#409 – Nicole Obidiaka
This week on Stageworthy, host Phil Rickaby welcomes Nicole Obidiaka, a passionate playwright, arts advocate, and business professional based in St. John’s, Newfoundland. Nicole shares her journey from Lagos, Nigeria, to Newfoundland, her work as a playwright amplifying Black voices, and her mission to make theatre more inclusive. She also discusses her play Blank Page, her upcoming work Beauty Behind the Norms, and her advocacy for mentorship and community building in the arts.
This episode explores:
- Nicole’s journey from Lagos, Nigeria, to St. John’s, Newfoundland
- How Blank Page brought representation to the stage in St. John’s
- Her new play Beauty Behind the Norms and its exploration of polygamy and womanhood in Nigeria
- The importance of mentorship and amplifying Black voices in Newfoundland’s theatre community
- Her plans for a Black Theatre Festival to support emerging Black playwrights
Guest:
🎭 Nicole Obidiaka
Nicole Obiodiaka is a dynamic business professional, playwright, and arts advocate dedicated to amplifying Black voices. She works at Nasdaq Verafin and is the founder of Centra, a company committed to supporting black creatives & entrepreneurs.Her plays, including Beauty Behind the Norms, Amapiano meets Shakespeare and Blank Page – An African Love Story, have been showcased at festivals such as Women’s Work Festival and St. John’s Shorts.
Beyond the stage, Nicole has produced and written projects for CBC & PictureNL, highlighting Black experiences in Newfoundland and Labrador. She also leads the St. John’s chapter of Nasdaq’s Global Link of Black Employees and serves on the board of St. John’s Shorts and Shakespeare by the Sea Festival board.
Nicole’s work has been recognized with several prestigious awards, including the Frank H. Sobey Award for Excellence in Business Studies, BBA Award for excellence & leadership, Memorial University Centennial 100 & Afropolitan Canada Youth Leadership Award.
Whether in business or the arts, Nicole is committed to storytelling, leadership, and community impact.
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Transcript
409. Nicole Obiodiaka
Phil Rickaby: Welcome to Stageworthy Canada’s Theatre Podcast. I’m your host, Phil Rickaby. If you’re watching on YouTube, make sure that you like this episode and subscribe to the podcast and hit that little bell icon so that you are notified every time a new episode is dropped. If you’re listening to the audio version, make sure that you are subscribed to the podcast by hitting the follow button or the subscribe button, depending on which platform you’re on. That way, whenever I drop a new episode, it will download directly to your device. That way, you will never miss an episode of Stage Worthy.
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I’ve just started getting ready for my Toronto Fringe coverage. I want to make sure that I’m covering Fringe, but I don’t want it to take over the whole channel. So I’m going to be releasing four special episodes featuring four Fringe shows each episode. Uh, and so those are going to be coming up, uh, as we get closer to Fringe. And also, uh, I’ll be talking to some of the Fringe leadership in the coming weeks. And that’s really exciting too. Um, if you’ve listened to this show in the past, you know how much I love Fringe. Not just the Toronto Fringe, but Fringe festivals all over Canada. And so I’m hoping that as the summer goes on, that I could talk to more fringe artists as well. As the festival season continues through the summer.
My guest this week is Nicole Obidiaka. Nicole is a dynamic business professional playwright and arts advocate dedicated to amplifying black voices. Nicole is based in St. John’s, Newfoundland, and, uh, has become a, uh, real mover and shaker in St. John’s Nicole uh, has written some beautiful works and is really making things happen. I really enjoyed getting to know Nicole and if you don’t know Nicole, I think that you’ll enjoy getting to know Nicole too. So here is my interview with Nicole Obidiaaka. Uh, well Nicole, thank you so much for making the time to talk to me. Um, I was thinking that we would get started by talking about uh, how you got started in theatre.
Nicole Obidiaka: I got started when I was in um high school. So I was introduced to it um my school that this was in Lagos, Nigeria. So we had like these yearly um Christmas shows. So we did a play at the time most of them were like a theatre version of like a very popular Disney movie. So like there was Pocahontas. Um, excuse me now we’ve also done like um, what’s it called? Um, Sounds by the Sea. I don’t remember what the name of the movies. It’s very popular but I forgot it now. But anyways um, that’s how I got introduced into it. It was through those theatre plays that we did yearly and then as you move up in grade. So when I was in about grade um 11 I actually had the opportunity to. I um was in drama school. Um, there was like a drama course that we could take. So through that um, being like the most senior grade they give you the chance to work on different aspects of the production, not only acting. So I got a chance to be exposed to acting um as well as writing as well as actually doing like the sound and the mixes um for theatre. So that was like my first time being I guess exposed to all side of side of it. And then we did tours all around um Lagos for the plays as well. So that was like my first time and I fell in love with it from there.
Phil Rickaby: Did you, did you end up going to theatre school or how did you, how did you go from uh, plays in, in high school to what you’re doing now?
Nicole Obidiaka: So no I never went to theatre school. Um, I guess the most advanced training that I’ve gotten um in high school we had two um courses. It was led by like the British curriculum. So like IG IGCSEs. So essentially like they were focused on drama for two years intensity. So like all aspects when it came to theatre. Um, so that was like my first training um formally and then the second one was when I wasn’t was at mu, I took a class by um Mallory. I don’t remember what the exact name of the class is now but I know that it was focused on theatre. So the rest has been, I guess, self taught and learning from the people around me.
Phil Rickaby: I mean, it’s always a great way to learn.
Nicole Obidiaka: Yes.
Phil Rickaby: So high school in Lagos, now in St. John’s, Newfoundland. Yeah. What is the journey that brought you? Uh, uh, to St. John’s.
Nicole Obidiaka: Yeah, so I. It’s not the story people want to hear, but I’ll be honest. Cause it’s m. My story. I didn’t come here intentionally, but I’m happy about how everything worked out. So I’ll always say that, um, because um, Nigeria is very tailored to the UK because we were colonized by them. And I promise it all makes sense in the end. So everything, every school you went to was preparing you to go to the uk. So even what I referenced about the igcse, that’s a UK curriculum. So, um, in Nigeria, when you finish secondary school under the UK curriculum, you’re meant to go somewhere to like bridge the gap between secondary school and university. Um, so in that school I told them, hey guys, like I’m going to Canada, I’m not going to the uk. Long story short, they didn’t, I guess, I guess I didn’t know. Or maybe they didn’t hear what I was telling them initially. So they gave me like the wrong number of courses that I needed to take. And then even though I had all A’s, I was getting rejected from Canadian universities. And I was very confused as to why. Um, and then they all got back to me saying that it’s because I don’t meet the minimum course requirements. So I was panicking, like, oh my gosh, you know, I can t exactly go back and like start retaking a whole other course that would set me back by a year. And I googled for schools that would accept me with the courses that I had. And um, in the top 20 there was MU, which I was very grateful about. Um, and then there was some other random school that wasn’t even like in the top 200 or 250. So I was like, no, no, no, I’m not going there. Um, and that’s how I found myself here. And when I initially came, I was very scared because I moved by myself all the way from. I had no family, no friends, no acquaintance. Like I knew absolutely nobody in the province. Um, so it was a very, very scary move. And I had just turned 18 at the time, so it was a lot. Um, but then when I came here, I just, I fell in love, uh, with the province more so because of the people and also because of the art scene, um, and also some of the things that I do to help, um, black businesses as well. So anyways, I fell in love with it and theatre is like a huge part of why I’m even still here. So. Yeah, that’s the story accidentally worked out.
Phil Rickaby: I mean in that story you mentioned the school expects you to go to the UK but you decided that you were going to Canada.
Nicole Obidiaka: Yes.
Phil Rickaby: Why did you decide that you were going to go to Canada?
Nicole Obidiaka: Oh, that’s a good question. Um, um, I were trying to think if I can remember. I think when it came to the UK it was just like everybody was going there and like nothing about the UK just ever like screamed wow to me. Like, I don’t know, it just seemed very controlled, very like government oriented. And I guess Canada is like any country is to like a capacity. But I guess between Canada and the U.S. those were like bigger cities. I could see like more options for like creativity and growth and all of that. Um, and I had no, I don’t have any interest in the US right now anyways. So. Yeah, so that’s how I landed on Canada. I was looking at Ontario. I didn’t even know that Newf Foundland existed.
Phil Rickaby: So yeah, I’m sure, I’m sure you. As wonderful as Newfoundland is, I’m sure that when somebody is looking at places to go in Canada, something in Ontario is the first place to come up. Followed possibly by Quebec.
Nicole Obidiaka: Yes. Ex. Uh, and especially like in 2020. No, that was 2018, 2019. It’s not what it is. Uh, now, like now. Ye, of course Atlantic Canada would come up, but back then, like it’s. I say back then but really a lot has changed and the five or six years that I’ve been here, so like now it’s more reputable. Um, anyway, so yeah, it’s grown a lot now.
Phil Rickaby: So yeah, yeah, there’s I think, um, uh, you know, people who are uh, further west in Canada, uh, don’t, don’t think a lot about, about the Maritimes and I don’t think they think a lot about, about Newfoundland. But it is a place where there is a thriving and unique, uh, arts, uh, community.
Nicole Obidiaka: Yes.
Phil Rickaby: What if you were to try to describe to somebody what the arts community, specifically theatre, but the arts community is like in St. John’s. How would you describe it?
Nicole Obidiaka: Oh, I would say it’s crazy, it’s fun and it’s welcoming. I think I would use like those three words to describe it. Yeah, crazy fun and welcoming.
Phil Rickaby: One of the things I’ve talked to a few people in the last few weeks, uh, uh, who are in the St. John’s area. Um, and one of the things that they all talk about is mentorship and the importance of mentorship in Newfoundland, which I think that is unique to St. John’s and Newfoundland. Uh, the way that people uh, uh, mentor each other. Nobody’s sort of hoarding knowledge. Did you find that yourself?
Nicole Obidiaka: Oh yes, absolutely. Um, I’ve been someone who comes to mind right away would be Santiago. So I’ve known Santi even like through like on set, like through Hudson and Rex. Um, and it’s that like almost in informal but like very, very helpful mentorship. Like it’s one thing to say, oh yes, like I can mentor and I can help but like it’s different to like actually I guess be there when in time of need and like guide and support, like appropriately. Um. Um. Newfoundland is really, really good for that. I have lovely mentors both formally and informally. Um, Ruth as well has been a great, great um, resource and mentor, um, as well as uh, Jen. So yeah, it’s. I’m just grateful. Very, very faithful.
Phil Rickaby: Yeah, absolutely, absolutely. And I think one of the things, the important things about mentorship is that once you’ve been mentored then you sort of feel a responsibility to mentor others.
Nicole Obidiaka: Yes.
Phil Rickaby: Are you mentoring? And you don’t have to give names, but is that something that you’re doing now?
Nicole Obidiaka: I sort of dabble in both um, like theatre and in film as well. So I’m, I guess I have informally mentored or more so I guess maybe supported people through how to get their ideas from always an idea to how to actually like formalize it to get the funding, guest support, things like that. So it’s something that I do on a, On a daily basis. Um, um. But even outside of that, like. Cause I have a not for profhit called Centra. So we, I guess more formally, um, um are working on ways to like support and mentor um um. The diverse, specifically the black community to how to get access to the theatre. Um scene, how to get their place sc. Um um. How to be a playwright. You know, all those. All those resources and wealth of knowledge that I’ve gained, I’m hoping to pass it on to other people and also learn myself, um, in the process.
Phil Rickaby: I mean every day is a learning opportunity which is always an important way to look at things, um, when you are. The importance of amplifying uh, Black voices. Black business and black theatre is very important I think especially in a place where um, people don’t automatically think black community. And one of the things about Newfoundland is the perception is that Newfoundland is so white.
Nicole Obidiaka: Um.
Phil Rickaby: Ah. And uh, in terms of amplifying those voices and working, uh, for equality and making theatre more accessible, um, Was that something that, that you were immediately like, oh, we need this here, or how did, how did your passion for pursuing that and making that happen manifest for you?
Nicole Obidiaka: Yeah. So I would say, um, that justs me in general, um, before coming to Canada, I was more so about how to help the people in need. So like, I used to do like a lot of work for charity. Um, but when I came here, um, and I was looking at the theatre sayingene that that’s. And it has changed a little bit now. It is changing. But I would say yes. Like I was looking at like plays. I wanted to be an actor initially. That was initially like my passion. But I didn’t necessarily see any roles that were, u, um, I wouldn’t say, like, made for me in mind, but like, I felt like I would need to. I don’t know, just didn’t feel like they were written with me in mind. That’s just me being transparent. U, um, I didn’t see any plays that were by, um, people who look like me or telling, um, stories of black people that do exist within the province. So through that I realized that I kind of had to switch gears, um, if I wanted, um, stories, um, of African descent to be told. If I wanted there to be more opportunities for black actors, playwrights, directors, majorly actors, to be honest. U, um to feel like they had a scene or that theatre was being made with them in mind, I kind of had to, I guess, be the one to create it and u, um effect the change that I want to see. That’s also just how my mind works, that there’s a problem. I’m like, okay, how can I fix this? Um. So, yeah, that’s when my gears shifted. So my work so far in the province has been to try and gain some accessibility, um, um, and equity for the underrepresented community, specifically the black community, um, um in the province. So that’s what caused me to switch gears. And it’s worked. Cause even like the first play that I wrote, um, um, in 2023, I’ll never forget, like, the. The comments was like, wow, we didn’t know that there were this many black, um, talent that existed within the province. And it’s not because they weren’t there for the past two, three years. But the question is, were there roles that were made for Them in mind that they felt like they could, I guess, come on stage and be the majority. Cause I’m not saying that they were’t black actors acting. I’m sure that they were in the theatre scene, but maybe it was just like a role or two. This was like a cast of. I’m talking like nine black artists on stage, know. So it’s very different.
Phil Rickaby: So, yeah, I mean representation is so important. Uh, and again, um, those actors, like you’re saying, were likely, like you said, not seeing themselves or not seeing roles that were for them. Um, it’s very hard to feel like you can have a career in the theatre if you’re not seeing roles for you.
Nicole Obidiaka: Yes, exactly.
Phil Rickaby: You mentioned that first play. What. What was that first play?
Nicole Obidiaka: Yeah, so that first play, um, it was co. Written with um, Helena El. So it was called Blank Page and it was performed at St. John S. Shorts. And it was really a full circle moment because my first time re-entering theatre in the province was actually through the shorts U. Um, through the Monraama society. They had a play. So it was like, wow, like this is so full circle. Um, but yeah, that’s what the play was called. It had nine black actors and it was about, uh. It was an African love story. And it was received very, very well. And even like the following year after we did that play, I think that was the most that I had seen, um, black playwrights that got to show their play on St. John’s Sh. So is that. That’s why I’m saying that’s why representation matters. Right? Cause if that hadn’t happened, would there have been that many black artists on stage the following year? I don’t think so. Cause I hadn’t seen that since I’ve been here.
Phil Rickaby: So, um, and did. How did that play. How did Blank Page come to you?
Nicole Obidiaka: Yeah, so, um. U. Blank Page. The. The idea from the play, um, that came from it was myself and Helena. I don’t really. It’s been so long ago. I don’t really, um, remember the. The backstory of it. But I know that we just wanted to have a play that told the story, um, about Africans and our culture. So we’re both from Nigeria, so we wanted a play that would be able to represent, um, Nigeria’s culture and in a different. In a different light. Um, um. And I say that because now there’s been a change in the narrative about how Africans are perceived. But before, um, um, it was very. It was perceived as very rural, not very modernized. The pictures in like the media Were like of people that were poor and all of that. But the reality is, at least for, for both of us, what our reality was, um, um, we were from pretty well to do families, um, and there are pretty well to do families in Nigeria. Nice houses, very modern. So we wanted to show the I guess luxury side of Nigeria as well. Not just what’s always being portrayed in the media as like huts and whatever the case might be. Um, um. So that was like the inspiration and like the goal behind writing Blank Page to make sure that um, our culture was portrayed for what it is and what it can be, not just whatever the media has chosen to show that’s.
Phil Rickaby: Such an important thing. I think just uh, the fact that as you mentioned that not only do you do we have. When people are showing Nigeria in the media it’s um, a poor neighborhood or a poor looking neighborhood also with that annoying yellow filter that they put over placesell Filter?
Nicole Obidiaka: Yeeah.
Phil Rickaby: Oh it’s like uh, I don’t even know why but it’s like every, every time it’s like if it’s the Middle east, if it’s Africa, if it’s Mexico, if it’s a place that is quote unquote poor or perceived as poor yellow, uh, filter.
Nicole Obidiaka: Yep. Very frustrating.
Phil Rickaby: Terms of, in terms of writing that play, you know, you were working, you were working with your partner in that play and they, you know, you sort as a writer.
Nicole Obidiaka: Um.
Phil Rickaby: Was that, was that that new for you? Writing that play was like. In terms of like a play of that scale, was that something new for you?
Nicole Obidiaka: Yeah, I would say, I would’t say the play was. The playwriiting was new because I had done um, some of that in Nigeria before coming here. But I would say the, the tricky part was writing and trying to preserve the culture and the writing but also making sure that the themes that we were trying to pass across were um, um, could be understood by the audience which was going to be like predominantly Canadians. Right? Um, so that part of it was new. Like we would write some I guess Nigerian slangs. Um, and some of them we removed from the dialogue. But like. Cause I’m a writer and director. So like even in the directing it, it was the first time I had to like, I guess adjust and direct in a way that when you’re saying this slang, the body expression, the facial expression, um, the tone had to be extremely over the top so that the message could be communicated without I guess changing the mother tongue and the language that we were using. So I guess that’s the part that was new and tricky and yeah, it was received well, which I’m thankful for. But like I was like u. I need to make sure that this is still digestible and also still enjoyable for people that are Nigerian as well. So it was like trying to find a fine balance between the two.
Phil Rickaby: That sounds like a difficult line to walk because you don’t want to pander to the white audience that doesn’t know Nigerian culture because then it’s inauthentic. But you, you don’t want to go so far that that audience is not able to uh, understand what’s being said. Yeah. Did you have any kind of bellwether, any kind of uh, a uh, marker for you that was like, oh, this is the point in the line where we have to uh, make a change?
Nicole Obidiaka: Um, I would say it’s when the language and the expressions were used. Um, so for example, if there’s a problem or there’s something that’s bad in Nigeria, typical saying is waal. So and what that means is like there’s a problem. Like something bad is happening here and in the play. Obviously dramatic as things would be in a play, there were a lot of problem points. So I realized that we were using that saying a lot or we were like using other things that replaced that. And I was like, I’m not necessarily sure that the uh, um, Canadian audience here would understand exactly um, what we mean when we’re saying that. So it was instances like that where there was like intense emotions that we had to find a balance between using Nigerian sayings, um, and also using Western sayings to make sure that it was difficult. Like it was like it was towing the line. But where we couldn’t change it, we made up with um, we made up with facial expressions and, and um, physical expressions as well where we couldn’t, if we couldn’t change the dialogue.
Phil Rickaby: M. Yeah, yeah, yeah. I mean it’s always hard to u, uh, to know what to do there in terms of. Because you don’t, you don’t want to go, uh, you don’t want to go too far.
Nicole Obidiaka: Um.
Phil Rickaby: There’S been a few incidents in the Toronto scene where some artists who are doing work, ah, that is based in another culture that is not from a European background.
Nicole Obidiaka: Mhm.
Phil Rickaby: Um, have been taken to task by a couple uh, of people reviewing shows, um, for essentially not writing for them.
Nicole Obidiaka: Oh.
Phil Rickaby: Um. And so it seems, and this is not a widespread thing, but it comes up now and then that um, the desire to have the play before you, um, seems to Be a barrier for some people. Have you encountered anything like that in St. John?
Nicole Obidiaka: Um, not that I can recall. Um, honestly speaking. And maybe that’s ca. Because I kind really say that because nothing that I’ve done yet has been I guess produced as like a standalone play. They’ve been part of festivals. So maybe that might change hopefully when the process of producing a play, hopefully. So maybe that might change then, but as of now, no. But I feel like the reason why that’s not. Is because it’s in festivals, not as a stand alone just yet, I hope.
Phil Rickaby: You know, I mean it’s again, it’s not a widespread thing, um, but it is one of those things that I think is uh, a remnant of and a part of Canada’s colonial past. Um, where the idea that if you are. If the play is not for the colonizer, then there are people who won’t listen and they’re never going to listen. But it’s important. We’re a country of immigrants and so uh, immigrants should be able to speak to each other without having to pander to the colonizer.
Nicole Obidiaka: Yes, yes.
Phil Rickaby: Uh, and I mean you mentioned, you mentioned growing up in Nigeria being you know, it’s a colonized nation, um, or was colonized by the British in terms of moving from ah, a one colonized place to another. Um, do you. Is there a difference that you see between the two in terms of the colonized uh, uh, attitude?
Nicole Obidiaka: Uh, yeah, I think this is something that I guess was even striking to me because I think at the top of the interview I had mentioned that we had to go through, not be had to. I would say it depends. But like, I guess most private schools in Nigeria um, had to adopt the British curriculum and I didn’t go to school here. But even from what I’ve seen or what I’ve heard, like, and correct me if I’m wrong, but I believe it’s majorly if not solely on um, the Canadian education system. Right up, up through university. Yeah. So I think like that was um, a huge difference at shock. Like because even in the currency I was like oh, like, aren’t these like the Queen and the king Iron is like British people like on the, on the currency. But I don’t really see a lot of the influence that was left till this day in, in more broader societal areas. So like if you came to Nigeria, um, you would see a lot of our schools. I think even my principal or like my, some of my teachers were from um, the UK and the system, the education system was I wan to say 60 UK, 40% Nigerian. Depends on where you, where you went to school or some schools are adopted both and they made you write both exams. So I think like for me that’s like the major difference is like I almost feel like the impact of um, the British is still felt and seen in Nigeria and even like the ex. Um, there’s still like a huge immigration u um, to the UK from Nigeria t to this day. Like a lot of. And I mentioned that even when I’mbber when I said how um, people in Nigeria, ah, the educational systems are very tayored to go to the UK So I think that was like the major difference. Like I feel like the impact is still felt at home and the impact to me isn’t as strong here. Like there weren’t things that were as obvious to me to tell me that. Oh, um, um, Canada. And I think. Are you. Is Canada still partly owned by the uk I believe so. Or has that changed?
Phil Rickaby: Uh, we are a country that has its own constitution. So we’re, we’re part of the Commonwealth but we are not um, beholden to say the monarch directly. Uh, but again we have these weird holdovers. Like uh, there is because we still have like the Governor General and the Governor general is the head of state of Canada and is the monarch’s representative in Canada is the one that essentially, uh, every time a bill has passed gives royal assent to that bill. Um, and that goes down to the provincial level as well have our lieutenant governors who do the same for the provincial uh, level. But it’s not like the representative of the monarch is ever going to interfere. They are largely a figurehead. Um, so they do not go against what the prime minister or the first minister of each province wants. Uh, it’s sort of like a symbolic thing rather than a legal thing.
Nicole Obidiaka: Okay, okay. Yeah, that makes, that makes sense. But um. Yeah, so that’s like the major difference. I feel like the, I don’t know, the presence of them here or like the history of them being felt here. For me, coming in here was less apparent than if you went to Nigeria. Like you’d be able to tell pretty quickly, um, that they, I don’t know that their impact is still felt. So to say.
Phil Rickaby: Yeah, yeah, yeah. I mean we still, I mean there’s still remnants of that like I was saying. And you know, the monarch is still on the money and all of those sorts of things. Um, but I think that the direct influencer of a lot of cultural things in Canada is the U.S. yes.
Nicole Obidiaka: Yeah.
Phil Rickaby: And that is because we get their movies and their TV and their news and then that’s a huge influencer.
Nicole Obidiaka: Yes. Yeah.
Phil Rickaby: Um, you, ah, like many people who are in the arts, ah, you’re involved in’re a number of organizations. Um, you’re on the board of St. John S shortarts and you’re on the board, you’re on the Shakespeare by the Sea Festival board. Uh, you are involved with uh, nasdaq, uh, NASDAQ Veriin. Um, you, you, you are, you have your fingers in many pies. Um, is that something that you sought out or just like you fell into these, these kinds of things?
Nicole Obidiaka: Uh, I would say I’ve been involved in everything in some way. So like I was start with nasdaq. So um, NASDAQ is where I work full time. Um, but I also have like a passion for theatre and for the arts as well. So I do that in my quote unquote free time’m sort of working around the clock. But yeah, so with those um, theatre is my passion and I’ve been involved with Shakespeare by the Sea. I couldn’t get to perform all the way because I had um, a lot, a lot of other priorities at that point. But I was really, it’s how do I worar this? When I did my audition, um, although the role wasn’t I didn’t feel like it was necessarily written for me in minde I mean it’s Shakespeare U but the, the environment was very welcoming. Like I didn’t feel like I had to reduce my personality as a person when I was um, auditioning for, for that role and the reception of the directors and the crew involved. So I was very touched by Shakespeare by the Sea and u. Um, I felt, I felt included. I felt seen um, in that situation and I was very excited to join the board on when the call, when the call came out caus they were also looking for ways to make sure that their board um, represented the community that has changed that they now serve from a diversity standpoint. So I was, it was like, like and it’s one thing for a company to say something and it’s another thing for them to actually live by their values. So given that I had been in that environment I was like this call is not just for the sake of or toidoota like they truly do live by what they say. Um, so I was very eager to join their board when the call came out. And then the same thing for St. John Sh like that was my first opportunity. That was the first time I got to see um, my play on stage. And a huge part of it is I want to be part of the people, um, that make the decisions when it comes to their festivals so that I can make sure that, um, black voices are heard during these discussions and to make sure that they are even more included. Because sometimes in like the organization and planning of things, um, if people have been doing it for like 10, 15, 20 years, there might be decisions made that unintentionally would exc. Include um, black people or um, underrepresented people, or create a higher barrier of entry that they may not realize. So being in on these boards helps me to make sure that our voices are heard and to make sure that the programming doesn’t, um, unintentionally exclude us and to make sure that it’s more accessible also for new playwrights as well, becausee I’m still, I guess, fairly new in terms of the Canadian landscape, so to say. So long story be short, that’s why I dip and double, mostly because I’ve been influenced by these organizations in one way or another, but also to make the barrier to entry lower for the next black person that wants to come into theatre.
Phil Rickaby: So, yeah, it’s good to hear that that there are these organizations that are actually uh, putting into practice things that were talked about in the summer of 2020. Um, you know, there was a lot of talk at that time and uh, uh, in a lot of cases, not so much action once theatres came back. Um, which is a huge disappointment because there was a lot of hope around the discussions. Um, but I’m really glad to hear that these organizations actually, um, have taken those conversations to heart and they’re actually, uh, making changes.
Nicole Obidiaka: Yes, yes, they absolutely are. In a mix. It makes a world of a difference because like I said, the St. John shorts, um, performances is just. It felt so surreal, like looking back at it, um, last year, because I’ve been watching them from. I’ve been watching the show since I came here in 2019. And that was last year was the first time, I think there were like three or four, um, black playays I represented. And that was the first time I had seen that since I’ve been here. So it does make a huge difference and it gives. It also gives people a sense of connection to the province on a much deeper level because a lot of people are like myself, who moved here solely for school, even though they had the passion of being in the art and they never knew that that was. That there was a way here. Right? And it’s like now when companies do this and when they see more of or people that look like them on stage, they’re like, okay, maybe there is a way here for me. And uh, my passion doesn’t have to die. So it’s. It makes a world of a difference.
Phil Rickaby: Yeah, it really does. You know, I was just thinking that when people outside of Newfoundland think about Newfoundland, uh, they don’t think about theatre, they don’t think about the arts. They think about um, getting screeched in, they think about fishing, they think about kissing a cod. And they think about um, uh, maybe a kitchen party. But they don’t think about theatre and they don’t think about uh, uh, the arts. And uh. But everything that I have heard as I’ve talked to people who are out there, um, is that there is this amazing, vibrant community which I think we should pay more attention to.
Nicole Obidiaka: Yes, yes, I really do agree. And even like the way that the stories um, are told. Cause I don’t remember who I was speaking to, but I believe I asked them. I was like, is, is three weeks truly enough? I think the rehearsal times are like maybe three or four weeks. Like is that truly enough? And they’re like, not really, but like we make it work. So I think like, even in comparison, like in terms of like the resources and the things that we have to pull off on, um, plays are relatively smaller in comparison to like other places. But like the quality to me is better or like. I don’t know, I just. It’s very, very impressive when you consider the limited amount of resources that um, that the art scene here has to pull off them. Um, the incredible quality of work that it does. Like it should be celebrated even more in my opinion.
Phil Rickaby: Yeah, absolutely. I really think though sometimes that like limitations are a great gift to art.
Nicole Obidiaka: Mhm.
Phil Rickaby: Um, that. That when you have to make do, you end up being more creative than you would have been if you had all the money in the world.
Nicole Obidiaka: Yes.
Phil Rickaby: And I think that that is such a great’s, um, a great ah, opportunity. It’s an opportunity. Sometimes we would all wish that there was more money. Um, but like the opportunity have to be more creative. When the money is tight and when the resources are slim, there’s a lot more possibility there.
Nicole Obidiaka: Exactly. And even for me with like my playas that are my place right now, I’ve. Cause I have one right now that’s called um, Beauty behind the Norms and it’s based in rural Nigeria. And you know, like there aren’t. I can’t just like walk down the streets and like find the Specific textile or the specific, um, clay pots or things that I’m looking for to represent rural Nigeria. So you have to be like very. And also if I am to find something, the things that I’m finding are like incredibly marked upuse. That’s just how it is. Account for like the travel costs and things like that. So I’ve had to be extremely, extremely creative to like create like the throne for like a king using like different fabrics. But I feel like the quality has been better because if I wasn’t. If I didn’t have these limited resources, would I have thought so far outside of the box? I don’t think so. Um, so I love it. Yeah.
Phil Rickaby: Well, you’ve brought it up. Let’s talk a little bit about beauty behind the norms. What again? Uh, tell me about that play and how was that play born?
Nicole Obidiaka: Yes, so this play was actually born. I wrote a. I wrote a short. A short story when I was in Nigeria and, and. And was about a woman who had escaped, um, a. An abusive, um, polygamous, um, marriage. And she was I guess telling her story, um, um. And saying how she escaped from. There was a specific situation where she was almost going to be assaulted. And it was about how she, um, um. Found the courage to escape from that. Um, um. And there were no cars. It was very rural. So I mean like walking through different cities, through the day, through the night. U. Um, trying to not be caught, trying to not be seeing all of that. So I took the idea from. Or rather I expanded from the short story that I rose into like a play. So part of the play is actually based off my personal. Like I would. Is’t mine. In a way, maybe it’s like my, my. My granddad, um, he had six wives or. Sorry. Yeah, he had six wives, a lot of children. Um, so it was more so to like. And that’s. That’s very. I don’t know if it’s as typical now but like, it was very common in Nigeria for a man to have multiple wives. Not the other way around though it was only a privilege for them then. Um, and in my culture specifically, I’m Ibo. It’your family is not complete without a male child. So even in my family, um, as well, um, there are two girls. I’m 24 now. My baby brother is like seven. So that’s an insane age gap. And the reason why is because the family isn’t complete without the boy. So they kept trying to have a male child for the family to be complete. And that can cause, um, you Hear and you see a lot of stories about the. Just not only the emotional aspect but also like some situations where um, in Nigeria as well, and even across anywhere um, in the world there can be cases of domestic abuse but also situations where there can be assault within a marriage and it may not be acknowledged as such. So the play touches on a lot of topics I could go on for a while, but essentially it was to show um, the polygamous nature of marriages in Nigeria. It was to show the power of womanhood because the play is about a guy who has four wives and he’s about to take on a fifth wife. And um, um, how that can affect the dynamics internally, how the women stick together. Um, and then it also explores themes of assaults within marriage, um, sexual assaults outside of marriage. But there’s also like some joy and some. And some humor and other themes of the play. It’s not all, it’s not all heavy. Um, but anyways, yeah, it explores a lot of different topics but it all comes together nicely.
Phil Rickaby: Um, did that play get a production?
Nicole Obidiaka: So I’m currently applying for funding to um, hopefully get it produced in 2026. That’s the goal. But it was seen last time it was shown. We did a technical set presentation with um, the RCAT at ah, the LSPU hall in February. Um, so that was the last time I was seeing. And right now we’re working on producing.
Phil Rickaby: Uh, was that. Was that kind of a workshop or was that a full production?
Nicole Obidiaka: Yeah, so it was. No, it wasn’t a full production. Um, we’ve done a, We’ve done a full. I won’t call it a production but like I guess everyone was off book. Everyone was dressed. So I guess a mini production. We did that with Persistence Theatre, um, for their Year of the Arts Women’s Festival. So that was the first time it was seen in its entirety. And when we did that there was an aspect of the play I wasn’t happy with because we needed to show the assault happening. But I also, I mean I didn’t want it to be too graphic. Right. So when we had the technical workshop, the focus on that was to see number one, to bring the set to life. Because I was trying to portray rural Nigeria in Canada, an extremely difficult task. Um, so I wanted to see, okay, can this set even work? Because there were three rooms on stage at one time and they all, sometimes all three rooms work together. So that was one major part that we um, finally explored, um, um during the workshop. But the other part of it too was to show the assault that happened in the bedroom without showing it. And we played around with dance movements, the beats of an African drum and lighting. And I thought, oh, would that be too much? But, um, at the end of the showcase we, we had like a live um, um. Interaction with the audience and they were like, we actually wanted to see more um, um, of that. They thoughtlt it was to Russia. I was like, o like that’s interesting. You know. So anyways, yeah, that’s where we’re at with the place so far. Yeah.
Phil Rickaby: Getting a play, uh, to getting an audience’s reaction to a play and then hearing their thoughts is so important to the process to not just get their feedback because sometimes people will say what they think you want to hear. But, uh, seeing how an audience reacts to a play ye is as valuable as any piece of information they’re going to give you.
Nicole Obidiaka: Yep. And I think in this specific situation that’s why I wasn’t happy with it. Because when the rape was happening like in the scene when I showed it, the audience was laughing so they clearly didn’t understand what was going on. So that’s why the audience feedback is so important because they reacted by laugay. And I was like, oh, I didn’t do something right here because they shouldn’t be laughing. And when I picked that scene this time around, they weren’t laughing. It was silence. U. Um. And you could see on their faces that they were like horrified by what was going on. So I was like, okay. The message has been passed across clearly now. Um, um. So yeah”s it’s so, so valuable and I’m grateful for the opportun. The opportunities that I’ve had to show my work and get audience feedback because it’s helped. It’s helped tremendously.
Phil Rickaby: Violence in the theatre is so much more effective and visceral than violence on film. Um, it is because it’s all happening in the room and the audience is there. They react in a way that they never would if it was just a filmed thing.
Nicole Obidiaka: Yes.
Phil Rickaby: And it’s so powerful and uh. It’s one of the things that I really love about the theatre is the fact that um. Because everybody is in a room, every reaction that they’re having is visceral and you feel very.
Nicole Obidiaka: Yeah, like androssed in it. Almost like you’re the person and that’like I can’I. Don’t think I’ve ever watched a show and not bloody cried. Like, it’s so. It’s so intense and it feels so real and I Just I love theatre so, so much.
Phil Rickaby: Yeah.
Nicole Obidiaka: Yeah.
Phil Rickaby: I mean, I had a friend a number of years ago, person that I worked with who was not a theatre person. And they couldn’t understand why I preferred theatre over film. And I used that example of violence that even a slap in a movie, nobody cares, but a slap on stage, everybody reacts to.
Nicole Obidiaka: It’s’s just, I wanna say better, like they’re both good in their own ways, but like it’s more intense, it’s more fe.
Phil Rickaby: Absolutely, absolutely. Um.
Nicole Obidiaka: Um.
Phil Rickaby: What are you working on right now?
Nicole Obidiaka: Yeah, so right now, um, I’m working on two major things. So the first one obviously is the production, um, of the Clay. But, um, the second one is I’m actually working on doing a black theatre, a black theatre festival, um, in February of next year. Because the one that we did in February was like a teaser. Um, and I’ve really show on this podcast how much that helped me, um, as a playwright and as a director. And um, other two other black playwrights were given the opportunity to read their place. And um, they didn’t have enough time for them to interact with the audience, but they got to interact with them after. And I want towork that centra. So we’re working on, um, a theatre festival where um, black playwrights are going to get to um, have a stage presentation of their play. They want to be off book, that’s fine. If not, that’s also fine as well. So that they can also gain access to resources to play around with your sets, play around with the. With the sound caus. Those are two very key things. Um, um. U. Um. When you’re trying to translate, I guess African culture or Caribbean culture or. And that’s if they’re showing those cultures in their place. But, um. U. If they are, it’s very important to have access to resources to experiment with that, see if it’s even translatable to the audience. U. Um. Cause these are very, very new ideas that we’re trying to play around with. Um, anyway, so that’s what I’m working on. It’s gonna be the first of its kind. I’m very, very, very excited. M. And I think it’s gonna help the black playwrights a lot and actors too. It’s for everybody.
Phil Rickaby: Yeah, it sounds like it. And that’s February 2026, if we get the funding.
Nicole Obidiaka: Yes.
Phil Rickaby: Yeah, yeah, yeah, no, absolutely. That’s super exciting. And I think like new festivals to me are always, always exciting, um, just to see what comes to them. And I think a Festival focusing on black playwrights, Black actors is needed, and we need to see more of those across the country.
Nicole Obidiaka: Yes. Especially on the production side as well, because that’s a challenging part I’m facing right now, um, in terms of producing. And I don’t think there’s a lot of cause even un. Some of the boards I’m on is being discussed. Like, there’s limited amount of production companies, and there’s also a limited amount of people who actually, I guess, know the. I guess more to, like, the admin side, like, when it comes to production. So I’m. I’m hosting within the festival. Like, there’s a specific one that’s there, like, solely on production. And I might honestly open that to the public in general. I, um, depends on how much funding that we get. But for me, it was like, there were so many resources available when it came to the development of my play, which I’m very, very grateful. Grateful for. But when I’m m. Like, okay, you know what? I feel happy with this play. I want to produce. There weren’t as many. So I was like, we need to change that. So thatuse. What’s the point in developing your work for. To just sit down with you at the end of the day.
Phil Rickaby: So, yeah, absolutely. And resources are always important also. Just like theatre, admin and production administration. And it’s all something that needs nurturing. Right. Because, um, there’s always the danger because of the way that we treat and pay our arts administrators and our people in the production offices and that sort of thing. Uh, the way that we pay them, um, that they will just leave for the private sector and give up the theatre entirely because there’s more money there than there is here. Um, and also we need to find ways to train the next generation of producers and that sort of thing. So it’s all important. And that’s one of the other things at festival do.
Nicole Obidiaka: Yes, exactly. And it gives them the chance to explore, get their feet wet, um, and also work with the mentor mentee approachuse. That’s something that we did. Um.
Phil Rickaby: U.
Nicole Obidiaka: For my play in February, I got to work with, um, Allison, who was an experienced, um, director. So, yeah, like, it’s very important because a lot of the new artists, um, they need someone else to learn from. And I find it’s easier to, like, have those mentorship sessions informally. But I felt for me, it was more impactful when I had those sessions based off something that I was working on in real time. So we plan to use that mentor mentee approach. Um, in all sectors, but also on the production side of things so that people can learn more. Hands on.
Phil Rickaby: I mean, hands on is really the best way to learn. It’s all well and good to talk about things theoretically, but until you actually get your hands into it, you don’t retain it.
Nicole Obidiaka: Nope, you don’t. So I’m hoping this helps. Uh, a lot of things that I do, ah, are just based off this is my experience. What? This was great. This wasn’t great. How can I change and how can I help the next person? So I’m hoping that this would create more interest in production, um, as well and help to build a skill set for people to get into production so that their work can be seen. Because that’s what’s important, at least to me.
Phil Rickaby: Yeah, absolutely. I think, listen, people who do what you were doing, who see who have an experience and say, I want to change this or I want to make this better, um, that’s the entire bread and butter of our industry. Right. People who see something and make it make stuff happen. You were obviously somebody who does that.
Nicole Obidiaka: Yes. Hopefully the funding bodies greatd and allow me to.
Phil Rickaby: Yeah. I mean, have you. Is that always been you? Always. From the beginning, like, you just like you’ve been a person who makes things happen.
Nicole Obidiaka: Yes. Um, and I’m also, I’m a huge empath. Um, so I think that’s also been a part of why, like my boyfriend makes fun of me. Cause I say if I could, like on the way to work, I’d give everybody a ride. But like, you never know, someone might kill me in the process. So I try not to, but like, that’s just who I am. Um, I, I don’t like seeing like, I feel people’s painment like they’re suffering. Um, and I’m not saying that anybody in theatre suffering per se, but it’s just there’s something that isn’t going right. Um, it hurts me too. And I’m like, okay, like, is there anything that I can do to help or to make your day a bit better? Um, so, yeah, that’I feel like that’s why I was put on this earth at this point, because that’s all I care about.
Phil Rickaby: Yeah, absolutely. I mean, that’s huge. That’s huge. Well, Nole, thank you so much for taking the time to talk to me. I really appreciate you making the time and, uh, it was great getting to talk to you today.
Nicole Obidiaka: Thank you. It was well be getting to talk to you and meet you.
