed the Protectorate of Southern Nigeria and brought under the Colonial Secretary. In addition, the narrow “strip of Royal Niger Company from Lokoja to the sea”, which had divided the Niger Coast Protectorate into two, was united with it, thus bringing the western and eastern halves of that administration together territorially. The Lagos Colony and Protectorate underwent no change while continuing under the controlling authority of the Colonial Office. With these three units then brought under the Colonial Office, the situation was created in which the management of their affairs came to be informed by the same theory and practice of administration.

The amalgamation of 1914 offered an opportunity for making changes in the unsatisfactory arrangement, but not much was achieved this area. All that was created was a body known as the Nigerian Council which met once a year to listen to what may be called the Governor’s address on the state of the Colony and Protectorate of Nigeria. The body had no legislative powers whatsoever. The same ambivalence based on imperial self-interest that characterized the Lugardian approach to seeing and treating Nigeria as one political entity and Nigerians as members of one political family was also evidenced in the constitutional development efforts of his successors. For example, while the Sir Hugh Clifford Constitution of 1922 introduced the elective principle for legislative houses for the first time, the Legislative Council which replaced Lugard’s Nigerian Council legislated only for the Colony and Southern Provinces while the Governor continued to legislate for the Northern Provinces through proclamations. The forty-six-member Council, presided over by the Governor, was dominated by ex-official and nominated members.

The Legislative Council system thus implied a division of responsibility to govern Nigeria between the United Kingdom-based British Government and the government established in the Colony. Besides, Nigerians were excluded from membership of the Executive Council.

The Richards Constitution of 1946, though it had among its objectives the promotion of the unity of Nigeria and securing greater participation by Nigerians in discussing their affairs, deliberately set out to cater for the diverse elements within The country, Significant provisions of this new constitution included the establishment of a re-constituted Legislative Council whose competence covered the whole country; the abolition of the official majority in the Council; the creation of Regional Councils consisting of a House of Assembly in each of the Northern, Eastern and Western Provinces, and creation of House of Chiefs in the North, whose roles were purely advisory rather than legislative. Significantly, however, the Richards Constitution was designed without full consultation with Nigerians which explains the hostility with which it was greeted, especially in the South.

Although the Richards Constitution was expected to last for nine years, opposition to it, especially from the political leaders, was so strong that a new constitution, the Macpherson Constitution, was promulgated in 1951. Unlike its predecessors, there was significant participation of Nigerians in its making from the village level up to the Ibadan General Conference of 1950; the major provisions of the Constitution were as follows: the establishment of a 145-member House of Representatives, 136 of them elected, to replace the Legislative Council; a bicameral legislature for both the North and West, one being the House of Chiefs while the East retained the unicameral House of Assembly; the establishment of a Public Service Commission to advise the Governor on the appointment and control of public officers; the competence of the Regional Legislatures to legislate on a range of prescribed subjects while the central legislature was empowered to legislate on all matters including those on the Regional Legislative lists. Substantially, therefore, the 1951 Constitution was more or less a half-way house between regionalization and federation. Between 1951 and 1954, two important constitutional conferences were held in London and Lagos between Nigerian political leaders and the British government. These resulted in a new 1954 Federal Constitution whose main features were: the separation of Lagos, the nation’s capital, from the Western Region; the establishment of a Federal Government for Nigeria comprising three regions, namely, North, West and East with a Governor-General at the centre and three Regional Governors; the introduction of an exclusive Federal Legislative List as well as a Concurrent List of responsibilities for both the Federal and Regional Governments, thus resulting in a strong central government and weak regions; regionalization of the Judiciary and of the public service through the establishment of Regional Public Service Commissions, in addition to the Federal one.

From the point of view of the evolution of the Nigerian state, the most significant thing about the 1954 Constitution, which remained in force until Independence in 1960, was that the Lugardian principle of centralization was replaced by the formula of decentralization as a matter of policy in the administration of the Nigerian state.


Welcome to the official mobile site of the Nnational_theatreational Theatre, Iganmu, Lagos. On this site you will find quick information about us  compatible with your smart device. You can navigate easily by clicking on the listed menu to access all the informations available. Welcome on board.

The National Theatre is an architectural masterpiece and a cultural landmark located at Iganmu, in the heart of Lagos. It is easily accessible from every corner of the city. Covering an area of about 23,000 square meters and standing well over 31 meters tall, the multipurpose National Theatre was established for the preservation, presentation and promotion of Arts and Culture in Nigeria.

The design for the existing National Theatre in Lagos was taken from the Palace of Culture and Sports in Varna, Bulgaria. The contract for its construction was signed on April 24, 1973, during Gen. Yakubu Gowon’s regime with the Bulgarian Construction Company called Technoexportsroy, the main constructors for the building of the complex.

Apart from providing a befitting venue for the 2nd World Black and African Festival of Arts and Culture (FESTAC 77) which Nigeria successfully hosted in January/February, 1977 and for which the National Theatre provided more than adequate venues, the complex is to be a rallying point for both Nigeria and international artistes wishing to share experience with their Nigerian counterparts.

Even though it had been in use since late 1975 it was formally opened by the then Head of State of the Federal Republic of Nigeria, Gen. Olusegun Obasanjo on September 30, 1976, five months before FESTAC 77. Since then it has hosted a good number of international music concerts, dramas, film shows, symposia, exhibitions, conventions, workshops and even sports.

Between 1975, and July 2009, the National Theatre has been managed by six successive Administrators. In August 2009, a new General Manager assumed the headship of the National Theatre Management with a new vision.