By Ovunda Ihunwo

Experiencing live theatre is a transformative journey that transcends mere entertainment. As a seasoned theatre practitioner, I often find solace in relinquishing the directorial reins and immersing myself in the sheer magic of a play as an audience member. Port Harcourt, the capital city of Rivers State in Nigeria, stands as a shining example of the unwavering spirit of creativity amongst its "Theatrepreneurs," despite the daunting challenges posed by the lack of governmental, individual, and corporate support. This sets it apart from its Lagosian counterparts, who are known for having more support and infrastructure.

Nestled amidst this thriving cultural landscape, Rivers State boasts a plethora of theatrical and cinematic talents, although the lack of infrastructure hinders its growth. Even the esteemed University of Port Harcourt, renowned for nurturing globally celebrated icons in theatre and film, lacks a modern theatrical facility. However, there is a glimmer of hope on the horizon. The 9th Vice Chancellor, Prof. Owunari Georgewill, has secured a Tertiary Education Trust Fund (TETFUND) project to construct a new theatre building. This project is expected to significantly impact the theatre scene in the city and the state as a whole.

Despite anticipating this impending transformation, we still seek refuge in the dilapidated confines of the Arts Theatre Building (CRAB), which serves as a temporary home for many theatre productions in Port Harcourt. The CRAB is in dire need of renovation, but it is still the only viable option for many theatre practitioners in the city. Nonetheless, the resilience and creativity of the theatre community in Port Harcourt continue to shine through, and we remain hopeful for the future of live theatre in the city.

According to a famous saying, 'While the pot of beans is still cooking, men will still eat.' Therefore, for now, we have to manage the dilapidated state of CRAB. Recently, I had the privilege of attending an outstanding theatrical extravaganza, 'Pitakwa Boiz,' which was presented from March 5th to March 7th, 2024. I was fortunate enough to witness the final performance, and based on the feedback I received, the energy was just as high as it was on the opening nights. Godspower Jaja, a talented graduate and postgraduate student of the Department of Theatre and Film Studies, wrote the play. Jaja's narrative masterfully weaves a tapestry of ambition, power struggles, and brotherhood, with 'Downbase' as an evocative metaphor for societal macrocosms. Through the lens of satire, the play takes a piercing look at Nigeria's political landscape, exposing the nefarious grip of electoral malpractice and the pervasive spectre of bad governance.

The play's linguistic cadence is rooted in the rich tapestry of Port Harcourt pidgin, which resonates with an authenticity that captures the essence of the city's spirit. However, beneath the veneer of comedic banter lies a poignant commentary on societal responsibility, encapsulated in Ibiso's impassioned plea to confront adversity rather than succumb to the allure of foreign shores, popularly referred to as "Jakpa." The play's production was skillfully executed, with a creative set design, impressive lighting, and sound effects that transported the audience to the heart of the action. The exceptional actors delivered their lines with precision and emotion, bringing the characters to life and making them relatable to the audience.

"Pitakwa Boiz" is a theatrical production that goes beyond mere entertainment. It encompasses all the aspects of theatre, such as well-defined blocking and movement, beautifully choreographed dances, profound character interpretations, and a harmonious orchestra. This accurately captures the essence of Richard Wagner's theory of artistic synthesis, also known as Gesamtkunstwerk. The concept aimed to unite all the arts into a single, immersive whole. Wagner popularized this term in his ground-breaking essay "The Artwork of the Future" (1849), where he argued for a "consummate artwork of the future" that would integrate all the arts, including music, drama, poetry, and theatrical arts. I must commend the director, Sampson Kelvin Melvin, who has continually proven to be a creative and imaginative choreographer and director. Kelvin's dedication to the arts has opened his horizons to great exploits. I have worked with him on many projects in and out of the country, and it is a joy to see that he has learned much about the craft through humility and determination.

The indomitable talents of Precious Okuro, Clarkson Okah, Donatus Akande, Antoinette Obichukwu, Chiamaka Njoku, Deborah Okeukwu, Blessing Anyika, Martha Okafor, Esther Onyekwelu, and Sophia Obisike, just to mention a few, deliver a tour de force performance that is nothing short of spectacular. Their nuanced and dynamic acting, intricate choreography, and soulful music create an unforgettable experience that leaves the audience spellbound.

As the final curtain falls, one cannot help but feel a renewed sense of optimism for the future of theatre in Port Harcourt. The play showcases the actors’ incredible talent and highlights the transcendent power of storytelling to bridge divides and kindle the flames of cultural exchange.
In the company of colleagues and luminaries such as Walter Anga, a stalwart of Nollywood and a former student of the department, one is reminded of the importance of preserving and promoting cultural heritage through the arts. "Pitakwa Boiz" is not just a play; it is a testament to the resilience of the human spirit and the enduring legacy of artistic expression.

In conclusion, I implore fellow enthusiasts to rally behind the burgeoning theatrical renaissance in Port Harcourt. Let us ensure that the vibrant tapestry of our cultural heritage continues to flourish and captivate audiences both near and far. The success of "Pitakwa Boiz" is a testament to the incredible talent and dedication of the artists involved, and it is a harbinger of great things to come in the world of theatre.

Dr. Ovunda Ihunwo, FTA
Associate Professor of Performing and Film Aesthetics,
Department of Theatre and Film Studies,
University of Port Harcourt, Nigeria
Chairman, National Association of Nigerian Theatre Arts Practitioners (NANTAP), Rivers State Chapter