The General Manager and CEO of the National Theatre, Tola Akerele, is a visionary leader, award-winning interior designer, and cultural entrepreneur whose career has been defined by an ability to bridge business, design, and culture. Combining a meticulous corporate background with a deep passion for storytelling, she has emerged as one of the key architects shaping Nigeria’s creative economy.
Interestingly, her journey did not begin in the worlds of art or design. At the age of eight, she left Nigeria for the United Kingdom to attend boarding school, first at a prep school in the seaside town of Burnham-on-Sea, before moving on to high school in Worcestershire in England’s West Midlands. She later earned a degree in Economics and Politics from the University of Bristol before launching her career in London with the global investment bank Credit Suisse as a chartered accountant.
Akerele went on to build a successful career in corporate finance, holding positions at other global financial institutions, including Deutsche Bank and BNP Paribas. Altogether, she spent more than 20 years living and working in the UK.
Following her relocation to Lagos, however, she answered a different calling. Determined to formalise her creative instincts, she studied at the Parsons School of Design in New York and the KLC School of Design in London before founding iDesign, a Lagos-based interior design firm celebrated for seamlessly blending modern functionality with rich Afrocentric themes and hand-carved furniture.
Her influence extends far beyond interiors into the wider cultural landscape. She co-founded Bogobiri House, the boutique hotel in Ikoyi that became an iconic cultural sanctuary where art, live music and Afro-fashion converged. Within it sits The Orishirishi Kitchen, an authentic farm-to-table restaurant celebrating regional Nigerian flavours, which eventually inspired her publication, The Orishirishi Cookbook.
Her commitment to nurturing the visual arts also led to the establishment of Soto Gallery and the creation of the highly anticipated +234 Art Fair, a platform designed to amplify the global visibility of emerging Nigerian artists. Her extensive contributions to design and advocacy further include serving as Vice President of the Interior Designers Association of Nigeria (IDAN).
Today, Akerele is leading the grand renaissance of the country’s most iconic performance landmark, transforming the National Theatre into a world-class hub for multidisciplinary arts. She tells Yinka Olatunbosun the remarkable story behind her multifaceted career and how she is working to elevate the creative soul of a nation.
Congratulations on the reopening of the National Theatre. How does this renewed facility support the Nigerian creative economy?
The reopening of the National Theatre is a major milestone for Nigeria’s creative economy. Originally built as a cultural landmark for FESTAC, the theatre was designed to celebrate and showcase the richness of our arts and heritage. Restoring it to its former glory not only preserves an important national asset but also creates new opportunities for creatives to express themselves across film, theatre, music, dance, and other artistic disciplines.
One of the Ministry’s key priorities is addressing the longstanding shortage of world-class infrastructure for showcasing Nigeria’s diverse artistic and cultural expressions. The National Theatre directly responds to that need. As a purpose-built, internationally competitive venue, it provides a platform for nurturing, celebrating, and presenting Nigerian talent to both local and global audiences. Its reopening is therefore more than the restoration of a building; it is an investment in the future of Nigeria’s creative economy and a catalyst for its continued growth.
How do you intend to make the National Theatre more accessible and relevant to Nigeria’s younger, tech-savvy, and digitally-native creative demographic?
While my role is primarily focused on cultural programming at the National Theatre, accessibility and relevance for Nigeria’s younger, tech-savvy, and digitally native creatives are central to how we are shaping our programmes. We’re already seeing a growing number of festivals, performances, conferences, and creative events attracting technology companies, innovators, and younger audiences to the Theatre. For many years, a generation of young Nigerians had limited opportunities to experience the National Theatre, but as it reopens as a premier, world-class creative hub, we’re seeing genuine excitement and renewed engagement.
From a programming perspective, we’re intentionally curating events that reflect the interests and aspirations of today’s creative ecosystem, while also working on policies that will encourage greater participation from the creative and digital sectors. Our goal is to ensure that the National Theatre is not only a venue for performance but also a vibrant, accessible platform where young creatives can create, collaborate, innovate, and showcase their work.
How do you maintain your creative energy and vision while navigating the bureaucratic nature of a government agency?
I’ve been fortunate to spend most of my career in the private sector, so that foundation has been very valuable. Since moving into the public sector, many of the skills and networks I’ve built have also been beneficial. Given the limited funding available, much of our work involves building partnerships and securing support for projects, and those relationships have been incredibly important.
Beyond that, being in Lagos makes it easy to stay creatively inspired. There’s always something exciting happening, whether within the Ministry and her agencies, or throughout the city’s creative ecosystem. We also have a dynamic group of agency heads, many of whom also came from the private sector, so we constantly exchange ideas and learn from one another.
Why are other government-owned theatres still not available for use by creatives who cannot afford the National Theatre?
I think funding is one of the main challenges which has limited their ability to operate effectively and consistently serve the creative community. It is a challenge that requires sustained investment and attention.
The National Theatre, however, is now operating through a private sector-led initiative, and we also have to consider its long-term sustainability. At the same time, we recognise that affordability is a concern for many creatives.
That’s why we’re developing policies that will make it easier for people within the creative sector to access and use the venue. Ensuring that different creative communities can present their work there is essential, while advocating for greater investment in public cultural infrastructure across the country.
Right from the days of Bogobiri to Soto Gallery, you have deepened your appreciation for the Arts in visual art, food, music, and fashion. What expectations do you have for the arts and culture scene at large?
Nigeria is incredibly blessed with creativity and culture. We have so much to offer, and everything I’ve done from the gallery to my other projects has been about presenting our culture in ways that are exciting, authentic and compelling.
Whether through art forums, exhibitions or publishing, the goal has always been to create platforms where people can engage with Nigerian creativity. The Orishirishi cookbook, for example, was about documenting and celebrating Nigerian food because, although I didn’t grow up here, I wanted to understand more about our culinary heritage. The more I explored it, the more I realised just how rich it is.
How do you view the role of the National Theatre in the broader tourism ecosystem of Lagos and Nigeria?
The National Theatre is one of Nigeria’s most iconic buildings, and it has an important role to play in cultural tourism. I believe cultural tourism is an area Nigeria and Lagos in particular should invest in because we already host so many major events, especially during the final quarter of the year, including Fashion Week, Design Week, Art Week and Theatre Week.
People around the world are looking for authentic and original cultural experiences. Whenever I travel, I see tremendous interest in Nigerian creativity. We should use that interest to promote tourism and showcase who we are as a people.
Your activation of +234 Art Fair is yet another blueprint for collaboration with the corporate institution. What are the benefits that such initiatives have on our creative economy?
Partnerships with private institutions such as Ecobank allow us to amplify our impact. Before Plus234 Art Fair, we had a smaller initiative called iDesign Arts, but this partnership enabled us to expand significantly, giving many more artists the opportunity to showcase their work.
It also created space for workshops, presentations and professional development. Most importantly, it gave artists from across Nigeria, not just Lagos, a platform to exhibit their work, connect with new audiences and access new markets.
These collaborations also expose artists to new ideas, best practices, and valuable public feedback, all of which contribute to their professional growth and the development of Nigeria’s creative economy.
Being a mother and wife in a high-stake public position must be demanding. How does your strength in multitasking help to deliver on your projects?
Balancing the demands of being a wife and mother with serving in a high-stakes public role is not always easy. There are days when it feels like I’m constantly switching between worlds. It’s a balancing act that requires intention, grace, and, sometimes, accepting that I won’t get everything perfectly right.
I’ve come to realise that while multitasking is one of my strengths, I don’t do any of it alone. I’m incredibly fortunate to have a husband who believes in me, supports my ambitions, and encourages me to pursue the work I’m passionate about. That kind of partnership has made all the difference.
I’m equally grateful for the remarkable teams that support me, both in my businesses and in my public service. They’ve built systems that allow things to keep moving even when I’m focused elsewhere, and I trust them completely. Surrounding yourself with capable, committed people isn’t just good leadership; it’s what makes it possible to show up fully in the different roles that matter most.
At the end of the day, my greatest motivation is knowing that I can contribute meaningfully to my country while still being present for the people I love. It’s not about achieving perfect balance; it’s about being intentional with the time, energy, and opportunities I’ve been given.
As an author of a cookbook titled ‘The Orishirishi Cookbook,’ what propelled you to write the book, and what gaps were you trying to fill with such literary as well as culinary effort?
The book was really about documenting Nigeria’s incredible recipes. Growing up, I was familiar with only a few traditional soups, but as I travelled across the country, I discovered so many amazing regional dishes that completely broadened my appreciation of Nigerian cuisine.
Having grown up in the UK, there was also very little access to these recipes at the time. I wanted to create a book that people could share with friends and family, whether Nigerian or not, to tell the story of who we are through our food.
The stories and proverbs included in the book also reflect our culture, making it much more than just a cookbook. I’d wanted to write it for a long time, and during COVID, I finally gave myself a deadline and completed it. The response has been a wonderful surprise.
What do you do to relax after a cycle of international work, travel, meetings, and productions?
I enjoy spending time with my family. We entertain quite a bit, so I enjoy having good people around us. I also love travelling for leisure, which allows me to rest, reconnect with my family, and recharge.
Many people see you as the epitome of ageless beauty. What habits have helped you maintain your natural glow?
I don’t know about that! (laughs)
One thing I do consistently is drink a bottle of water every morning when I wake up. I also make exercise a priority, working out about three times a week, and I try to get enough sleep whenever I can. Those simple habits have been important for my overall well-being.
You had a successful career in investment banking before returning to Nigeria to pursue your passion. What does that journey say about the Nigerian dream?
My years in England were wonderful. I had a fulfilling career, travelled extensively and gained valuable experience. But returning home reignited my passion for Nigerian art and culture.
I felt strongly that we needed to celebrate who we are as Nigerians and present our culture with pride. That vision led to the creation of Bogobiri alongside my partner Chike, which became a platform for showcasing Nigerian creativity through food, music and art.
Everything we’ve done through Bogobiri has been about ensuring that Nigeria’s rich cultural heritage is experienced and appreciated by both Nigerians and visitors from around the world.
