Victor Coker Charles is a versatile actor, dancer, director and choreographer. He has featured in several top productions both on stage and screen, including: Sizwe Banzi is Dead, Emotan, Human Cargo, Our Husband Has Gone Mad Again, Death and the king’s horsemen’s, The god’s are not to blame, Isale-Eko, Oba Ovonramwen Nogbaisi, Fajuiyi, Kashimawo, Once upon Four Robbers, etc. In this interview with TONY OKUYEME, Charles talks about his experiences so far, memorable performances, challenges and other issues…

Can you tell us about your journey in becoming a dancer, choreographer, actor, and theatre scholar?

What led you to pursue a career in the performing arts? I started my journey in the world of theatre by performing in some clubs, churches, events, doing skits and later joined a local theatre group, “Elite Production Theatre”, in Port Harcourt, which was then owned and directed by Mr Alex (Able D), one the leading directors in Port Harcourt City, Nigeria. Thereafter, I enrolled for a diploma course (CTA programme) in University of Port Harcourt.

My passion for the arts of the theatre led me to pursue my degree in Theatre Arts in University of Port Harcourt, where I also discovered a love for dance, acting, directing. I began taking dance and acting classes under top notable high ups professionals who’ve consistently been gracing our Nollywood screens.

I eventually started choreographing, directing for small group works and theatre troupes. My curiosity about the history and theory of theatre grew, prompting me to join the the Nigerian theatre and entertainment; the National Troupe of Nigeria, and also, pursue a master’s degree in Arts of the Theatre in University of Lagos.

Over the years, I’ve balanced my work as an actor, dancer, director and choreographer while continuing to explore the academic side of theatre, culminating in a fulfilling career that blends performance and scholarship.

Can you share some of your most memorable performances or productions?

‘Sizwe Bansi is Dead’, ‘PO’, Emotan’, ‘Dance of the Rivers’, ‘Ajoyo’, ‘Ankara Committee’, ‘Scourge’, ‘Human Cargo’, Our Husband Has Gone Mad Again’, ‘Death and the king’s housemen’, ‘The god’s are not to blame’, ‘Ogaime Erejuwa’, Ufok Ibaan’, ‘Tales of Choices’, ‘Isale-Eko’, ‘Drums of War’, ‘Oba Esugbayi’, ‘Oba Ovonramwen Nogbaisi’, ‘Emir Sanusi’, ‘Fajuiyi’, ‘Kashimawo’, ‘Ladi Kwali’, ‘Jagagba’, ‘Esu and the vagabond minstrels’, ‘Once upon Four Robbers’, ‘Hangmen Also Die’, Echoes of the Drums, ‘Crossroads’, etc…

Can you share any challenges or obstacles you’ve faced in your career, and how you overcame them?

In my theatre journey, I faced several challenges, such as: rejection and criticism, balancing roles, physical and mental strain, physical and mental strain, and financial instability.

Some auditions often resulted in rejections. I learned to view these as opportunities for growth, using feedback to improve my skills. Also, juggling acting, dancing, and studying was demanding. Time management and prioritising tasks helped me maintain balance.

The physical demands of rehearsing National Troupe dance routines in the troupe and the mental effort required for memorising lines were intense. Staying true to God Almighty, prayers, regular exercise, proper rest, and mindfulness practices helped me stay fit and focused. Also, the payments were not encouraging.

Keeping my passion alive amidst challenges was crucial. Staying connected with a supportive theatre community and continually seeking new inspirations in theater helped me remain motivated. Each challenge taught me resilience, adaptability, and the importance of perseverance in the arts.

Who are your favourite Nigerian thespians and why?

I have so many favourites artistes, which I call them “Fathers of Theatre and Entertainment” because they’re true to their crafts (Art) and remain consistently evergreen.

I will mention just a few: Professor Sam Dede, Peter Badejo OBE, Professor Ahmed Yerima, Professor Ojo Rasaki, Dr. Columbus Irosoanga, Dr. Anold Udoka, Dr. Friday Nwafor, Nobert Young, Journalist Tony Okuyeme, Muyiwa Oshinaike (Baba Ne), Mr Soibifaa Dokubo, Ann Njamanze, Martin Adaji, Josephine Igberaese, Biodun Abe, Steve Ogundele, William Benson, Toyin Oshinaike, etc.

What draws you to a script and makes you decide to take on a role?

Has to do with a compelling story, character depth that offers challenges, personal connection to the theme/story and roles no matter how small that can challenge and enhance my career growth.

You’ve played a wide range of characters, is there a particular type of role or genre that you enjoy most?

I don’t have a particular role. As an actor you must always welcome, love, enjoy all roles because that’s who you’re to learn to imitate, to give life to every character of life; and that’s where you discover the other you and enhance your personal creativity.

You’ve worked with many acclaimed directors and actors. Who have been some of your favorite collaborators, and what did you learn from them?

Yes, by God’s grace I have worked with many acclaimed directors, choreographers and actors, and mentioning names will be endless. I humbly want to say that everyone I have been privileged to come across in the entertainment industry, from the high-ups to the up-and-coming, have been my favourites, great sources of my learning process, growth, encouragement, positive challenges and creativity.

Your performances often bring depth and nuance to your characters. What do you think is the key to creating a compelling and relatable character?

Like I said earlier, I can’t create a compelling and relatable character without God Almighty, and some few elements like understanding the character (diving deep into the character’s back story), emotional truth (tap into genuine emotions characters feel in various situations), physicality (use of body, gestures and presence), consistency and growth (maintain consistency in how the character speaks and behaves).

What do you think is the most misunderstood aspect of your work or the industry as a whole?

The most misunderstanding aspects of acting and the entertainment industry as a whole is the perception of glamour and ease. Many people see the final product, movies, TV shows, red carpet events and assume that acting (entertainment) is a life of constant excitement and luxury. However, the reality is much more complex and challenging.

Is there a particular role or project that stands out to you as a favorite or a game changer?

All roles and projects no matter how we tend to grade them have stood me out, have been my favourites and my game changer because an actor is as good as his/her last production.

Every role and project I did or I am doing presently has challenged me in new ways, made me to work with talented team before the audience. Often, these roles and projects receives critical acclaims, lead to awards and open opportunities in my career.

How do you see your role in the industry evolving, and what kind of projects do you hope to take on in the future?

I see my role in the entertainment industry evolving by exploring a range of projects that will positively challenge me, offer me new experiences, push my creativity and collaboration with emerging unique talents. Also, I will be engaging in projects that address social issues. Ultimately, continuing to grow as an artist and contribute meaningfully to the craft would be my key goals.

What advice would you give to aspiring actors or those just starting out in the industry?

My advice to aspiring actors or those just starting is simple, hold firm on God Almighty, engage in training, consistent practices, invest in your craft through formal or informal training, diversify your skills, stay informed with the latest trend, and ensure you main professionalism in being always prepared, punctual, humble, respectful in auditions, rehearsals,on and off stage/set.

What was the most rewarding aspect of performing in Lagos, and how did the audience’s energy impact your shows?

Wow!!! Eko for show. I call Lagos State the home and apex of entertainment in Nigeria. Lagos State is known for it’s vibrant cultures and passionate energetic audiences, which as greatly enhanced my experiences. If you can win Lagos audiences with your craft, then you’ve and can win the world’s audiences.

Truth is, over the years of my performances in Lagos State before the audiences was truly rewarding. I have been positively impacted with their unwavering support, appreciation, positive criticism, feedback and genuine reactions validating my performances.

Where do you see live theatre in Nigeria in the next 10 years?

In the next 10 years, I see live theatre evolving in several exciting ways. Technological Integration: Increased use of technology such as virtual and augmented reality to create immersive experiences. Digital platforms may also expand access, allowing global audiences to participate in live performances.

Hybrid Formats: A blend of in-person and online performances, catering to a wider audience and providing flexibility for both viewers and performers. Interactive and Immersive Experiences: Growth in interactive theatre where audiences play a role in the narrative, making performances more engaging and personalized.

Sustainable Practices: A shift towards more eco-friendly production methods, with a focus on reducing the environmental impact of set designs, costumes, and overall operations. Diverse Voices and Stories: Greater emphasis on inclusivity, with more stories from underrepresented communities being told, and a broader range of voices being heard both onstage and behind the scenes.

Community-Centered Productions: More local and community-based theater initiatives that strengthen connections and reflect local cultures and issues. Overall, I believe live theatre will likely continue to innovate while preserving its unique ability to connect with audiences on a deeply personal level.