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

 

 

Ovunda Ihunwo Celebrates Nigeria @ 61 With 'Hopes Of The Living Dead'

By Perekeme Odon

It was a delight with one of Nigeria’s finest film theatre directors, Chief Dr. Ovunda Ihunwo fta, as he rehearsed with the cast and crew of his drama troupe, practicing to hit the Garden City, Port Harcourt stage on October 1, 2021, with the play production, Hopes Of The Living Dead, a play written by Prof. Ola Rotimi.

The Rivers state born dramatist, popularly called Dr. Ovunda is a professionally trained actor, dramatist, musician and lecturer of the Theatre Arts Department, University of Port Harcourt. He is a member of the Directors’ Guild of Nigeria (DGN) and Fellow of Theatre Arts (fta).

He has been rocking the various stages and screens dishing out a human angle and politically motivated production addressing topical issues affecting the family and Nigeria in general. In this interview with PTV Media, he reveals the secret behind his successful career and the upcoming play production.

Chief Dr, Ovunda Ihunwo

PTV: What primary, secondary and tertiary institutions did you attend?

Ovunda: I attended Air Force Primary School Port Harcourt, but sat for the First School Leaving Certificate Examination at Community Primary School, Olanada, Rivers state, and proceeded to Government Comprehensive Secondary School, Bishop Crowther Memorial Secondary School, and Army Day Secondary School, Bori Camp, all in Port Harcourt. I attended the University of Port Harcourt where I had my B. A. Theatre Arts, M. A. Film Studies and PhD. Film Studies.

PTV Media: As a kid, what did you want to be when you grow up?

Ovunda: I wanted to be a musician. So I looked forward to studying music but my parents would have none of that. It took some struggle and rebellion before I settled for Theatre Arts.

PTV Media: You are a professionally trained actor, dramatist, film director and lecturer. What ingratiated you to live drama/stage production, and why a drama of struggle with Hopes of The Living Dead, a play that symbolically illustrates the question of our society's plurality to be performed on Nigeria’s Independence Day?

Ovunda: Live drama for me, still has that electrifying feel because of the instant feedback it gets. It also toughens the actor and gives him the latitude to express himself artistically. As for my reason for choosing to stage Ola Rotimi's Hopes of the Living Dead on Independence Day is to awaken our consciousness because we have become a people groping in the dark. Nigeria is now like a rudderless ship heading for the precipice. There is the need for us to search for purposeful and selfless leadership that can steer the ship in the right direction.

Francis Duru and Charles Inojie

PTV Media: Oddly, Ola Rotimi is still a familiar name to many Nigerian Theatre Arts students, lecturers in Theatre Arts departments in Nigerian Universities, and theatre enthusiasts in Nigeria. Can you throw a few lights about the playwright?

Ovunda: Funny enough, I never met him but I have heard and read so much about his strong personality and commitment to the growth of theatre. I have been privileged to produce and direct a number of his plays too.

PTV Media: Hopes of the Living Dead by Ola Rotimi dramatizes and illustrates the historical pre-independence years during the Leprosy’s' Rebellion of 1928-32 with the struggle of the characters to attain a right to exist live in dignity in society. It also tells us through the use of language situated within a historical context clearly depicting the struggle in the context of an inter-relationship between leadership and followership. Why did you choose a play that captures fear, resoluteness and determination, and why Port Harcourt where the story is set with Harcourt Whyte?

Ovunda: Well, it could have been anywhere. Port Harcourt, Lagos, Abuja, etc, but Port Harcourt is my base. In fact, we have plans to stage this play in Abuja and Accra too. My reason for choosing this play is that we have come to that time when the people must take their destiny into their hands and demand leaders that can be held accountable in all facets of society. If the revolution begins in Port Harcourt, others will hear it and take dressing.

Ovunda Ihunwo

PTV Media: Hopes of the Living Dead is a unique drama easy to follow because of its heterogeneous blend of many Nigerian languages used in the dialogue. Ibibio, Hausa, Yoruba and Igbo are among the languages spoken by the characters. Are you going to use your directorial licence to infuse more visible languages due to the way the Nigerian state is going on?

Ovunda: Sure! It depends on what language my actors are fluent with. In this case, I added Ekpeye and Esan languages.

PTV Media: Ekpeye and Esan languages? That’s so thoughtful of you. Don’t you think Ola Rotimi drew on personal experience as a defender of the downtrodden, by commissioning himself in Hopes of the Living Dead to show his dislike to the Nigerian post-independence leaders merely using the leprosy plot as an alibi?

Ovunda: You may be right. That’s why the play still remains relevant today.

PTV Media: In many parts of Africa, songs, mime, and dance are all part of the theatre, and the playwright demonstrates all that in the play to understand the characters' and society's cultural sensibilities. How are you going to achieve that?

Ovunda: I’m a music lover. It is difficult for me to stage any play that is not total theatre. Hopes Of The Living Dead has a lot of Harcourt Whyte songs, and we have done justice to them in such a way that the audience will not only be entertained with good drama but will also be enthralled with great classical music.

(l-r) Charles Inojie, Ovunda Ihunwo & Francis Duru

PTV Media: Stage or theatre production is very painstaking. While Ola Rotimi obviously has high expectations for the people around him, it's also evident that he was able to overcome the variety of forces that worked against his works. Do you believe in the charge theory of Ola Rotimi during rehearsal when he said, 'Those who show up (for the first rehearsal) remember - in theatre work, my bargain is that of the devil himself: you volunteer your person, I insist on your soul, till the production is over?

Ovunda: I’ve been privileged to work with very committed artists. The realities have changed today. You can’t insist on the soul of a hungry man who also has bills to pay. So, I try to be as flexible as possible but with every sense of theatre discipline.

PTV Media: A film director uses the size of the shot to focus the audiences’ attention- a close-up being the way to give the biggest impact. The actor will be directed to move across the stage to get the audience to focus on that line of dialogue. The proscenium is the biggest difference, but I still want to ask what kind of stage would be befitting for a production like Hopes of The Living Dead?

Francis Duru

Ovunda: In 2018, I staged Hopes Of The Living Dead at the University of Port Harcourt Arts Theatre (Crab), on a Thrust Stage. This time around, the Arena Events Centre, Port Harcourt has a proscenium stage. So it can work anywhere. All the director needs to do is to make necessary adjustments in the blocking.

PTV Media: A director is someone who collaborates with the actors and the production crew to bring a script to life for the viewers and audience. What is the difference between a theatre director and a film director, and what are their responsibilities. 

Ovunda: The responsibilities are the same; directing, interpreting and making sure that other collaborators key into the overall vision. The difference is in the technicalities.

PTV Media: How was the audition and casting of the play, Hopes of The Living Dead? Did you table cast or handpick the actors already in mind?

Ovunda: I had an audition and hand-picked some key actors.

PTV Media: It’s like you took an eye-catching and impactful design in this production with the casting of known popular Nollywood A-List actors like Francis Duru and Charles Inojie into the production. Is it for the box office show or for professionalism?

Ovunda: Apart from being A-List actors, Francis Duru and Charles Inojie are theatre artists and graduates of Theatre Arts from the University of Port Harcourt. It’s like a homecoming for them. You can’t also rule out the box office effect.

PTV Media: I want you to share an effective directorial approach to working with a large cast and crewmembers. How has your approach affected your rehearsals?

Charles Inojie

Ovunda: I always set out what I want to achieve for every rehearsal. I have a chat with my choreographer if there has to be dances, and tell him what I want. I don’t like long rehearsals. For that reason, I segment the play and concentrate on each segment for rehearsal. My cast is always comfortable with my pattern.

PTV Media: Describe a time where you had to fire someone because they weren't the correct fit.

Ovunda: I have not had that experience. However, I have had to fire a lot of actors who think they are indispensable to deter others.

PTV Media: What are the most difficult production problem you had to solve?

Ovunda: I had great challenges when I staged production in Cairo, Egypt. I could not communicate with the lighting technician. To solve the problem, I re-blocked the play, dispersed out some of my lines and turned the rest to voice-over narration. Then, I had to man the lighting booth and did the voice from there.

PTV Media: How do you balance your work and private lives, because I can see you live both lives simultaneously?

Ovunda: That’s the beauty of our work na. We enjoy what we do. So, where others see stress, we see fun while working.

PTV Media: What was casting like in the production, Hopes of The Living Dead?

Ovunda: My main challenge was in cutting down on the number of cast and crew. Everybody wanted to be part of it, but I had to use music as a criterion. Casting was based majorly on voice texture and the ability to sing.

(l-r) Charles Inojie, Francis Duru & Cast

PTV Media: With such a large cast and crew, how do you establish and enforce rules in your rehearsals?

 Ovunda: If a director is disciplined, enforcing rules cannot be a heinous task, whether with a cast of five persons or a hundred. I show the way; my phones don’t ring during rehearsals, I keep to time, and comport myself even in my own production. Members of the cast don’t have a choice but to do likewise.

PTV Media: Please, can you share an example of how you helped coach or mentor someone, and what improvements did you see in the person's knowledge or skills?

Ovunda: As an actor trainer, I make sure that my students and mentees have adequate training in theory and practice. I teach them that packaging helps talent. I also engage them in meaningful productions that challenge them, as well as help them pay some bills. Most of them have not disappointed me. Today, I can conveniently give them a project and be assured of their delivery. 

PTV Media: What is your dream collaboration in acting and directing either on stage or screen?

Ovunda: My dream collaboration is getting an international agency to fund a world tour, and participate in as many theatre festivals as possible.

PTV Media: Yes, production is a collective and collaborative venture. However, which actor playing a particular character are you rooting at to make the play come to life?

Ovunda: it is hard to say for this production but Harcourt Whyte has a lot of work to do. I trust him to deliver.

PTV Media: Who are the sponsors behind this great show coming up on October 1^st 2021, and where is the venue?

Ovunda: This production is self-sponsored. Though, of late, we got some support from Fartrek Travels, Daayra Limited, and Grid. We also have media support from media houses in Port Harcourt.

PTV Media: What plan are you making to charge the town and gown together to make one holistic creative family?

Ovunda: We have been in it and it’s working.

PTV Media: What advice do you have for the government concerning the Nigerian theatre industry?

Ovunda: Let Government create a conducive and enabling working environment, and support works of art. For us in Rivers State, we are blessed with a Governor that loves the theatre and has shown tremendous support to artists of whom I am one. We still hope that he does more like establishing community theatres in other parts of the state.

PTV Media: What advice do you have for parents of kids who want to be actors, musicians and directors like you?

Ovunda: Do they still, need advice? I doubt it because the number of students seeking to study theatre and film is growing in leaps and bounds. Our works and achievements have given enough advice.

PTV Media: Describe the next five years of your life and your plan.

Ovunda: By The Grace of God, in the next five years, I would have become a Professor. I plan to establish an academy where I can train and breed professionals. I also plan an international theatre like I mentioned earlier.

PTV Media: If you could pass on one message to your fans, what message would that be?

Ovunda: Hard work and consistency pays. Be good at what you do, and light will shine on you someday.

PTV Media: I wish you all the best of luck come October 1, 2021.

Ovunda: I appreciate you for this beautiful interview. The pleasure is mine. Thanks a great bunch.

 

Chief Dr, Ovunda Ihunwo

A Review Of Ovunda Ihunwo’s “We Are Here, We Are Here”

By Edward E. Imo

Set against the backdrop of the post–Covid-19 pandemic in a developing civilization, Ovunda’s “We Are Here, We Are Here” stands out as a theatrical experiment that harps on the indigenous African antidote to the pandemic beyond observing all its preventive protocols. This was a special presentation on the 2021 edition of World Theatre Day held on the 27th March 2021 with the theme “Building Sustainable Communities.”

Dr. Ovunda Ihunwo

In this presentation, Ovunda adopts the Brechtian technique of “a -play- within a- play” whereby a theatre troupe is rehearsing a play that borders on love and nature and in the process, the director of the play who also goes by the name DIRECTOR, manifests some symptoms of the dreaded Covid-19 virus.  Some days later, the actors receive the news of the death of their director and expectedly,  they are thrown into some psychological trauma which,  in turn,  dampens their rehearsal spirit and excitement. In their state of bereavement and confusion, an elderly man, whom we later identify as Elder Nyekazi, a cultural and traditional activist, enters to commiserate with them. Beyond consoling the actors, Nyekazi educates them on the proficiency and effectiveness of traditional African herbs and health practices. He also charges them to always use their artistry to profess their true African identity as well as extol the rich African cultural heritage. At first, the actors receive Nyekazi’s admonitions with some scepticism but upon further reflection, it dawns on them that Nyekazi’s words are the necessary tonic for them to imbibe the African consciousness while trying to get over the death of their director.

 

Motivated by Nyekazi’s wise counsel, the actors go ahead to stage the long rehearsed play and after a scintillating performance, they take a bow and as they make to leave the stage, Director enters. In their fear and panic that they have seen a ghost, the actors make to run but were refrained by Director who convinces them that he did not die anymore because Elder Nyekazi revived him through herbal teas and spices. The play ends on this happy note as Director reiterates the need to adopt traditional African remedies to the deadly Covid-19 pandemic.

Ovunda’s “We Are Here We Are Here” is a full blast artistic statement that amplifies the need for Africans to return to their aboriginal value system that is premised on love, unity and peaceful coexistence. In this performance, Ovunda adopts the eclectic style where Jerzy Growtosky’s Poor Theatre, Vsevolod Meyerhold’s Biomechanics, Bertolt Brecht’s Verfremdungseffekt and Richard Wagner’s Gesamtkunstwerk are fused in some form of “artistic collagism” quite reminiscent of African total theatre experience. Music is used judiciously to accentuate mood as well as convey the emotional dispositions of the characters, costumes are highly suggestive and impressionistic characteristic of experimental performances, the language flourishes between the poetic and the prosaic while characters are more of existential beings without personal history or biography except for Elder Nyekazi whom we identify as a cultural and traditional activist of the Ikwerre extraction. True to the avant-garde performance tradition, characters metamorphose from tables to chairs, forest to love gardens and then back to human beings. Similarly locations and time blend intermittently which are typical of the expressionist drama of August Strindberg.

 

Amidst the excellent adoption of the theatrical experimental approach geared towards the African total theatre orientation, “We Are Here, We Are Here” offer us a strong message of hope. Hope for an Africa that is detribalized. Hope for an Africa that is capable of surmounting the numerous threat of high mortality by the flu pandemic, an Africa that is blessed and fortified by nature against epidemics.  An intelligible Africa that is bound by love, mutual respect, peaceful coexistence, unity of purpose and hungry for rapid development using her God-given resources.

The experimental theatre approach has been Ovunda Ihunwo’s forte since his formative years as a theatre director. This performance is therefore one of his numerous experimental theatre outings. His ingenuity and passion for theatre practice have fetched uncountable awards and accolades including being conferred with the prestigious recognition as a Fellow of Theatre Arts (FTA) by the National Association of Nigerian Theatre Arts Practitioners (NANTAP). It would be almost impossible not to doff your cap for Ovunda Ihunwo after savouring his latest theatrical recipe- “We Are Here, We Are Here”.

Edward E. Imo PhD, fta

(Theatre Critic and Reviewer)