In the wake of the recent renaissance of theatre in Ghana, while some Ghanaians indeed perceive theatre as an art form that should be consumed for free, it would be an oversimplification to say that Ghanaians as a whole do not patronize theatre.
The popularity and patronage of theatre in Ghana varies depending on various factors such as location, accessibility, cultural preferences, and economic conditions.
In urban areas, particularly in the capital city of Accra, there is a vibrant theatre scene with a growing number of theatre companies and venues. These companies often stage performances that cater to a wide range of audiences, including both traditional and contemporary plays.
While ticket prices may be a barrier for some individuals, there are still many Ghanaians who are willing to pay to watch theatrical productions.
However, it is important to acknowledge that certain challenges can limit the widespread patronage of theatre in Ghana. These challenges include limited infrastructure, lack of awareness and promotion, and the prevalence of competing entertainment options.
Additionally, socioeconomic factors also influence the ability of individuals to afford theatre tickets.
The Team Lead for ImageBureau, George Quaye has noted that the story-telling settings in the Ghanaian traditional homes give the impression that theatre should not be paid for.
“We need to elevate the thinking of people. And you cannot blame them. They consume theatre from a place of nothing and it was free. When all these music groups were going around the country. Osei Kofi’s band and others, they would have small theatre performances before the main concert. And that was free.”
George Quaye
Dr. Ekua Ekumah, a senior lecturer at the School of Performing Arts at the University of Ghana, Legon, revealed that growing the industry in Ghana will not be successful without starting from the base.
Shedding more light on art education and how it contributes to the industry’s development she acknowledged how the introduction of courses like theatre management and project management to performing arts programs are impacting the studies of students at the University of Ghana.
“I think us coming together and working together makes so much sense. I also would want to add that how we can cultivate a new theatre audience is also to start at the grassroots. Start and inculcate the value of the performing arts into our young audiences. We should go into schools. These are some of the works that Abibigromma and the National Theatre players are doing.”
Dr. Ekua Ekumah
Building a new audience takes time and effort. It requires creating an inclusive and welcoming environment, consistently delivering high-quality productions, and engaging with the community.
Efforts are being made to address these challenges and promote theatre in Ghana. Government initiatives, private-sector investments, and collaborations between artists, organizations, and educational institutions are helping to create more opportunities for Ghanaians to engage with and appreciate theatre.
By making theatre more accessible, diverse, and relevant to the local context, it is possible to increase its patronage and popularity among Ghanaians.
Theatre Producers Supporting One Another
Supporting one another instead of competing is beneficial for theatre producers. Collaboration and cooperation within the theatre community lead to a stronger and more vibrant industry.
By collaborating and sharing resources, theatre producers reduce costs and increase efficiency. This includes sharing sets, props, costumes, and even venues. By working together, producers avoid unnecessary duplication of efforts and make the best use of limited resources.
Theatre producers learn a lot from one another by exchanging ideas and experiences. Sharing insights and discussing best practices lead to creative solutions and innovative approaches to producing theatre. One producer’s success inspires and sparks ideas in others, leading to further growth and development within the industry.
When theatre producers support one another, they contribute to building a stronger and more supportive community. This fosters a positive environment where everyone thrives. Working together to overcome challenges and celebrate achievements creates a sense of camaraderie and unity.
Rather than seeing each other as direct competitors, theatre producers collaborate to expand and diversify audiences. By cross-promoting shows, offering joint ticket deals, or organizing shared marketing initiatives, producers attract new audiences to the theatre and increase overall interest in live performances.
Theatre producers have a stronger voice when they unite rather than compete against each other. By joining forces, they advocate for the importance of the arts sector and lobby for support from government bodies, funders, and the public. This collaborative approach helps to raise awareness of the value and impact of theatre in society.
George Quaye intimated that it will take a lot of collaborations to grow theatre in Ghana.
He noted that to shore up the fortunes of the game, theatre producers should support one another.
“I’ve been asked many times why I share many people’s plays even when I am running my plays and I see other people’s plays, I still share. Why because we cannot compete. We need to collaborate. We cannot compete because we haven’t gotten to where the musicians have gotten to.
“Shatta Wale’s and Stonebwoy can compete. Sarkodie and Samini can compete. King Promise and KiDi, Kuami Eugene, they can all compete. They can because globally they have gotten the recognition.”
George Quaye
While competition can be healthy in pushing individuals and companies to excel, a cooperative mindset among theatre producers can be mutually beneficial and lead to a more vibrant and sustainable industry.
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