Born to thespians; Olu Jacobs and Joke Silva, it is a valid assumption that Olusoji Jacobs would take up the baton and continue the artistic race but he switched lanes as early as sixteen, carving his own path in the business world. Olusoji Jacobs has always been interested in business. At 16, he got his first internship at a WSTC Financial Services, a stockbroking firm and prior to that, he was part of a group in secondary school that threw parties for people their age. He has been intrigued by the backend for as long as he remembers and officially got into creative business in 2012.
Fresh out of university, Jacobs found himself on the curatorial project for the 2012 Olympics—hosted in England—funded by the Bank of Industry. The team was tasked with curating culture showcased at G Live Surrey and Theatre Royale Startford East, which is the Nigerian house. The Nigerian expression was put on display; cuisine, fashion, film, music, and theatre were ably represented. Jacobs served as the project manager for the exhibition and his performance landed him a job at Lufodo Group.
The Lufodo Group is the family business of the Jacobs. Founded in 1985 as a film and stage production company, it has since evolved into a fully fledged media and entertainment services company. It includes the Lufodo Academy of Perfoming Arts, which is in a longstanding partnership with Netflix, and more recently, Glover Memorial Hall.
Nollywire sat down with Olusoji Jacobs to talk about the Lufodo partnership with Netflix and their latest acquisition, Glover Memorial Hall.
Nollywire: The Lufodo Academy made huge strides with its partnership with Netflix to train actors and screenwriters. Can you tell us about how this partnership came about?
We were approached by Netflix through their talent investment department, headed by Christopher Mack. They reached out to us looking for a long-term partnership on capacity building. From a policy strategy standpoint, talent investment and capacity building have always been part of Netflix’s overall strategy. They realise that to have a competitive advantage in Africa, they need strong local partnerships. However, with subscription rates in Nigeria being low, they’ve cut back on original production. Despite that, they remain very active in Nigeria and West Africa, focusing on increasing content quality and ramping up subscriptions.
Netflix understands that to maintain their foothold in the region, they must cultivate and nurture local talent. They assessed the landscape and identified institutions they could collaborate with, and Lufodo Group was a natural fit given our track record. They also recognise that as much as financial investment is critical, skill development and knowledge transfer are equally important. This partnership aligns with their broader plan to develop African storytelling and ensure that local professionals are equipped with the tools to create high-quality productions
Beyond financial backing, what specific expertise or resources is Netflix bringing to this partnership?
Netflix initially assessed us through their consultant, the University of Southern California, to determine if we could execute the project independently. We were tasked with training actors and screenwriters, but also with instructing directors on how to work with actors. Due to budget constraints, the funding only covered acting and writing in the initial phase.
Netflix did not provide direct personnel for the training; we sourced all the instructors locally. This was important to us because we believe training should come from our own context. We emphasised the need for our students to be trained by professionals who understand the nuances of the local industry and can tailor instruction to the realities of storytelling in Nigeria and West Africa.
We were also fortunate to have Ololade Okedare, a development executive trained by Netflix, leading the screenwriting program. Her insights were invaluable, not only because of her training but also because of her deep understanding of the evolving industry standards. We also incorporated a mix of practical workshops and theoretical classes to ensure that students were receiving a holistic learning experience. Our goal is to create a self-sustaining system where industry professionals pass down knowledge to emerging creatives, fostering long-term growth.
How were the instructors selected for the training program?
We took a very deliberate approach in selecting our instructors. Since Lufodo Academy has been involved in training for over a decade, we have strong relationships with seasoned professionals in the industry. We looked at expertise in both theoretical and practical aspects of acting and writing. Our acting instructors, for example, are either accomplished directors or actors currently working in the industry. We ensured that they had not only the skills but also the ability to impart knowledge effectively.
For writing, we brought in professionals who had experience working with major studios and networks. This balance of academic rigour and hands-on industry experience was crucial in ensuring our students received top-tier training. Additionally, we incorporated movement and voice coaches to give our students a well-rounded learning experience. Our aim was to create an environment that mimics professional film and theatre training found in the best institutions globally.
I understand that the cohort is producing a short film in collaboration with Anthill Studios and Accelerate TV. Can you give us insight into that?
Yes, the film has already been produced and is now awaiting release. When we received funding from Netflix, they provided a set amount, and we had to seek additional partners to execute the final project. Initially, we planned to make two films, but we focused on one due to budget constraints.
We knew that producing even a short film at a high level required careful planning and strong partnerships. Accelerate TV provided creative and technical support, while Anthill Studios contributed essential equipment and post-production expertise. This collaboration allowed us to maximise resources and ensure that the students were part of a production that met industry standards.
We also emphasised practical learning throughout the production process. The students were involved in all aspects, from scripting to final edits. They had the opportunity to work with experienced professionals, learning on set rather than just in the classroom. This approach reinforced our commitment to experiential learning—something we believe is crucial for anyone looking to break into the industry.
What are the plans for the premiere of this short film? Will there be a premiere? Will it be showcased at festivals?
It’s a student film, so our first screening will be part of the graduation ceremony, planned for February or March. After that, we will explore festival opportunities in Nigeria and abroad.
Now, let’s talk about Glover Memorial Hall. Taking on the mantle of Glover Hall is a significant responsibility. How are you balancing preserving its heritage while adapting it for modern creative needs?
For the management of Glover Memorial Hall, we partnered with CIUCI Consulting, an operational management consulting firm, run by Dr Chukwuka Monye. It operates under Lufodo Group as a business unit. We structured it to include Memorial Hall for live events—such as theatre, premieres, music, exhibitions, gaming events, and festivals—and Lufodo Productions, which handles content creation for theatre, film, and TV. The original Glover Hall was built in 1883, but the structure we use today was developed in 1962 and later renovated by Lagos State. We operate it as a public-private partnership with a mandate to promote arts and culture.
Heritage is incredibly important to us. When working with historic spaces like Glover Memorial Hall, our goal is to preserve its essence while making it adaptable for modern use. We have introduced new programming that attracts younger audiences while still maintaining the venue’s cultural significance. Whether it’s hosting contemporary stage plays or immersive art exhibitions, we want Glover Hall to remain a cornerstone of Nigeria’s creative landscape.
You’ve mentioned wanting Glover Hall to become a creativity hub. What practical steps are you taking to achieve this vision?
We’re engaging stakeholders, including patrons and corporate sponsors, to develop funding that allows us to run year-round programming. Theatre is often the least profitable sector in entertainment, so we ensure sustainability through strategic partnerships and sponsorships.
We also recognise the need for consistent programming. Our aim is to build a season-based approach, similar to what you see in Broadway and London’s West End. This ensures that audiences have regular productions to look forward to, which, in turn, sustains interest in theatre. We also aim to build an endowment fund, similar to what exists in the global north, to support long-term growth.
The plan to produce four stage plays is ambitious and exciting. What themes or stories are you aiming to explore with these productions?
Yes, we’re planning four large-scale productions and ten smaller ones. The themes will centre on family, hope, and cultural heritage. Nigeria is experiencing an identity crisis, and we believe that understanding our past is crucial to shaping our future. We also aim to revive ‘Heartbeat the Musical,’ which originally ran in 2016–2017.
While we are developing new, original plays, we also see value in reviving Nigerian classics that have shaped our theatrical history. One of our goals is to keep the legacy of Nigerian storytelling alive, ensuring that important cultural narratives are not lost to time.
What impact do you hope these plays will have on the local theatre scene?
We want to demonstrate that theatre can be commercially viable and sustainable. By producing high-quality stage plays, we aim to build a stronger audience base for theatre in Lagos. We also hope to inspire young creatives by showing them that there is a future in live performance arts.
Finally, what is your favourite play or musical?
My favourite play is ‘Oba Ovonramwen’ because I first saw it as a child with my father playing the Oba. It still resonates with me today. My favourite musical is The ‘Lion King,’ which I saw at the Lyceum Theatre in London—it was an amazing experience.
