The Duke of Shomolu Foundation (DOSF) is celebrating its 10th year of telling Nigeria’s story while also taking the country’s theatre to the world.

In a press statement marking the foundation’s 10th anniversary, themed “The Duke Of Shomolu At 10: A Decade Of Rescuing Nigerian History, Creating Jobs And Taking Nigerian Theatre To The World”, MD/CEO of the Duke of Shomolu Foundation, Mrs. Mofoluwake Edgar, said: “Ten years ago, an ambitious idea was born: to use theatre not merely as entertainment, but as a powerful instrument for telling Nigeria’s story, preserving its history and creating a platform through which Nigerians could see themselves, their heroes, their struggles and their heritage on stage.”

Former General Manager/CEO, National Theatre, Nigeria (2020–2024), Prof. Sunday Ododo, said: “A decade later, the Duke of Shomolu Foundation (DOSF) has become one of Nigeria’s most prolific theatre platforms, marking its tenth anniversary with an extraordinary body of work that has taken Nigerian history, culture and identity from the archives and into theatres in Nigeria and beyond.

“The Duke of Shomolu did not just produce theatre; he rescued Nigerian history from the footnotes and returned it to the stage, where it belongs. No single playhouse in modern Nigeria has done more to tell our story to ourselves.”

Over the past decade, the organisation has produced 68 plays, with four productions scheduled for December 2026, further expanding an already remarkable catalogue of historical, cultural and socially significant productions.

From stories of political leaders and traditional institutions to narratives of women, communities, resistance, identity and nation-building, DOSF has consistently demonstrated that the Nigerian stage can be both a place of entertainment and a living archive of the nation.

The Duke of Shomolu has worked with some of the most talented and respected names in Nigeria’s creative industry, bringing together actors, directors, writers, academics, historians and cultural practitioners.

The Foundation has, to date, worked with nine professors as directors, demonstrating its commitment to bringing academic scholarship and theatrical storytelling into meaningful conversation.

Its productions have also featured leading names in the entertainment industry. Among its first projects is *Loudwhispers* by William Benson, featuring celebrated comedian and actor Alibaba as the lead actor.

These collaborations reflect the Foundation’s belief that great theatre thrives at the intersection of scholarship, creativity, performance and history.

What began principally as a Nigerian theatre initiative has developed international footprints.

DOSF now has a presence in the United Kingdom, with four productions staged in the UK, and is looking towards expanding its theatrical footprint into Europe and other continents.

The Foundation’s international ambition is simple: to take Nigerian stories to the world and demonstrate that Nigerian history, culture and creativity belong on the global stage.

Its international journey has already included productions at the Shaw Theatre in London, including *Awo*, *Kashimawo* and *Obey & Zik*, alongside other engagements that have positioned Nigerian theatre within international cultural spaces.

The next phase is therefore not simply about exporting plays. It is about building a sustainable global platform for Nigerian theatre, Nigerian artists and Nigerian stories.

Beyond the applause and curtain calls, the Duke of Shomolu has also become an important economic platform for creative professionals.

Across its productions, the organisation has created employment and engagement opportunities for actors, directors, writers, designers, production crews, stage managers, costume designers, technical personnel, researchers, marketers and other creative professionals.

The organisation estimates that its activities have contributed to the mobilisation and raising of over ₦5 billion within the theatre and wider creative ecosystem.

For DOSF, theatre is therefore not merely an artistic enterprise. It is also an economic opportunity and a vehicle for developing Nigeria’s creative economy.

As part of its tenth-anniversary journey, DOSF is also looking beyond the stage to document the evolution of Nigerian theatre.

Its forthcoming book on Theatre, Nigerian Theatre: History, Identity, Legacy – Disruption or Revolution?, is currently being compiled with contributions from more than 24 professors.

The publication is expected to provide an important intellectual record of Nigerian theatre, examining the history, evolution, identity, challenges, disruptions and possibilities of Nigerian theatre.

The Foundation is also planning the launch of another major book project in 2027, further reinforcing its commitment to documentation and preservation.

As DOSF celebrates ten years, it is already looking towards its next chapter.

The organisation said it is exploring plans for an Initial Public Offering (IPO) of approximately ₦4 billion, subject to the necessary regulatory, financial and corporate processes.

“The proposed capitalisation is intended to support the Foundation’s expansion into other continents, strengthen its production infrastructure and create opportunities for Nigerian artists in the diaspora to participate more meaningfully in the global creative economy,” it said.

“The ambition is to build an institution that can stand beyond individual productions and become a sustainable global platform for Nigerian theatre.”

With 72 productions completed, four more scheduled for December, four UK productions already delivered, nine professors engaged as directors, more than 24 professors contributing to its forthcoming theatre book, thousands of creative professionals engaged and over ₦5 billion mobilised through its activities, the Foundation said it is preparing to take its work even further.