Lagos’ cultural scene is preparing for what could become one of the defining theatre moments of 2026 as Wole Soyinka’s celebrated satire, The Trials of Brother Jero, returns in an entirely different form, this time as a full African opera.
Scheduled to premiere on May 16 at the National Arts Theatre now known as the Wole Soyinka Centre for Culture and the Creative Arts, the production is expected to merge drama, orchestral music, satire and stage spectacle into a performance unlike anything audiences have previously experienced with the classic play. Beyond simply revisiting Soyinka’s work, the production signals another ambitious attempt to reinterpret Nigerian literature through contemporary performance traditions rooted in African creativity.
The project comes from Vesta Sound and Events Strategists and doubles as a celebration of the Vesta Orchestra’s 10th anniversary. At the centre of the production is Rosalyn Aninyei, who serves as producer and director, while Seun Owoaje composed the music for the opera adaptation.
Rather than presenting the familiar stage version known to generations of readers and theatre enthusiasts, the creators have transformed the one-act satire into a musical experience driven almost entirely by song. Every dialogue in the production is sung, turning Soyinka’s sharp critique of religious hypocrisy and the commercialization of faith into an immersive operatic performance.
Originally written as a commentary on manipulative religious figures in post-colonial Nigeria, The Trials of Brother Jero follows the antics of the flamboyant preacher Brother Jero, whose schemes and theatrics expose the exploitation often hidden beneath public displays of spirituality. In this new adaptation, those themes are expected to unfold through orchestral arrangements, chorus sections and solo vocal performances.
The May 16 performance will feature a 50-man orchestra alongside choristers and soloists, bringing together music, theatre and satire on one stage. Professor Wole Soyinka is also expected to attend the event.
The cast includes Captain Gibbs, Ige, Johnpaul Ochie and Abiola Lepe, while Kehinde Oretimehin handled the libretto and songs for the production.
For Aninyei, the decision to reinterpret Soyinka’s work through opera was both artistic and necessary. According to her, Nigerian literature deserves to be explored through newer creative forms capable of showcasing the country’s vast artistic talent.
She explained that while The Trials of Brother Jero has enjoyed decades of stage productions across schools and theatres, the team wanted to elevate the experience into something more musically expansive.
“In this production, instead of speaking, the dialogues are presented as songs all through,” she said. “It’s not just acting or talking, but the actors are singing, and the songs stick. That’s what makes opera so beautiful.”
The performance itself is expected to run for approximately 100 minutes, with the first act lasting about 40 minutes and the second running for 45 minutes.
Aninyei also pointed to the natural connection between opera and Nigerian culture, arguing that the expressive and dramatic nature of everyday Nigerian life makes the art form a fitting medium for African storytelling.
“Opera’s origin is Italian. Nigerians are very similar to Italians; we are very dramatic. The way we live is operatic,” she said.
She added that her father encouraged her to begin the operatic experiment with the works of Soyinka, whose writings remain widely read across generations. That recommendation eventually led the team to The Trials of Brother Jero as their opening statement.
Unlike traditional European opera where audiences may struggle to follow lyrical delivery, the producers insist this adaptation has been intentionally crafted for Nigerian audiences while remaining accessible to global viewers. The aim, according to the production team, is to ensure audiences remain fully engaged with both the conversations and the music throughout the performance.
At a time when Nigeria’s creative industry continues to search for fresh forms of expression capable of attracting new audiences and economic opportunities, the upcoming production represents a growing movement to reinterpret African classics with bold creative ambition while preserving the originality of the stories themselves.
For many theatre lovers, May 16 may not simply mark another stage performance in Lagos but could become a defining moment in the continuing evolution of Nigerian opera and modern African theatre.
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