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.

One-On-One With Igweagu Blessing On Her Role In 'Hopes Of The Living Dead'

On another show time performance, screen and stage actress Igweagu Blessing Ngozi talks with Perekeme Odon about the staging of Ola Rotimi's Hopes Of The Living Dead produced and directed by Dr Ovunda Ihunwo, at The Arena Event Center, GRA Port Harcourt on Independence Day, October 1, 2021.

As Blessing plays Hannah, the production will blend creativity and imaginative transformation performed by some of Nigeria's best-known and most accomplished actors and actresses.

Igweagu Blessing Ngozi

Read excerpts of the interview below.

Which state are you from?

Blessing: I am from Enugu State, Nigeria.

What are your educational qualifications?

Blessing: I obtained my First School Leaving Certificate at Otto Primary School, Ebute-Metta. I later went to Mainland Senior High School, Lagos state and then obtained a BACHELOR OF ARTS degree in Theatre and Film Studies at the University of Port Harcourt, Rivers State, Nigeria.

As a kid, what did you want to become when you grow up?

Blessing: I have always liked acting since childhood. I always participated in children drama and recitations in the church so when it was time for me to leave for the University, it was only natural that my choice of study was Theatre and Film Studies.

How long have you been an actor? 

I would say I have been an actor for about 20 years. I started acting as a child from the church in the children’s theatre department and then went on to study theatre and films studies at the University. I have also been in numerous stage plays, featured in movies and TV shows.

Can you remember your first stage/theatre production?

Blessing: My first stage/theatre was a play titled Deacon Dick. This was during my pre-degree programme at the University of Port Harcourt

What attracted you to begin a career as an actor?

Blessing: Growing up, my mother always watched a lot of Nollywood movies. Seeing how those actors kept them entertained made me more certain about picking up acting as a career.

The play, Hopes of The Living Dead is based on the true-life story of Ikoli Harcourt Whyte. Written by Ola Rotimi and directed by Ovunda Ihunwo. How prepared are you to mount the stage come October 1, 2021, at The Arena Event Center, GRA Port Harcourt?

Blessing: Very prepared but still thinking of ways to make my character more unique.

Blessing Ngozi

Did you audition for the role, Hannah?

Blessing: Yes I auditioned for the role of Hannah, and was cast by the director among another potential cast. Though there is a double for the role.

How inspirational is the role of Hannah in Ola Rotimi’s Hopes of the Living Dead, as directed by Ovunda Ihunwo to you?

Blessing: The Director, Dr Ovunda Ihunwo, portrayed the role of Hannah to be very inspirational by showcasing how she stood up for the inmate when the matron was trying to treat them like people of no importance just because they were living with leprosy. 

Diction means both choices of words and vocal expression or enunciation. This play set in the pre-independence years during the Lepers' Rebellion of 1928 -32 illustrates the struggle of the characters to attain a right to exist and live in dignity in society. The use of language situated within a historical context clearly depicts this struggle in the context of an inter-relationship between leadership and followership. How do you plan to achieve that?

Blessing: I consulted native speakers of some of the Nigerian languages of the South-South to learn basic conversations in their native dialects. There are instances where my character chooses to express herself in one or more of these dialects.

Symbolism is a literary device used in writing, which stands for, suggests, or means something different. The Court Clerk symbolizes or represents Solomon in the Bible, and Ikoli Harcourt Whyte represents Moses.  What does Hannah symbolize?

Blessing: Hannah in this context symbolizes Esther. Hannah stood up for the inmates, she defended the inmates when the hospital matron saw them as a nuisance because they had leprosy and just as Esther in the bible, Hannah advocated and stood up for her people.

What steps do you take to fully understand the importance of your character to the story, Hopes of The Living Dead?

Blessing: First by reading the script and understanding the script, then understanding the role of Hannah in the play, knowing the character motivation like why Hannah reacted the way she did to the matron, also the situation surrounding the character.

Do you believe the play depicts what we face in the real-life Nigeria of today?

Blessing: Yes I do, looking at how the government treats its citizens not caring if they live or die.

What acting techniques do you use to create a believable character?

Blessing: I use Sanford Meissner’s technique, which is “truthful acting”, making each scene look believable and Stanislavsky’s method which is “emotional memory”. In my own case, what I understand by this is that the audience has to believe your character and the emotions being expressed to them.

Rehearsal Time

How do you prefer theatre acting to film?

Blessing: Both goes for me, though acting on stage is a bit more tedious with immense pressure and expectation to deliver a character expertly. You have to attend multiple rehearsals in order to get used to the stage geography and also rehearsing constantly to get used to the exaggerated expressions and Familiarizing with other characters.

Have you progressed in your acting career as you have expected?

Blessing: I have made progress but I am not where I wish to be yet.

How different is it to act in a movie and to act in a theatre play?

Blessing: Theatre requires intense vocalization and the characters are to an extent exaggerated to pass on the emotions and atmosphere to the audience. This is not present in movie making.

Which has been your favourite character that you have performed on stage?

Blessing: The character of ihuoma in Elechi Amadi’s Concubine, directed by Dr. ovunda Ihunwo for Rivers at 50.

Have you any concerns with the director that you have to work yourself over and over again?

Blessing: I always work with Dr Ovunda Ihunwo who believes in spontaneity and prefers that words be pronounced correctly. So I try as much as possible to make each scene believable and often research the correct pronunciation even before going for a general script reading.

Igweagu Blessing Ngozi

What has been your biggest achievement in the field of acting?

Blessing: That would be when my team travelled for a competition in Italy “Teresa Pomodoro” and for a festival in Egypt “Cairo International Festival for Contemporary and Experimental Theatre”.

Mention any special recognition or award that you have received for your acting skills?

Blessing: There is none at the moment, but I am hoping for one soon.

Give us a few tips to be a successful actor?

Blessing: The first on my list on how to become a successful and better actor is to keep learning, learning from every circumstance, from colleagues, from your director, from movies. This will help you be at the top of your game and get you more contracts. Take on different roles even though they may not be in your comfort zone so as not to be stereotyped.

How do you rehearse a scene if the other actors you need to interact with within the scene are not available?

Blessing: I imagine that all the other characters are present in my space as I practice.

How do you react when you receive a negative review about a performance?

Blessing: I reflect upon the comments, consider if the criticisms are constructive and note the areas to be improved upon.

Whom do you consider to be your acting role model whose career you would like to emulate, and why?

Blessing: My acting role model would be the director Dr Ovunda Ihunwo who I am currently working with on the production Hopes Of The Living, who is also a spontaneous actor.

Igweagu Blessing Ngozi

What was your longest-running role on stage?

Blessing: The role of Ihuoma in Elechi Amadi’s Concubine.

How do you feel playing in alongside two Nollywood greats, Francis Duru and Charles Inojie?

Blessing: I feel honoured, being on stage with such great actors. I feel like a dream come true for me.

Describe your last experience on stage.

Blessing: My last stage experience was in Egypt 2019, the performance was quite tasking and technical to deliver but fulfilling.

Where do you see yourself in the next five years?

Blessing: I see myself in the next five as a well-known actor locally and internationally

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

Blessing: I am a member of the National Association of Nigerian Theatre Arts practitioners (NANTAP)

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

Blessing: They should expect an extremely captivating theatrical performance.

Thanks for your time.

Blessing: You’re highly welcome... Thank you 

Igweagu Blessing Ngozi