Collision Course: A Movie Review By Chris Iheuwa

I had registered for one of the foremost film festivals in Africa, African International Film Festival (AFRIFF) to celebrate its 10th year festival anniversary, and was glad to receive a 'Special Invitation' to see the festival closing film, 'Collision Course,' directed by a lawyer turned theatre and movie guru, Bolanle Austen-Peters (BAP), and produced by Joseph Umoibom and James Amuta at the Landmark Event Centre, Victoria Island, Lagos state.

At the entry, I was forced stopped by an obese, arrogant, yet stern-looking gatekeeper. His white 'buba and sokoto' didn't do credit to his serious and uncompromising attempt, particularly in asserting power and enforcing discipline, nor to his impression of carrying out his orders of 'No IV, No Entry.'

I ordinarily wouldn't have noticed, but three or more people waltzed in as if they owned the place, or even the event, rather than Chioma Ude, the convener, and he made no attempt to stop them. I couldn't figure out why this had happened. It was certainly not humorous to me. He finally let me in after insisting on vetting my IV, which he did reluctantly.

"Kim fi oruko bo la siri," as Yorubas would say. To avoid embarrassment, I'll keep his identity hidden. We sat down, and Lala Akindoju, the ever delectable, kicked things off by outlining the customary housekeeping regulations. She introduced the exquisite BAP as one of her close friends and coworkers not long after. BAP, who was dressed in a red gown and had a well-kept hairstyle, gave us a rundown of what to expect and gently recommended we relax and appreciate the unexpected.

After a few seconds of technical difficulties, the movie began. I have to admit that I am a little biased when it comes to the film 'Collision Course,' because it touched two nerves in me that caused me to become really agitated. First and foremost, I am a professionally trained actor/director, as well as a trained Supernumerary Police Officer- ‘you gerrit, if you don't gerrit, forget about it. So the presentation was anticipated, but in all honesty, it was the anticipation of what our sister lawyer turned movie director had to offer. No pun intended.

‘Collision Course’ was inspired by the #Endsars demonstration on October 20, 2020, which shook the Nigerian fabric. The purpose of the protest was to petition the authorities about alleged heinous crimes and extrajudicial killings perpetrated by the Special Anti Robbery Squad, (SARS), a unit of the Nigerian Police in charge of detecting, investigating, stopping, and stamping out armed robbery and related crimes.

The movie has a main plot and several subplots that intertwine to give us a potpourri or variants of life. The rich and the poor, the Government Reserved and Respected Area, and The Government Rejected Area, conflict of privileged parents and the perpetual war with their misunderstood children, The Government and the governed, and of course, the Police and the civilian populace as personified by Corporal Magnus and Mide Johnson played by Daniel Etim Effiong, who played the role of the overseas trained Lawyer turned struggling musician and his insecure wife wannabe pregnant girlfriend Hannah played by Big Brothers’ Bamike 'BamBam’ Adenibuyon.

Bolanle Austen-Peters (Director)

Temi had an encounter with TARS men (for the purposes of the film, SARS was renamed TARS) that left a perpetual scar on him and affect his respect for the men in black. He had seen firsthand how extrajudicial killings are carried out and how innocent individuals are literarily wasted for failing to pay their way out of the clutches of TARS troops who had scented and tasted blood.

 

This occurrence served as a preface to the film, and it is from this prelude that the rest of the film takes shape. The film begins with the beautiful Chioma Akpotha, who plays Corporal Magnus' wife, played by Kelechi Udegbe (in case you didn't know, Udegbe means "gun sound" in Igbo) scolding her husband for not taking care of the family and threatening to leave her matrimonial home for her father's home with her children. He assures her that he will join TARS and make money, but his wife mocks him, claiming that he is lily-livered and incapable of killing a cockroach.

Daniel Effiong

Now, what I like about the opening sequence, which was relatively captured by the writer James Amuta, and executed by the director, is the reality that stares us in the face, and just like the actors portrayed, the Police, who are grossly underfunded and poorly cared for, their remuneration is not in the least commensurate with the reality on the ground. I'll leave what I don't like for now till later, please excuse my grammar.

 

Corporal Magnus rides to work on a bike that was seized and was in the possession of a colleague who, as another rank police officer, is also dealing with challenges. They bemoan the occupational hazards they face, and their conversation leads to Magnus deciding to visit the TARS Commander, played by Greg Ojefua.

 

The Commander, or BOSS, as he prefers to be referred, is a quintessential example of a bad apple in any organization, be it police, military, or civil service, not to mention the private sector. A case of utilising what you have to get what you need, no matter whose ox is gored. The Boss informs him that his application to be transferred to TARS is complete, but that in order to demonstrate his commitment to the system, his (Magnus) wife must come to collect the transfer signal from the Boss. Of course, that gesture will have far-reaching repercussions for everyone involved.

Chioma Akpotha

While at work, Corporal Magnus receives a call from his wife informing him that she has carried out her threat of moving out of their matrimonial home and into her parents' home. This piece of news has a negative impact on Corporal Magnus as he begins to forcefully collect stipends from motorists, an act that, prior to receiving the phone call, was a case of the motorists not being corporative or generous in his opinion.

 

One of the few cars he stopped for the usual was sadly driven by Johnson, who was already upset over being cheated by a club manager who didn't think he had what it took to be a trendy and youth-centric dance floor musical artist, his father for not understanding his passion lies in music and not law practises, and of course, the ever reoccurring image of the executed civilians by the lagoon by TARS team members. The double-nuzzled shotgun was sure to go off, shattering the delicate and glass-like stillness in numerous directions.

 

Refusing to pay the 'bribe,' Johnson asks his girlfriend and their friend to drive him home in a hired taxi while he is held hostage on a drive. It is during this forced drive that the Policeman and Civilian realise that they are both victims of bad society, a society where the upper echelon of society cares less about the less fortunate part of society, a society where a Policeman has no insurance and must pay for his own injuries.  It is spent before it reaches the beneficiary's account, resulting in a disastrous society in which 10% of the population controls 90% of the Commonwealth of a people. The relative serenity and some worth friendly resolution are shattered by the thunderous sound of a recoiled chamber and the wayward life arm that has left its now revolving shell casing into Johnson's torso.

Gregory Ojefua

In a panic, Corporal Magnus calls The Boss, who sets up an armed robbery with a gun gone the wrong scenario, while Bambam, who is pregnant, reports to the DPO, played by Norbert Young, with her friend Nneka, played by Ade Laoye. The DPO dispatches his officers to the crime scene, where Corporal Magnus is caught.

 

Without a doubt, this is a sad tale, but it is a glance into the ever-revolving black door that exposes and reveals the unfortunate situations and occurring that abound in our society and beyond.

 

A year or so ago, George Floyd was murdered primarily because of the colour of his skin, an Indian Hindu family was apprehended in England for masterminding the gruesome murder of their only daughter because she wanted to marry someone who was not acceptable to their family, and xenophobic attacks in South Africa are still fresh in our minds. Unfortunately, it is the culture in which we live, and every society has its peculiarities.

I must applaud Austen-Peters for broadening the scope of the topic of police brutality. Several shows and films would linger on how the police did this or that without delving into the causes of such acts, yet we cannot state that underfunding is an excuse for such behaviour.

We can't stress the importance of police welfare enough. These men and women have needs, as well as families and homes to care for. The government must ensure that an enabling environment and tools of service are readily available and not out of reach of non-gazetted personnel; and those non-commissioned officers are not forced to sit and watch junior colleagues with similar attributes, qualifications, and pieces of training climb the promotion ladder at their expense.

 

Before I start sounding like an armchair critic, let me say that I admire and applaud the casting. Kelechi Udegbe's portrayal of the role was right on, and it's no surprise that he carted home the festival's most coveted prize, 'Best Male Actor.' Aside from the casting, accolades should also be given to the location manager, technical team, and set and property crew.

Even though the sound wasn't emanating from there, I didn't have to squint or get close to the cyclorama to hear the voices. The camera work was likewise excellent, and I must pay shining respect to BAP for these aspects. My concern, on the other hand, is with two units: the Costume and Continuity departments. When commencing on a project of this magnitude, it is necessary that each unit conduct a thorough study in their respective departments.

 

The Police Uniforms were woefully insufficient in terms of form, presentation, and appearance. If we had chosen to wear any adornment instead of the eagle, elephant, and two crossed batons, I could have missed the severe error. But, despite the fact that this is a creative process, as Aristotle stated, "Art is a Collaborative process," the elephant, eagle, and two crossed batons are the symbol of the Nigerian Police. 

Bimbo Manuel

The DPO's uniform, worn by Norbert Young, should have been tucked in because it lacked the two bottom pockets. Magnus should have only two buttons on his shirt as a Corporal, and his name and file number should be plainly written on his clothing. All military and paramilitary crests or cap badges are worn to the left in Nigeria, with the cap twisted to the right. Any non-civilian personnel seeing Corporal Magnus wearing the cap bent to the left will have a fit, just like I did. I suppose the message is clear: his handling of the firearm, indeed the handling of the rifle by all those involved reeked of ignorance.

BamBam's seat belt was frequently off and on during their journey from the Island to the Mainland, which the script supervisor/editor should have seen. This should be double-checked because such a glaring continuity issue in such a big movie was embarrassing.

Yes, before I forget, newly deceased bodies tend to sink and only rise once rigour Mortis sets in and the major stage of internal organ and tissue breakdown begins. Police officers and medical pathologists should be contacted before proceeding with any police-related endeavour; I didn't even see a Nigerian flag.

 

Bimbo Manuel, Kenneth Okonkwo, and other actors who demonstrated genius must be mentioned and commended. Thank you, BAP, for a worthwhile piece of work; I greatly enjoyed myself and look forward to knocking on your door again in future to see another masterpiece. Eku ise oooooh.

Chris Iheuwa writes from Lagos.

Chris Iheuwa

Cyril Odenigbo's Female Mutilation Film, Break The Blade Hits Cinema

After months of filming and distributing attention-grabbing teasers on social media, Nollywood director and filmmaker Cyril Odenigbo, the CEO and Creative Director of Magnus Film Academy, will finally premiere his much-anticipated film, 'Break the Blade,' on Sunday, October 17th, 2021.

Cyril Odenigbo

On social media and in the entertainment sector, there are ongoing hypes and promotions. Several actors, including Yul Edochie, Mike Ezuruonye, Chizzy Alichi, Junior Pope, Adaeze Eluke, Jibola Dabo, Klint the Drunk, and Clemson Cornel, are directing their fans and followers to this premiere via extensive social media campaigns.

 

‘Break the Blade’ (BTB), a one hour, thirty minutes suspense-filled African film is a revolutionary cinema feature African film shot in 4.6k resolution for the big screen to tell the untold story of female genital mutilation traditions in Nigeria. The main goal of this historical film, which was co-produced by Magnus Film Academy and Ten Pounds Studio, is to raise awareness about female genital mutilation in African civilization. The private screening of the film, which took place in June 2021, drew the attention of various NGOs and individuals involved in anti-female genital mutilation campaigns.

"The film, which stars Jibola Dabo, Adaeze Eluke, and others, is also being promoted to emphasize the need to raise awareness about the hidden aspects of female genital mutilation, as well as to further educate the public on the other consequences that are likely to result from the archaic practices," says Cyril.

Cyril Odenigbo

According to the film's host, there are more unreported stories regarding female genital mutilation in some African communities that have negative consequences for the victims and their future generations, which the video aims to uncover.

The inaugural premiere of Break the Blade Movie will take place at Diamond Cinema in Spar Enugu Mall on Sunday, October 17th, 2021 at 4:00 pm.

You can get your ticket online or from the designated centres advertised.

 

Francis Duru Goes On Stage With 'Hopes Of The Living Dead'

Talent can win games, but an individual commitment to a project is what makes teamwork and people successful because teamwork and intelligence are the ability to work together toward a common vision.

 

The Imo state born and University of Port Harcourt thespian, Francis Duru is a team player, professionally trained theatre practitioner, actor, master of ceremony, model, director and a true visionary leader who has the confidence to stand alone, the courage to make tough decisions, and the compassion to listen to the needs of others. He did not set out to be a leader but becomes one by the equality of his actions and the integrity of his intent as a good communicator committed to his passion for honesty and integrity.

 

In this interview Perekeme Odon, Francis highlighted his job as the Senior Medical Officer on Ola Rotimi's Hopes Of The Living Dead concert, produced and directed by Ovunda Ihunwo on October 1, 2021, at The Arena, Tombia Street, GRA Phase 2, Port Harcourt.

Francis Duru

PO: When you were younger, did you dream of going on to work in the entertainment industry as an actor?

 

Francis Duru: No

 

PO: Can you tell me what inspired you to pursue acting as a career?

 

Francis Duru: It was a chance/ opportunity waiting for the JAMB result in 1989/90.

 

PO: How long have you been performing as an actor?

 

Francis Duru: Since 1989

 

PO: Where did you get your start?

 

Francis Duru: Port Harcourt: Sette Productions (Pa Paul Worika) and Wizi Travelling Theatre (Professor Innocent Ohiri).

 

PO: What was the first stage/theatre production experience like?

 

Francis Duru: Awesome, tough but joyful.

 

PO: What initially drew you to pursuing a career in acting?

 

Francis Duru: Academics: Got trained academically and got inspired to embark on it professionally.

 

PO: You're in the cast of the play Hopes of the Living Dead. A drama of struggle, which figuratively depicts the diversity of our society as the play's Senior Medical Officer, how well prepared are you?

 

Francis Duru: As ready as now.

Franicis Duru & Charles Inojie

PO: Diction refers to both word choice and vocal expression or enunciation, and sentence structure is an important linguistic component of the playwright's style. It is through this element that a writer's thoughts, sentiments, and emotions are communicated to his audience. How do you intend to accomplish this in a play set in the pre-independence years of 1928-1932, depicting the characters' battle for the right to exist and live in dignity in society?

 

Francis Duru: The actor prepares psychologically, emotionally, physically. The director is a guide, the playwright has given tremendous insight into character delineation, the actor puts all that into place to birth the character. It is an ensemble, collaborative endeavour. Diction, language is a medium through which all these manifest. In-depth collaboration with the director in line with his character mould for the character can place the character within a geographical, socio-cultural context, status, etc. Which determine character portrayal? Diction/speech remains but the logical calculation of the thought of the character is expressed in intelligible language flavoured to suit the status, socio-cultural dimensions of the character. The director and the actors work towards this for the common good of the production.

 

PO: Do you think Ikoli Harcourt Whyte would have realized his potential and been cured if the lepers had not been brought to Uzoakoli?

 

Francis Duru: Multiple dimensions to that, and left to the audience to deduce.

 

PO: What methods would you employ to build a credible character for the Senior Medical Officer of 1928 as a well-trained theatre artist with years of experience and familiarity with the Konstantin Stanislavski acting theory? Are you, on the other hand, learning a brand-new acting method specifically for this project?

 

Francis Duru: Theories are but a guide, there is an unconscious pathway the actor goes through, it does not follow any theoretical framework. As the actor garners more experience, he becomes knowledgeable in character interpretation- thus he remains the chief interpreter and sometimes the tools he uses are wrapped in the mystery of the creative process. Until he deliberately studies his thought processes towards moulding character, he may not decipher which theory he is using, has used, or may use. The ultimate aim for the actor is to mould a believable character and to achieve emotional reality. If all actors deliberately study their thought processes,  we will have theories greater than the Stanislavskis, Messners, you name them and many other great minds. Every acting book is a cumulative documented piece of an actors experience, thus every actor is an acting book that has not been written. Acting is a deep psychological process wrapped in a mystery like Shakespeare would say {“ There is no art to know the minds reconstruction”}.

 

PO: The drama shows what we face on a daily basis. Do you understand that no government has ever kept every promise it has made?

 

Francis Duru: It’s a known fact. Ola Rotimi was a prophet of his time, maybe his bespectacled nature made him see the future with graphic details as in “hopes of the living dead”(On a lighter note).

 

PO: Since Lee Strasberg's method of acting, which draws personal connections from the actor's feelings and experiences to create lifelike and realistic portrayals of the characters by using sensory memory, may not be present in your role in Hopes of the Living Dead, how do you improve your acting skills by using various acting techniques like Meisner's truth-based techniques and Chekhov's psycho-physical techniques?

 

Francis Duru: Study. Every actor is an acting book, every movie an acting class. Evaluating and having critical overviews on actors’ performances local or international, remains a learning process, it also helps me to be a better actor especially as I learn from them. 

 

PO: When working with other actors, actors are required to play roles with precision, flexibility, and strong personal interpretational abilities. What role and actor are you most looking forward to seeing in this play?

 

Francis Duru: I have built myself to  act without inhibitions. Acting is a collaborative art. Professor Emaselu likens it to “ A relay race baton technique” exemplified in the philosophy of the frog in Ola Rotimis Kurumi. “Bumi-Mbuo” “Mbuo- Bumi” “ Give me I take, I take I give you” (paraphrasing). I’m always ready to work with all, irrespective of status, sociological ties, adding value to all. It is a symbiotically- tied experience.

 

PO: Can you tell us about your personal interactions with Prof. Ola Rotimi, the playwright?

 

Francis Duru: He berated me for a big blunder on stage, which bothers on safety for the actor, I took a stupid risk all in the name of improvisation on stage. I cut myself while on stage in the play, (Spokesman for the Oracle Directed by Professor Barclays Ayakoroma Uniport Theatre) he noticed and sent for me at the end of the play, he literally flogged me, I was driven to his house and he gave me a meal of yam and stew with beef and told me something which remains my biggest award as an actor, I have held that and kept it so close to my chest- it has become a guiding principle till today.

 

PO: Talent or training, in your opinion, is more significant for an actor?

 

Francis Duru: Training, training.

Rehearsal Session

PO: As a professional in both fields, how does acting in a film vary from acting in a theatre/stage play?

 

Francis Duru: Define the medium of expression. On stage the medium is manual raw vocals. On Set, vocals are electronically amplified. Theatre requires more physicality, set requires less in delivery and expression, the camera makes it easier for the actor, stage calls for psychological immediacy.

 

PO: How do you rehearse a scene if the other actors with whom you need to engage are not available?

 

Francis Duru: Rehearsals come in different modes, understanding your script, finding the subtext, creating various contextual climes that surround the character and learning your lines are part of the rehearsals. Exchange in dialogue can always be done with standbys, double cast or anyone as may be available it does not pose any problem but there must be that one rehearsal which brings the actors concerned together.

 

PO: How do you respond when you receive a negative performance review?

 

Francis Duru: I look into criticism with objectivity and keep sentiments apart. Probe the criticism and you will find gold in it. Criticism is all part of the mix, I mean constructive criticism, no work of art functions without it, it is in line with ethics and practice.

 

PO: To be successful as an actor, one must have a thorough understanding of the character they are portraying in great detail. What actions do you take to thoroughly comprehend the significance of your character to the story??

 

Francis Duru: Character interpretation is a complex, spontaneous, psychological activity, critical thinking is key, and spontaneity is a constant. I do not have laid down techniques. As the thought process is on course, the memory bank is at work, aspects of imagination, observation, exploration of one’s innermost resources are at play. Critical thinking is on course, when critical thinking is on course, one can now boldly say that critical thinking remains a paradigm for character building and interpretation. (On a lighter note, at least naa this one fit be my own theory. Francis Duru theory on a lighter note aka lol)

Francis Duru

PO: Can you tell me about your most recent stage experience?

 

Francis Duru: “Tony wants to Marry” Drive In Theatre, seamless, cool and enjoyable.

 

PO: How do you combine your professional and personal lives, because I see you living both lives at the same time?

 

Francis Duru: It’s a call to action to do all and apportion appropriate priority to all without hurting the other. Multitasking experience.

 

PO: How do you deal with squabbles between yourself and the directors?

 

Francis Duru: Talk it over, it’s not an ego thing. Diplomacy is key, keep shoulders down, listen to each other, do not talk to show you know or trying to impress, just express towards the concerns of the play. Superior wisdom rules, no one is the sole repository of knowledge. Nothing in life is conclusive.

 

PO: Describe your most difficult theatrical role to date.

 

Francis Duru: 84 years old German, the right part of his body stroke ridden, tobacco-smoking academician, Dr Karl Abrahamzick.  I was in my certificate course in Theatre Arts then, a new undergraduate student doing final year directing project for Dr Dike Nwachukwu with Prof Femi Osofisan as external examiner. Second one is Dr Guinea Byrd; Directed by Dr Carrol Dawes, pray she is still alive, written by Gwyneth Dawes, play titled Guinea Byrd, 1989/90. They all required in-depth characterization that till today, I still can’t fathom how that happened. Then “Sizwe Banzi Is Dead” by Athol Fugard directed by Nwafor Friday.

 

PO: Whom do you regard to be your acting role model, and why do you want to emulate their career?

 

Francis Duru: I do not emulate, I learn from them a lot. Denzel Washington & Alfredo James Pacino are my role models. Joke Silva & RMD - They inspire me and remain human institutions of learning in acting.

 

PO: What was your longest-running stage role?

 

Francis Duru: Dr. Byrd, 3 hours on transverse stage.

 

PO: A message to you fans on what to experience on the performance of the play, Hopes Of The Living Dead.

 

Francis Duru: Have a date with this beautiful piece from the master, it’s a time to cherish, bring the family. Theatre is life, come and have a wonderful experience.

 

 

Edward Imo, Star Of 'Hopes Of The Living Dead' Talks About His Role

Edward Imo is a name that cannot be disregarded when it comes to modern stage plays and performances in Port Harcourt. He was able to work in a range of genres due to his wide expertise in the entertainment industry (stage, music and film). He has performed in starring roles and directed a variety of theatre, film, and television productions. Edward Imo is a lecturer at the University of Port Harcourt and holds a PhD in Theatre Arts and Film Studies from the same institution.

On October 1, 2021, Independence Day, the Rivers State actor and theatre educator is expected to exhibit a thorough mastery of the subject as Ikoli Harcourt Whyte of Ola Rotimi's Hopes Of The Living Dead at The Arena, 30 Tombia Road, GRA Phase 2, Port Harcourt.

PTV Media's Perekeme Odon spoke with the actor on his role as Ikoli Harcourt Whyte and other things. Have a good time with the interview...

Dr, Edward Imo

PO: Could you tell us about the schools you attended?

Edward Imo: I attended Government Primary School, Ahoada, Western Ahoada County High School, Ahoada and the University of Port Harcourt, Choba, Port Harcourt, Rivers State where I studied Theatre Arts and Film Studies.

PO: As a youngster, what did you want to be when you grew up?

Edward Imo: My early childhood dream was to be a lawyer.

PO: Can you explain to us why Hopes of the Living Dead, a play symbolically portraying our society's variety, should be presented at the Garden City Arena in Port Harcourt on Nigeria's independence day, October 1, 2021?

Edward Imo: The production of Ola Rotimi's Hopes of the Living Dead is apt as Independence Day celebrations play because it portrays the leadership quagmire that has enveloped the Nigerian nation since independence in 1960. The play compels us to reflect on the gains and pains of Independence.

PO: Hopes of the Living Dead is a conflict drama that figuratively depicts the variety of our society via your character, Ikoli Harcourt Whyte, and the British Administration. How prepared are you to play the part in front of your followers and audience?

Edward Imo: By the grace of God, I am putting in my best to ensure that I do justice to the role interpretation of Ikoli Harcourt Whyte. Apart from the character being complex to interpret, I am a lecturer that would be acting with his students so I have the challenge to put up a scintillating performance befitting of my status of a lecturer that teaches theatre theory and Criticism. I need to be exemplary in my role interpretation so as to instil confidence in the student actors in the company on one hand, and the generous number of my fans outside the university community.

PO: Who exactly is Ikoli Harcourt Whyte?

Edward Imo: Ikoli Harcourt Whyte is a historical figure and epitome of purposeful leaders who championed the course of the leper's struggle for freedom at the hands of the management of the General Hospital, Port Harcourt. He is of Kalabari extraction, but his leadership scope transcends ethnicity. He is a singer, composer, conductor and philosopher. He represents transparent, selfless and dedicated leadership.

(l-r) Charles Inojie & Edward Imo

PO: Is this your first time portraying Ikoli Harcourt Whyte?

Edward Imo: Yes 

PO: What piques your interest in this role, and what is your delivery rate for it?

Edward Imo: Well, I must confess that I have always dreamt of playing the role of Harcourt Whyte but in this production, I never lobbied for it. In the last production of Hopes of the Living Dead by the same director, Ovunda Ihunwo a few years ago, I played the role of Superintendent of Police but this time, the role was given to the Nollywood star, Charles Inojie. So the director simply cast me to play the role of Harcourt Whyte. The director is confident that I would deliver on the role any day. any time in spite of the challenges attached to it.  Like I said earlier, I am ready psychologically, mentally and physically to deliver on the role interpretation of Ikoli Harcourt Whyte.

PO: What makes you the best choice for this role?

Edward Imo: I do not feel that I am the most suited for this role. I took on this role based on the decision of the director. I believe the director is convinced that I will do justice to this role having worked with me on several of his productions where I played leading and challenging roles.

PO: The information you've gathered has a significant influence on your personality. It's critical to know the era and historical period in which your character lives. How can you immerse yourself in the time and generation of your character to attain spoken English of then and now?

Edward Imo: Fundamentally, believable character interpretation requires in-depth research. I started by digging deep into history as regards the life and times of Ikoli Harcourt Whyte and also the predominant mannerisms and gestures of the times that he lived. My research became complemented by the details of stage business that Rotimi deposits in the script. These two factors have sharpened the thrust of my role interpretation of Harcourt Whyte.

PO: What is the most challenging scene in the play for you?

Edward Imo: Going by this, I would say the most challenging scene is Act One, titled "Crisis", Happenings Two (Page 27) where Harcourt Whyte has to rebuke Editor for being rude and pompous.

PO: What attitude and approach are needed for the position of Ikoli Harcourt Whyte?

Edward Imo: The character of Ikoli Harcourt Whyte is rounded and sensitive, so it requires developing a philosophic mindset as well as being reflective. Any actor playing this role will sure develop his skill for mood swings. Such an actor would also need to work seriously on his delivery patterns that are, modulation since the character speaks both in low and high tones depending on the predominant dramatic atmosphere.

Edward Imo As Ikoli Harcourt Whyte

PO: You must be a competent vocalist who knows virtually all of Ikoli Harcourt Whyte's odd hymn sections. Have you heard "Otuto Nke Chukwu" by Ikoli Harcourt Whyte and can you sing it?

Edward Imo: Good a thing I am a foundational chorister of the Anglican.  I enrolled in the choir only when I was nine. This gave me some strong music orientation as a teenager. The director, Ovunda Ihunwo is a seasoned music director and choirmaster in the Anglican Church. So it became very easy for me to flow with him musically. I can safely tell you that I am at home with all the songs composed by Harcourt Whyte beyond " Otuto Nke Chukwu".

PO: In your opinion, which song by Ikoli Harcourt Whyte is the best?

Edward Imo: My best Harcourt's song is " Chegbem ooo"

PO: To what extent would your role interpretation reflect the playwright's emphasis on the interaction between leader and led? 

Edward Imo: I see the issue of leadership as the thrust of the message raised in the play. In course of reading the play, I deduced an obvious breach in communication between the leaders and the led. It is this gap between them that informed my motivation for the characterization

PO: This is a typically melodramatic production that puts a lot of pressure on the actors and crew. Do you believe in the playwright's charge theory of holding your soul hostage until the production is over?

Edward Imo: Of course I believe in Ola Rotimi's charge theory to his cast and crew. The charge is one way of eliciting commitment from the actors. It should be spelt out that my director Ovunda Ihunwo tows a different path from Rotimi's charge theory, maybe as a result of the generational gap. Ovunda motivates his actors by being flexible in his approach to actors. He takes into cognizance the different challenges of cast and crew and ensures that he accommodates their plights in fixing rehearsals. Ovunda"s approach differs markedly from Rotimi's charge and demand for the actor's soul. So far so good, it has been working for Ovunda. 

PO: What do you view as the most difficult task in this production?

Edward Imo: I foresee an overcrowding issue in the auditorium, which would necessitate audience management for both shows. The producer might run into some level of confusion trying to stop some enthusiastic members of the audience who may not have a seat to sit down and enjoy the show. 

PO: How do you keep yourself motivated at work?

Edward Imo: The level of seriousness and commitment from the director determines motivation for any production. I get easily motivated working with Ovunda Ihunwo because he understands my busy schedule and the need to give me a break from time to time. He does not pressurize me and that's enough reason for me to be motivated to work with him. 

PO: Can you tell me about a time when you failed in this job and what you learned from it?

Edward Imo: I cannot figure out any time I have failed in this role. However, the lesson I learnt is that, there is the need for an actor to study and master his line in good time. I have learnt that learning one's lines early enough sure prepare the actor ahead of the production. 

PO: What is the most enjoyable aspect of becoming an actor?

Edward Imo: The best part of being an actor, for me is that moment when members of the audience come backstage looking for me to express their appreciation for a scintillating performance. That to me is the height of appreciation of my art. 

PO: When did you first realize you wanted to be an actor? 

Edward Imo: My acting spirit dates back to my infancy and formative years. As a boy of 10, I was already taking in the lines of all the characters in The New Masquerade.

PO: What do you know now about acting that you wish you knew when you first started?

Edward Imo: What I have learnt now is the virtue of learning my lines slowly and steadily for purposes of believable interpretation. Before now I would always be in a hurry to impress my director by taking in all my lines but today, I take my time to do that while still looking for appropriate characterization. 

PO: Which three actors would you most like to collaborate with if you had the chance?

Edward Imo: Sam Dede, Richard Mofe-Damijo and Bimbo Manuel.

PO: Tell us about your proudest stage achievement.

Edward Imo: My greatest achievement on stage has been acting alongside Nobert Young, Bimbo Manuel and Monalisa Chinda in King Jaja as directed by Ovunda Ihunwo, and then Francis Duru, Segun Arinze, Ebele Okaro and Onyeka Onwenu in The Concubine as directed by same Ovunda Ihunwo.

PO: Do you also act on the big screen? If so, what is the distinction between film acting and stage/theatre acting?

Edward Imo: I have acted on screen but not much for now. The difference is much. But basically, the stage challenges you to be more involved in taking in your lines deeply, and the physicalization of the actions. While screen lures us to be lazy in taking in our lines far ahead of time since there is room to cut the recording in case of mistakes. Also, film acting requires more of our facial energy than the entire body.

Rehearsal With Director Ovunda Ihunwo 

PO: Do you like to perform in films or on stage?

Edward Imo: Stage acting sure gives me better satisfaction and challenges as a professional, but film acting has the potential to launch me into stardom faster. Both of them are important in their own rights. I prefer both of them.

PO: What are your future ambitions as an actor, and how long have you been in the profession of acting?

Edward Imo: I've been performing since 1997 when I was a Certificate student in Theatre Arts at Uniport. However, my interest in acting increased in 2006 when my path crossed with that of Ovunda Ihunwo at the Crab. He started bringing me into his productions to this day. My goal is to be a famous actor both on stage and screen in order to complement my core area like a theatre critic.

PO: What is the most difficult aspect of being an actor?

Edward Imo: The most difficult aspect of being an actor is the triviality attached to it by most persons in society because they feel that it is an all-comers’ profession. Working with a wrong cast and crew especially the director can make acting boring and demoralizing.

PO: Do you have the ability to play any musical instrument?

Edward Imo: Yes. I play the drums, bass guitar, conga, and a little keyboard.

PO: In what stage or theatre play did you first perform and how do you strive to enhance your acting talents using various theories and techniques of acting?

Edward Imo: My first production was Prof. Ikonne's No Man's Land as directed by Columbus Irisoanga in 1997. I played the role of Dr Akanda Akawo. I have always studied Stanislavsky's Method, and then Meisner's variant of Method. These theories have helped me a great deal.

PO: Are you a member of the Actors Guild of Nigeria (AGN) or the National Association of Nigerian Theatre Arts Practitioners (NANTAP)?

Edward Imo: Yes. I am a member of both.

PO: Thank you very much for your time.

Edward Imo: You're most welcome.