Nobel laureate, Prof. Wole Soyinka has explained why he ate his words, and accepted the renaming of Nigeria’s National Theatre in his honour despite his past criticism of public monuments named after individuals.
At the reopening of the refurbished venue in Lagos on Thursday, the 90-year-old playwright acknowledged “mixed feelings” about the Wole Soyinka Centre for Culture and Creative Arts, as the complex in Iganmu is now known.
“I am notorious for having criticised many appropriations of public monuments by some of our past leaders, where everything is named after them,” Soyinka said.
“However, when I examined the history of theatre in Nigeria, and the lack of recognition for my predecessors, I believe somebody has to carry the can.”
The renaming, announced in July 2024 by President Bola Tinubu’s administration without Soyinka’s prior knowledge, sparked debate given his opposition to self-glorifying tributes.
The National Theatre, built in the 1970s under military rule, had fallen into disrepair, which Soyinka once described as a “slum” unfit for cultural events.
He recalled a near-fatal incident in the 2000s when exposed wiring endangered actors during a performance of his play Camwood on the Leaves.
The building’s Bulgarian-inspired conical design, which he had mocked as a “general’s hat,” became a symbol of neglect.
On Thursday, Tinubu inaugurated the restored theatre, rehabilitated with funding from Nigerian banks after years of decay.
Soyinka, who staged Death and the King’s Horseman there in 1977, praised the effort as a “tasty morsel” of redemption, reversing his earlier support for a private takeover.
The centre is expected to host international festivals and youth programmes aimed at strengthening Lagos’s creative sector.
Soyinka, Africa’s first Nobel literature laureate in 1986, used the event to recognise figures such as Hubert Ogunde and Duro Ladipo, who helped establish Nigerian theatre during colonial and post-independence periods.
A co-founder of the Orisun Theatre Company in the 1960s, Soyinka’s works, including The Bacchae of Euripides, combine Yoruba traditions with global themes.
His activism, including imprisonment during the 1967–1970 Biafran War, has also defined his public life.
Tinubu described the naming as a tribute to a figure of rare stature.
The Guardian
