AKINTAYO ABODUNRIN looks back at Sir Aladekomo’s overlooked role in reviving Nigerian theatre through the Chams Theatre Series, and the nation’s failure to preserve cultural history

I had missed the news of Sir Demola Aladekomo’s retirement from Chams Holding Company Plc last Thursday after 40 years of innovative leadership and transformation, but Molara Wood, the editor, writer and my close collaborator, forwarded the story’s link to me.

Aladekomo founded Chams in 1985 and served as Managing Director for 30 years before joining the Board for his final 10 years. Under his leadership, the company grew from a single business into a diverse technology group involved in identity management, payment systems, card manufacturing, pension services, and digital innovation.

I was surprised and replied to her: “He is more than an entrepreneur. I think I will address his intervention in theatre.”

Her response was immediate and revealing.

“That’s why I shared the link with you. We are such a forgetful society. This man made a major and sustained intervention in the growth of theatre in this country at a point when it seemed nothing was happening. If you read everything about his retirement, you won’t find this intervention mentioned, because people have forgotten. Fagunwa’s adaptations were taken across the country, and hardly anyone remembers them. So sad!”

She told me this was exactly why she sent me the story. Someone needed to highlight Aladekomo’s role in Nigerian theatre and remind people that he was more than just a computer scientist and tech entrepreneur. He was also a key supporter of the arts, stepping in when Nigerian theatre needed it most.

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Documentation has always been a challenge in Nigeria. We often fail to properly record our history, achievements, and milestones. This leads newcomers to believe they are the first to do something, even when others have done it before. If we had better records, people would know about those who came before them. That’s why it’s important to revisit the Chams Theatre Series, which Aladekomo’s company led when Nigerian theatre needed new energy.

Beyond being an innovator and altruist who modernised his hometown, Ere-Ijesha, Osun State, with infrastructure including power and waterworks that supply the entire community, a microfinance bank, and an empowerment scheme, Sir Aladekomo, a knight of the Methodist Church, loves God and culture. That affection helps explain why Chams, which was instrumental in the implementation of the Bank Verification Number (BVN), now a key pillar of Nigeria’s banking system and financial inclusion framework, took it upon itself in 2008 to adapt and stage the works of Yoruba pioneering writer, D.O. Fagunwa, across major Nigerian cities without charging any gate fee.

“The Chams Theatre Series is a strategic intervention and contribution of Chams Plc to the rejuvenation of the Arts and stage culture in Nigeria. It is also a means of promoting our culture and re-orienting Nigerians to the values that we hold dear. We believe those values should spur action in our society,” Aladekomo explained back then.

Chams secured exclusive rights to sponsor stage adaptations of Fagunwa’s ‘Ogboju Ode Ninu Igbo Irunmole’, ‘Igbo Olodumare’, ‘Ireke Onibudo’, ‘Irinkerindo Ninu Igbo Elegbeje’ and ‘Adiitu Olodumare’.

The first presentation was the English and Yoruba adaptation of ‘Ogboju Ode…’ by Professor Femi Osofisan and the late Professor Akinwumi Isola. Dr Kola Oyewo, the recently deceased actor and academic, directed the Yoruba version and retained ‘Ogboju Ode…’, while Dr Tunde Awosanmi of the University of Ibadan directed the English adaptation, ‘Adventures in the Forest of a Thousand Daemons.’

Osofisan admitted his excitement at the project before it began: “We all know how nowadays the stage is dying, and how live performances have almost completely vanished from the weekly diary of social experience. We must thank Chams, especially, for this concrete contribution to the life of theatre. Actors are getting employment once again, both on the English speaking and Yoruba theatres, and in such large numbers too; designers and dancers and choreographers are receiving a long-needed push to creative resurgence; and the audience, long starved of direct contact with actors in a live auditorium, will have the opportunity once again of participating in the pleasure and the ecstasy that only a drama production is capable of.”

Osofisan is known for his love of total theatre, which uses music, songs, and spectacle to bring drama to life. He recently celebrated his 80th birthday in Ibadan and Lagos. Together with his director, Awosanmi, they delivered a memorable version of ‘Adventures in the Forest…’

Talented actors like Toyin Oshinaike (Akara Ogun), the late Gogo Ombo Ombo (Elegbede Ode), Taiwo Ibikunle (Olohun Iyo), Martins Iwuagwu (Kako), Simileoluwa Hassan (Efoye), Afolabi Dipeolu (Imodoye), Tunde Adeyemo (Oba), and the late Ify Agwu (Iranlowo) all gave outstanding performances. The play was a true showcase of total theatre, filled with music, dance, proverbs, and folk tales.

It was the same with the Yoruba version handled by Professor Isola and Dr Oyewo. Theatre lovers in Ibadan, Lagos, Abuja, and Ile-Ife had a great time watching the plays, all of which were free. Special matinees were also held for students in some of the selected cities.

‘Ireke Onibudo’ was the second offering of the Chams Theatre Series, and like the first, was excellent total theatre applauded by the public and critics. Osofisan adapted the text into ‘The Fabulous Adventures of the Sugarcane Man’ while Isola retained the title, ‘Ireke Onibudo.’ Awosanmi and Oyewo again directed the English and Yoruba versions, staged this time in Ibadan, Akure, Ile-Ife, Lagos and Abuja.

Both plays were great examples of the total theatre style that the two playwrights loved and Nigerian audiences enjoyed. Even now, many people who saw those shows still remember the songs that filled the auditoriums.

“Ireke Onibudo mi, oruko re dun juoyin lo…”

Then there was:”Ajangoloto, Ajangoloto, Akintunde, Omo Beyioku, Ajangoloto. A nwaowo lo, awa padeife, Ajangoloto.”

And another enduring refrain:”Baba wa o ma ku o, bosenjeba lose njeka.”

Such songs linger long after the curtain falls. They testify to the emotional and artistic power of the productions.

Commendably, both playwrights who handled Chams’ plays employed a mixture of stage and Nollywood actors to good effect. Some popular Nollywood actors in the Yoruba genre who feature in ‘Agbara Ife’ gave a good account of themselves.

The late Toyosi Arigbabuwo, Gbolagade Akinpelu (Ogun Majek), and John Adewole (Tafa Oloyede) all began their careers on stage and proved they still had great talent. Others like Samson Eluwole (Jinadu Ewele), Peter Fatomilola,Kayode Olaiya (Aderupoko), and Jolaade Adejobi (Mama Wande) also stood out. The actors in the English version were just as impressive.

Though Chams couldn’t continue the series because of bad faith actors of the Federal Government, which almost bankrupted it on three separate occasions because of its involvement in the national identity card project, its intervention was substantial and the impacts significant, especially with the large cast and crew of the adaptations and the decision to open the gates.

Even though the Chams Theatre Series didn’t last long, it made a lasting impact. This was not just because of the high quality of the shows, but also because so many actors, musicians, designers, technicians, and other theatre professionals were involved. Just as important was the company’s bold move to make the shows free for everyone.

The Yoruba saying, “Bi oníresèbákọ́ tí ó fìnigbámọ́, ẹyítótifìnṣáájúkòleèparun” — If the master carver stops crafting exquisite calabashes, those he has already made remain indestructible, aptly captures the significance and impact of the Chams Theatre Series. They were rich, spectacular, uplifting and memorable, like some earlier interventions that were not adequately documented.

None of this would have happened if Aladekomo, who was Managing Director of Chams at the time, hadn’t approved the series. He saw that technology and culture could work together.

Quiet, thoughtful, humble, and resilient, he left the Chams Holding board on July 9. He is an unsung hero of Nigerian theatre, with a legacy that goes beyond technology and charity to include culture and this important support for theatre.