Standing prominently in the Iganmu district of Lagos, the National Arts Theatre, as it was known for nearly five decades, remains one of the most significant monuments of Nigeria’s post-independence era. Conceived in the early 1970s, the project reflected the federal government’s determination to provide a world-class venue for the performing arts, one that could represent the cultural aspirations of Africa’s most populous nation.
Construction officially began in 1973 under the military administration of General Yakubu Gowon. The project was later completed in 1976 during General Olusegun Obasanjo’s regime, in time for the country’s preparation to host the Second World Black and African Festival of Arts and Culture (FESTAC ’77).
The federal contract was signed on 24 April 1973 with the Bulgarian firm Technoexportstroy, which had previously built several major European cultural structures. The design of the theatre was modelled after the Palace of Culture and Sports in Varna, Bulgaria, a fact confirmed in the original building documentation and in subsequent architectural studies.
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A Monument for FESTAC ’77
The FESTAC ’77 festival, held between 15 January and 12 February 1977, remains a defining cultural moment in African history. It drew over 16,000 participants from more than 50 countries, representing artists, scholars, writers, and performers of African descent from across the world.
The National Theatre served as the principal performance and ceremonial venue for the festival, hosting concerts, dance productions, theatrical presentations, and conferences that celebrated pan-African creativity and solidarity. This event firmly established Lagos as a continental hub for artistic expression and cultural diplomacy, and it cemented the theatre’s position as a national symbol of unity and pride.
Architecture and Artistic Features of Iganmu Art Theatre
The National Theatre occupies approximately 23,000 square metres and rises over 31 metres above ground level. Its imposing exterior, sometimes likened in public commentary to a military officer’s cap, is made of steel and concrete and can be seen from major roads approaching the Lagos Mainland. While the “cap” comparison is a popular metaphor, there is no verified record that the architects intended a military reference; rather, it reflects public imagination and commentary over the decades.
Inside, the theatre was conceived as a multi-purpose cultural complex, comprising:
- A main auditorium originally seating about 5,000 spectators.
- Two cinema halls, each with approximately 800 seats.
- Exhibition spaces, conference halls, rehearsal studios, and administrative offices.
Adding to its cultural richness, the interior features artwork by some of Nigeria’s most distinguished modern artists, Yusuf Grillo, Lamidi Fakeye, and Erhabor Emokpae, whose installations and murals symbolised the fusion of traditional and modern aesthetics. The building thus functioned not only as a performance space but also as a national gallery showcasing Nigeria’s visual heritage.
Decline and Controversies of Iganmu Art Theatre
By the late 1980s and 1990s, the National Theatre began to experience structural deterioration. Poor maintenance, irregular funding, and a lack of coherent management led to leaking roofs, failing air-conditioning systems, and reduced patronage. Several attempts at rehabilitation were proposed but either delayed or underfunded.
In the early 2000s, government announcements about privatisation or concessioning of the theatre triggered controversy. Some reports suggested proposals for commercial redevelopment, including mixed-use or retail functions, plans widely criticised by artists, cultural workers, and heritage advocates. While discussions of a “duty-free shopping centre” appeared in the press, these were proposals rather than approved policies, and they remain contested episodes in the building’s administrative history.
Rehabilitation and Modern Renewal
Recognising the theatre’s decline, the federal government entered a public–private partnership in 2021 with the Bankers’ Committee and the Central Bank of Nigeria (CBN) to restore and modernise the complex. The agreement transferred management to the committee for the duration of the renovation, with the goal of re-establishing the site as the nucleus of Nigeria’s creative economy.
By August 2024, the Bankers’ Committee officially announced that the restoration had been completed. The upgrades addressed structural and mechanical issues, including roofing, HVAC, electrical, and water systems, while improving acoustic design, seating, lighting, and digital infrastructure.
In addition, the rehabilitation included the creation of four new creative hubs within the broader complex:
- Music and film hub
- Fashion hub
- IT/tech and innovation hub
- Events and exhibition spaces
These additions were designed to generate employment and nurture creative enterprises, although no definitive economic data or job figures have yet been published.
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Renaming and Reopening of Iganmu Art Theatre
In July 2024, the Federal Government of Nigeria announced that the building would be renamed in honour of Nobel Laureate Wole Soyinka, in recognition of his contribution to literature and the arts.
On 1 October 2025, during Nigeria’s 65th Independence Day celebrations, the newly refurbished complex was formally reopened by President Bola Ahmed Tinubu as the Wole Soyinka Centre for Culture and Creative Arts.
The reopening marked both a symbolic and practical revival, a reassertion of Nigeria’s commitment to culture as a driver of identity and economic growth. In interviews, Wole Soyinka himself expressed appreciation for the restoration, though he noted his characteristic reservations about monuments named after living persons, a reflection of his humility and commitment to cultural continuity.
Legacy and Cultural Impact
For nearly half a century, the theatre at Iganmu has stood as a focal point of Nigerian cultural life. It has hosted countless performances, film premieres, exhibitions, and national ceremonies. The recent restoration signals renewed hope that it will continue to serve as a platform for creative expression, youth training, and cultural diplomacy.
While its economic contribution to the creative industries awaits formal evaluation, its symbolic importance remains unmatched. The structure represents Nigeria’s enduring belief that the arts are central to national progress, an idea first articulated in the 1970s and now reimagined for a 21st-century creative economy.
Author’s Note
The story of the National Theatre, from its inception as a monument of independence-era ambition, through its years of neglect, to its rebirth as the Wole Soyinka Centre, mirrors Nigeria’s evolving cultural journey. It stands as a testament to resilience, artistic vision, and the enduring power of collective creativity. In both architectural form and historical significance, the theatre remains not merely a building but a living emblem of Nigeria’s identity and aspiration.
References:
“The History of National Theatre Lagos, Nigeria.” Within Nigeria, 19 January 2024.
“National Theatre Returns as Wole Soyinka Centre for Culture and the Creative Arts.” The Guardian Nigeria, 12 July 2024.
“Bankers’ Committee Completes Restoration of National Theatre.” The Guardian Nigeria, 29 August 2024.
“National Theatre: Facts and History.” Nationaltheatre.gov.ng (Official Site).
“Tinubu Commissions Wole Soyinka Centre for Culture and Creative Arts.” ICIR Nigeria, 1 October 2025.
“FESTAC ’77: Remembering the Second World Black and African Festival of Arts and Culture.” BusinessDay Nigeria, 2024.
