The National Arts Theatre in Lagos has undergone a significant transformation, culminating in its grand unveiling and renaming as the Wole Soyinka Centre for Culture and Creative Arts. This landmark event, attended by an array of dignitaries including President Bola Ahmed Tinubu, First Lady Senator Oluremi Tinubu, Senate President Godswill Akpabio, Speaker of the House of Representatives Tajudeen Abbas, Lagos State Governor Babajide Sanwo-Olu, and Minister of Art, Culture and Creative Economy Hannatu Musawa, marks a new chapter for Nigeria’s cultural landscape.

Nobel Laureate Professor Wole Soyinka, the honoree, delivered the keynote speech, confessing to accepting the honour “with mixed feelings.” He acknowledged his past criticisms of public officials who appropriated national monuments, estimating that only about 25% of such dedications in Nigeria were truly deserved. Soyinka recalled a previous confrontation with a leader in Abuja over naming a major route after a “brutal and venal ruler,” which made his own acceptance of the honour feel initially hypocritical. However, deep reflection on Nigeria’s rich theatre history and its pioneers, such as Hubert Ogunde and Adam Fiberesima, ultimately swayed him. He concluded that “somebody has to carry the can” and accepted the gesture from the consortium of bankers involved in the renovation, some of whom managed his own funds.

Soyinka also shared a profound nostalgic and personal connection to the edifice. He remembered the building’s original construction during the military era, humorously referring to it as the “General’s Hat” due to its roof shape, and its role as the venue for the historic FESTAC ’77. He lamented the theatre’s subsequent decline into a “slum,” recalling how he once advised Lagos officials to “get somebody secretly, plant a bomb, blow it up” rather than attempting a renovation. The impressive transformation, he stated, forced him to “eat my words,” adding, “If eating one’s words produces emotion like this, then it’s a very tasty set of words.” He also recounted a near-tragedy where two of his actors were almost electrocuted during a performance due to leaking roofs and standing water, a debt he felt the building owed him. Ultimately, a deeper, philosophical reason underpinned his acceptance: his belief that he himself is a “dramatic creation,” and that the centre bearing his name would inspire future generations of artists to create theatre around his legacy.

President Bola Ahmed Tinubu, in his address, emphasized that the decision to rename the theatre was deliberate and not a “conspiracy.” He hailed Soyinka as a “gem” and “one of the greatest assets of the world, the continent, and the country Nigeria,” recognizing his immense contributions to courage, nation-building, and freedom. The President urged Nigerians, both home and in the diaspora, to project a positive image of the country, emphasizing belief in Nigeria’s potential for success and prosperity. To ensure the theatre’s sustained revival, he announced plans for an endowment fund, committing to be a contributor, and expressed optimism about Nigeria's economic recovery and future, stating, “the worst is over… prosperity will come.”

Lagos State Governor, Babajide Sanwo-Olu, described the unveiling as a “rebirth of a national icon” and a “celebration of Nigeria’s creative soul,” highlighting its historical and symbolic significance for cultural renewal, especially on Nigeria's 65th Independence anniversary. He lauded President Tinubu's foundational role in Lagos's development and recalled the unifying spirit of FESTAC ’77, which showcased Africa’s cultural capabilities. Sanwo-Olu detailed Lagos State’s crucial partnership in the project, including integrating the Blue Line metro with dedicated stops and contributing additional land for world-class creative arts development. He affirmed that this restoration is merely the first phase of a larger vision to establish Lagos as Africa’s cultural capital, paying special tribute to Soyinka whose works, he noted, reflect Lagos’s enduring inspiration.

Minister of Art, Culture and Creative Economy, Hannatu Musawa, heralded the event as a “turning point for Nigeria’s cultural and creative destiny.” She underscored the profound symbolism of uniting independence and renewed hope with the rebirth of this cultural landmark. Musawa commended President Tinubu’s intentional creation of a dedicated ministry for the creative sector and his passion for its economic expansion and youth empowerment. She reflected on the National Theatre’s origins as a historical hub for African culture during FESTAC ’77 and praised Soyinka’s role in shaping society with honesty, justice, creativity, and unity. Under the Renewed Hope Agenda, she stated, the creative economy is a vital driver of diversification and job creation, supported by initiatives like the Motherland Initiative. Musawa expressed gratitude to all partners and announced Nigeria’s plans to host the golden anniversary of FESTAC, “FESTAC 2027,” at the renovated edifice, affirming Africa’s cultural confidence and Pan-Africanism. She also celebrated Nigerian talents like 15-year-old Emmy winner Anthony Madu and shared a personal anecdote about writing a poem inspired by the theatre’s beauty.