Coordinator, AJOfest at 40 Reunion, Dr Lilian Agbeyegbe, has said that The 1986 AJOfest productions provided Nigerian theatre practitioners with an opportunity to earn significant pay for their work.
Speaking during an interview with ARISE NEWS on Sunday, Agbeyegbe said the festival, which brought four Nigerian plays to the National Theatre in Lagos, was an important moment for practitioners who were able to work on productions with better financial support and accommodation.
“Since 1986, the conversation has always been around when core theatre people are talking. They talk about the fact that agile productions was the first time where a lot of people had the opportunity to be paid significantly.”
She explained that the reunion was organised to celebrate the contributions of her uncle, Fred Agbebe, who financed the productions, as well as the cast and crew who brought them to life. “And then to really tell the people who are coming behind or who are on the scene now that something happened before we got to where we are today.”
Agbeyegbe identified the plays as The King Must Dance Naked, staged in 1983; Born to Death, in 1984; The Last Omen, in 1985; and Budizu, which was commissioned by the Nigerian Bar Association and later included in the 1986 festival. “So in 1983, it started with The King Must Dance Naked. The King Must Dance Naked in 1983. 1984, we did Born to Death. 1985, we did The Last Omen. And then earlier in 1986, it did Budizu, had been commissioned, I think, by the Nigerian Bar Association. Then he brought those four plays together later on in that year.”
She said the productions had continued to attract attention. “The King Must Dance Naked has done very well. It was one play of the year since then in Ghana. I think actually Joker Silva took it to the UK at one time, during Olympics, I believe. It’s been re-performed at Glover Hall.”
Agbeyegbe also highlighted the political and social significance of Budizu. “It was a bold attempt, really a bold attempt during the military regime to speak power to the people.”
She said theatre had the ability to communicate social issues in ways that connected with audiences and kept government accountable.
“My uncle not only put money in it, he also put personality in it. So he had common performances, he would have special guests.”
Agbeyegbe said she was young during the festival and helped welcome guests to the National Theatre, where she and others wore Shakiri outfits at the entrance.
“So we will wear a Shakiri outfit, and we’ll be at the entrance of the National Theatre to welcome them in. I’d long been interested in theatre, but that was really the place that cemented my love for the Nigerian theatre.”
She said the reunion was also an opportunity to celebrate Fred Agbebe, who turned 90 in 2025, and recognise the impact of his investment in the industry. “Nothing happened 10 years after. Nothing happened 20 years after. Nothing happens 30 years after. And the man is 90, he’s 91 now. So if we wanted to wait until 50 years after, so we decided to do something now.”
The reunion was also being organised largely through personal contributions, with Agbeyegbe saying. “People have said to me, who are your sponsors? And we’re like, we’re almost replicating 1986 as it were, because we are self-funding this initiative.”
She said the National Theatre had provided the venue free of charge through NANTAP, while Zimi Raj was supporting the event’s setup.
“The programme was scheduled to hold at 4pm on Sunday, November 1, at the National Theatre. It was expected to feature a keynote address by Benton Oluju, a panel discussion and reflections from people who participated in the original productions.”
Erizia Rubyjeana
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