Book contents
- Frontmatter
- Contents
- Notes on Contributors
- Obituaries
- Introduction
- Unibadan Masques 1974-6, a Memoir of the First Two Years
- Ori Olokun Theatre & the Town & Gown Policy
- The Muungano Cultural Troupe
- The Making of Os bandoleiros de Schiller
- Project Phakama, Lesotho 2004
- The Asmara Theatre Association, 1961–74
- The Story of Jos Repertory Theatre
- Financing Handspring Puppet Company
- Border Crossings
- Playscript: Our House
- Book Reviews
- Index
The Story of Jos Repertory Theatre
Creativity & collaboration
Published online by Cambridge University Press: 05 April 2013
- Frontmatter
- Contents
- Notes on Contributors
- Obituaries
- Introduction
- Unibadan Masques 1974-6, a Memoir of the First Two Years
- Ori Olokun Theatre & the Town & Gown Policy
- The Muungano Cultural Troupe
- The Making of Os bandoleiros de Schiller
- Project Phakama, Lesotho 2004
- The Asmara Theatre Association, 1961–74
- The Story of Jos Repertory Theatre
- Financing Handspring Puppet Company
- Border Crossings
- Playscript: Our House
- Book Reviews
- Index
Summary
Jos Repertory Theatre: the beginnings
Jos Repertory Theatre (JRT) emerged in 1997 and survives, swimming against the tide. It was established in an unlikely location, Jos, in north central Nigeria, has often been visited by theatre companies from the south but is not known as a source of many productions. JRT went into the theatre business seriously in 2000 at a time many theatre companies throughout the country had folded or begun to fade. The name, ‘The Jos Repertory Theatre’, which has confused some, indicates a link with one of the Lagos groups, ‘The Pec Repertory Theatre’, which was set up by J P Clark-Bekederemo and was where JRT's founder, Patrick-Jude Oteh, did his National Service (1987). When Oteh, a graduate in drama from the University of Ibadan, moved to Jos to do postgraduate work, he found many drama enthusiasts whom he had got to know through the Nigerian Universities' Theatre Arts Festivals (NUTAF). What he felt was missing was a forum for artistic expression. Meetings first took the shape of monthly Saturday-evening gatherings for poetry recitations, drumming, play readings and general discussion. They were held at Peejay's Fast Food on Ahmadu Bello Way which Oteh ran, and the same venue hosted the monthly meetings of the Plateau State chapter of the National Association of Nigerian Theatre Arts Practitioners (NANTAP). In time ‘Peejay's’ became an informal cultural centre, providing refreshment for mind and body.
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- Information
- Companies , pp. 82 - 93Publisher: Boydell & BrewerPrint publication year: 2008