The conversation on One2One with Joke Silva, a pioneering legend of stage and screen, delves into the actor’s extensive career, which she describes as carrying "the torch for excellence, integrity and purpose in storytelling". Drawing comparisons to international icons like Dame Judi Dench, Silva grounds her longevity in a rigorous theater background, a discipline she sought out after realizing her path to becoming a medical doctor, like her mother, was impossible due to her struggles with the sciences. Her decision to pursue theater arts was confirmed by putting out a "fleece before the Lord" during her A-levels, which returned a definitive "yes" for the path.
Silva credits her initial inspiration to Auntie Ibidun Allison, the Amore of Village Headmaster, whose eloquent and impeccable standard English, confirmed by her attendance at Guildhall School of Drama, set the standard for Silva, who went on to train at the Weber Douglas Academy in London. This formal grounding in theater, according to Silva, provides a critical depth to performance. Theater demands delving into the "kernel of the character" and understanding the "why" behind their actions. While theater requires "bigness," the ability to transition this depth to the intimate nature of the camera brings an "extra depth" that non-theater practitioners often lack. Silva advises her students to explore all platforms—film, stage, and voice performance—as this ensures continuous work and "longevity" in the industry.
Silva believes that the Nigerian film industry, Nollywood, currently misses out on a strong connection with stage, which translates into an "absence of depth," particularly in the writing. Writers with a stage background bring "a certain layer of gravitas" to their work, whereas writing without this foundation can be "very watery". Although theater had collapsed at one point, it is "slowly but surely" returning, with groups like those led by Bolanle Austen-Peters and Duke of Shomolu doing significant work. Silva and her colleagues are working to give a platform to Nigerian classics by authors like Ola Rotimi, Ahmed, and J.P. Clark, believing that younger generations must know this rich literary and cultural heritage exists.
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The physical symbol of this legacy is the hat-shaped edifice in Iganmu, Lagos: The National Theater. Silva recalls the "glorious state" of the National Theater in the late 70s into 1981, when the revolving stage worked, and the main bowl (a 3,000 to almost 4,000-seater) was always full for both drama and film. The theater was such a cultural draw that when Hubert Ogunde transitioned into film, people queued on the streets to watch his works there, with one crowd being so insistent on getting in that they "broke the doors down".
However, the theater later deteriorated due to a lack of funds and managerial issues. Silva recalls protesting attempts to buy over or knock down the building, educating potential buyers about the priceless architectural and artistic treasures within, such as green granite floors, brass coverings, carvings by Fela, and stained-glass windows by Gilo. She gives immense credit to the Bankers Committee for preserving the original works of masters who have since passed away, demonstrating an "understanding" and skill beyond merely pumping money into the refurbishment. The refurbished structure, with its Simisola Hall entrance featuring lights reminiscent of tribal marks, is a vibrant symbol of national culture and shared identity, embracing the works of Christian, Muslim, and traditional religion followers from across Nigeria.
Addressing concerns about security and populist society, Silva emphasizes that the area around the National Theater is now very safe, with shanty towns cleared and the installation of a rail line stop by the Lagos State government. She argues that 99% of the population who are more "inward looking" and culturally proud of Nigeria will flock to the venue if the programming is curated properly. Silva notes that Nigerian cinema’s unique trajectory moved from theater to television, and then to film, unlike other industries. She sees herself as the link connecting the giants of the past, like Taiwo Ajai-Lycett and Ibidun Allison, with the new generation.
Her long-standing professional and personal partnership with her husband, Olu Jacobs, is attributed to them being "very good friends" who respect each other's opinions and have learned to look out for what is best for the other person. When reflecting on the highlight of her career, Silva points to the "sweet spot" of performance: fully embodying a character in collaboration with other storytellers and offering that creation to the audience, getting their final response. She continues to "claim" the comparison to Dame Judi Dench, praying for similar "longevity and continued excellence".
