WEDNESDAY August 28 was a day the true meaning of hope restored perhaps registered more meaningfully with a select group of senior media and culture workers, and others privileged to have experience a tour of the National theatre of Nigeria, Iganmu. The shocks and surprises were expressed in different tones and hues as they moved from one section to the other of the theatre complex, which has been under renovation since 2021.
The tour was at the instance of the Bankers Committee which had approached the Buhari government with a proposal to take over the restoration of the long-depressed 47-year-old complex. The plan had seen the former CBN governor, Godwin Emefiele leading the Bankers committee, while Lai Mohammed, the then minister of Information and Culture working with the government of Lagos State to kick off the restoration efforts.
Last Wednesday threw light on what many I t culture sector had complained appeared as an opaque proposal, especially as various humongous Naira figures were bandied about by sources with the committee and the governments. It started with N26 billion, and at one point jumped to N78 billion and more.
Abubakar Suleiman, Managing Director/CEO Sterling Bank Group who represented the Bankers’ Committee at the tour on Wednesday could not name a particular figure too, but assured that the project had gulped quite a hefty sum. He was, however, generous in his capturing of the dream that ed to the bankers stepping up to help rescue what was becoming a sitting-dead elephant.
“When we approached government for this opportunity, we had no idea how we were going to make money,” he said, and added, in same breath: “It wasn’t about making money. This was about a national monument that had been left abandoned, and we thought anything and everything that needed to be done should be done to restore this to its glory.”
Suleiman continued, “The National Theatre, which represents one of our highest points in terms of ambition, was in the state of disrepair. We are committed to bring it back to world-class standards. This would arguably be one of the most complex and most successful projects of that nature. This is putting culture back on the map in a big way.
“It’s not just the theatre; this is one of the biggest and most complex event centres you can have in this country. We will bring it to the public very soon.”
Recalling the beginning of the project, Suleiman disclosed: “We were shocked at the scale of the work that needed to be done, but we were also impressed by the possibilities that it represented. This is one of the largest scaled projects of its kind anywhere on the continent.” He added that the standard to which the edifice has been restored is world-class.”
Ade Laoye of ECAD Architects, who led the project’s architectural rework, said the principle behind the project was 3Rs – reconstruction, renovation and restoration.
As we speak I can say we are 95 percent done on the project, the rest work is about completing the fittings in the various sections of the project.
Laoye, who conducted the tour, disclosed that refurbishing the complex has seen extensive works done on its 5,000-seater main bowl, over 2,500-seater banquet hall, two exhibition halls, three cinemas, VIP spaces, actors’ changing rooms, industrial kitchen, over 300 new toilet cubicles, clinic, fire station, lobbies within the four National Theatre entrances and extensive roof repairs.
The architect said the various facilities have been upgraded to “match with the best standards” of its kind in the world.
The upgrading includes, in Laoye’s explanation, the replacement of the entire Heating, Ventilation and Air Conditioning (HVAC) system, upgrade of the fire safety standards, power, replacement of the water supply and sewage systems, upgrading of interior design with the installations of Audio Video Lighting (AVL), world stage engineering system, 17 passenger lifts, solar power, new furniture for spaces and restoration of artworks including those on the internal wall panels and the building façade.
External works supporting the National Theatre were also carried out in the refurbishment of the 3 entrance gatehouses, constructions of 4 themed landscapes, car park block (250 cars), the ring road, and installation of external street lightings and CCTV cameras.
Also representing the Bankers Committee, Mrs Kafilat Araoye, Managing Director Lotus Bank Ltd, described the renovation as a “rebirth of a national treasure and a restoration of our culture and heritage… We are very excited about the completion of the renovation and upgrade of facilities of the National Theatre, we are indeed very proud of the work we have done here.”
Suleiman, in a post-tour chat with the media, explained that the Bankers’ Committee embarked on the restoration to unlock the immense potential in the creative sector for the teeming population of Nigerian youth. “The new-look National Theatre, when operational, will create jobs, generate income, and grow foreign exchange earnings, thereby becoming a creative and entertainment hub providing much-needed community spaces for Nigerian youth to explore and thrive.
“The renovation of the National Theatre by the Bankers Committee showcases what is possible with the power of patriotism and collective responsibility on the part of the private sector in partnering with the federal and Lagos State governments, to reignite hope and revive some of our national monuments and assets,” added Suleiman.
And addressing the fear by sime of the guests on the usual poor aintenance issues Nigerian infrastructure usually suffers, Suleiman said the complex and its facilities would not be managed by either government or the Bankers’ Committee, but be given to “competent managers with global best practice.”
“As you’ve seen, this is one of the largest-scale projects of this type anywhere on the continent. The standard to which it has been restored is global, and we will ensure the maintenance is also of global standard,” Suleiman noted at the conclusion of the almost two-hour tour.
In an earlier visit two weeks ago, Governor Babajide Sanwoolu of Lagos, had said, “Upon completion, the Wole Soyinka Center for Culture and the Creative Arts (National Theatre) will not only be for arts, tourism and culture, but will also provide a venue for the international community to convene for conferences and enjoy world class performances”.
The National Arts Theatre was constructed by the military regime of General Yakubu Gowon and completed in 1976 by the Olusegun Obasanjo administration, in readiness for Nigeria’s hosting the Second World Black and African Festival of Arts and Culture (FESTAC 77) in February 1977.
