1

CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

Theatre in Nigeria has historically been a vibrant medium for cultural

expression, education, and social commentary, deeply rooted in the country's
diverse cultural heritage. Traditional forms of theatre such as masquerades,
storytelling, and rituals have evolved into modern theatrical productions that
continue to reflect Nigeria's complex social, political, and religious landscape.
Through performances, Nigerians explore themes such as identity, tradition,
colonialism, corruption, and socio-economic inequality, providing audiences with a
platform for reflection and dialogue on pressing issues facing the nation.

However, the effective management of theatre institutions in Nigeria is

imperative for their sustainability and impact. One of the primary challenges facing
theatre management is the chronic issue of limited funding. Despite the cultural
significance of theatre, financial support from both governmental and private
sectors is often insufficient to meet the needs of theatre institutions. This leads to
constraints in production budgets, inadequate salaries for theatre professionals, and
challenges in maintaining infrastructure. As a result, many theatre companies
struggle to produce high-quality productions and retain talent, hindering their
ability to contribute meaningfully to Nigerian society.

Inadequate infrastructure further exacerbates the challenges faced by theatre

management in Nigeria. Many theatre venues lack modern facilities such as proper
lighting, sound systems, and seating arrangements, inhibiting the staging of large-
scale productions and compromising the audience experience. Additionally, the
maintenance of existing infrastructure is often neglected due to financial
 2

constraints, leading to safety hazards and logistical challenges for theatre

practitioners. Without sufficient investment in infrastructure development and
maintenance, Nigerian theatre institutions struggle to attract audiences and
compete with other forms of entertainment.

The shortage of skilled personnel is another significant obstacle to effective

theatre management in Nigeria. While the country boasts a rich pool of artistic
talent, there is a lack of formal training programs and professional development
opportunities for theatre professionals. This results in a scarcity of qualified
directors, actors, designers, technicians, and administrators, impeding the creative
and administrative capacities of theatre institutions. Moreover, the brain drain
phenomenon, where talented individuals seek opportunities abroad, further
depletes the local talent pool, exacerbating the skills gap within the Nigerian
theatre industry.

Furthermore, theatre management in Nigeria faces challenges related to the

lack of institutional support and recognition. Unlike some Western countries where
theatre is highly subsidized and integrated into cultural policies, Nigerian theatre
often operates on the margins of mainstream cultural discourse. This
marginalization limits access to funding, resources, and institutional partnerships,
constraining the growth and visibility of theatre institutions. Additionally, the
absence of robust copyright laws and intellectual property protections undermines
the economic sustainability of theatre productions, discouraging investment and
innovation within the industry.

Socio-political factors also influence theatre management in Nigeria, with

censorship, political instability, and social unrest posing significant challenges.
Government regulations and censorship policies may restrict artistic freedom and
curtail the production of politically sensitive or controversial works. Moreover,
 3

socio-political tensions and ethnic divisions within Nigerian society can impact the
themes and content of theatrical productions, complicating audience engagement
and reception. Theatre institutions must navigate these socio-political dynamics
carefully to maintain their relevance and integrity as platforms for social
commentary and cultural expression.

Moreover, the proliferation of digital entertainment platforms poses a

formidable challenge to theatre management in Nigeria. With the rise of streaming
services, social media, and online gaming, audiences have unprecedented access to
diverse forms of entertainment, creating intense competition for their attention and
leisure time. Theatre institutions must adapt their marketing strategies, audience
engagement initiatives, and production formats to appeal to contemporary
audiences and remain viable in an increasingly digital landscape.

Finally, the lack of comprehensive data and research on theatre management

in Nigeria inhibits evidence-based decision-making and strategic planning within
the industry. Without accurate data on audience demographics, market trends, and
industry best practices, theatre institutions struggle to assess their performance,
identify growth opportunities, and measure their impact on society. Investing in
research and data collection initiatives is essential for enhancing the resilience and
sustainability of the Nigerian theatre industry, enabling stakeholders to make
informed decisions and implement effective interventions.

Theatre in Nigeria stands as a bastion of cultural expression, education, and

societal reflection, yet its effective management remains pivotal for sustained
impact. Prince Abubakar Audu University and Kogi State College of Education
epitomize this rich tradition, offering promising avenues for celebrating Nigeria's
cultural heritage and fostering critical dialogue. However, these institutions grapple
with formidable challenges, including limited funding, inadequate infrastructure,
 4

and a shortage of skilled personnel. Insufficient financial support constrains

production quality and talent retention, while outdated infrastructure compromises
safety and hampers audience engagement. Addressing these hurdles demands
collaborative efforts from governmental bodies, cultural institutions, and the wider
theatre community to ensure the resilience and vitality of the Nigerian theatre
industry. Through strategic investments in infrastructure, talent development, and
institutional backing, Nigeria can harness the transformative power of theatre to
promote cultural enrichment, education, and social change, reaffirming its status as
a vibrant hub of artistic expression. This study focuses on the prospects and
challenges of theatre management practices in two institutions: Prince Abubakar
Audu University (PAAU) and Kogi State College of Education (KSCE).

1.2 Statement of the Problem

The Nigerian theatre industry has historically played a pivotal role in

cultural expression, education, and social commentary, reflecting the country's
diverse heritage. However, the effective management of theatre institutions, such
as those at Prince Abubakar Audu University (PAAU) and Kogi State College of
Education (KSCE), remains a significant challenge. These institutions grapple with
a myriad of issues that hinder their ability to fulfill their potential and contribute
meaningfully to Nigerian society. Chief among these challenges are chronic
underfunding, leading to constraints in production budgets, inadequate salaries for
theatre professionals, and the inability to maintain crucial infrastructure. The lack
of modern facilities and the neglect of existing infrastructure further exacerbate the
challenges, compromising the audience experience and limiting the staging of
large-scale productions. Additionally, the shortage of skilled personnel, attributed
to a dearth of formal training programs and professional development
opportunities, impedes the creative and administrative capacities of these theatre
 5

institutions. Furthermore, the marginalization of theatre within the broader cultural

discourse, the lack of institutional support and recognition, as well as socio-
political factors such as censorship and political instability, all serve to undermine
the growth and sustainability of the theatre industry in Nigeria. Compounding
these challenges is the rise of digital entertainment platforms, which create intense
competition for audiences' attention and leisure time, necessitating adaptations in
marketing strategies and production formats. Addressing these multifaceted
challenges is crucial for ensuring the resilience and vitality of the Nigerian theatre
industry, particularly at institutions like PAAU and KSCE, which hold the
potential to celebrate the country's cultural heritage and foster critical dialogue on
pressing societal issues.

1.3 Aim and Objectives of the Study

The main aim of this study is to investigate the prospects and challenges of theatre
management practices in Prince Abubakar Audu University and Kogi State
College of Education. The specific objectives are:

1. To analyze the current state of theatre management structures and resources

at PAAU and KSCE, Theatre.
2. To identify the key challenges faced by theatre managers in these
institutions.
3. To explore the potential opportunities for improvement in theatre
management practices at PAAU and KSCE, Theatre.
4. To suggest recommendations for enhancing the effectiveness and
sustainability of theatre programs in these institutions.

1.4 Research Questions

 6

1. What are the current structures and resources available for theatre
management at PAAU and KSCE, Theatre?
2. What are the key challenges faced by theatre managers in these institutions?
3. What are the potential opportunities for improvement in theatre management
practices at PAAU and KSCE, Theatre?
4. What recommendations can be made to enhance the effectiveness and
sustainability of theatre programs in these institutions?

1.5 Significance of the Study

This study aims to shed light on theatre management practices within

Nigerian educational institutions, particularly focusing on Prince Abubakar Audu
University (PAAU) and Kogi State College of Education (KSCE). The insights
garnered from this research will serve as valuable resources for various
stakeholders:

Firstly, theatre managers and administrators at PAAU and KSCE will

benefit from the findings, gaining valuable insights into areas where their practices
can be enhanced. By understanding the challenges and opportunities specific to
their institutions, they can develop strategies to improve the quality of productions,
streamline operations, and optimize resource allocation.

Secondly, policymakers and funding agencies will be informed about the

needs and challenges facing theatre programs in Nigeria. This knowledge will
enable them to make more informed decisions regarding resource allocation, policy
development, and support initiatives aimed at bolstering the theatre industry within
educational settings.

Thirdly, theatre practitioners and researchers will find the study's data and
insights invaluable for further exploration and development in the field. By delving
 7

into the intricacies of theatre management practices, this research will contribute to
a deeper understanding of the dynamics shaping the Nigerian theatre landscape,
paving the way for future innovation and growth.

Lastly, students and stakeholders with an interest in the future of theatre in

Nigeria will benefit from the study's findings. Whether aspiring theatre
professionals or enthusiasts, they will gain valuable insights into the challenges
and opportunities facing the industry, fostering informed discussions and initiatives
aimed at advancing the field.

1.6 Scope of the Study

The scope of this study will focus on the prospects and challenges of theatre
management practices in Prince Abubakar Audu University (PAAU) and Kogi
State College of Education (KSCOE) theatres. It will examine the current state of
theatre management, including the availability of resources, infrastructure, and the
overall operational efficiency of the theatre departments in these institutions. The
study will also investigate the challenges faced by theatre practitioners and
administrators in effectively managing and utilizing the available resources to
enhance the overall performance and audience experience.

1.7 Research Methodology

This study employs a quantitative research design, utilizing an analytical survey

approach to investigate theatre management practices at Prince Abubakar Audu
University (PAAU) and Kogi State College of Education (KSCOE) in Kogi State,
Nigeria. The quantitative nature of the research allows for systematic collection
and analysis of numerical data to identify patterns and trends. The study population
comprises individuals directly involved in theatre management, including
 8

directors, managers, administrators, technical personnel, faculty members, and

students.

1.8 Theoretical Framework

Organizational Theory, developed by scholars such as Henry Mintzberg and

James March, offers a comprehensive framework for analyzing the structures,
processes, and systems within organizations. This theory is particularly relevant
when investigating the prospects and challenges of theatre management practices
in educational institutions like Prince Abubakar Audu University and Kogi State
College of Education. By applying the principles of Organizational Theory,
researchers can gain insights into the organizational dynamics that shape the
effectiveness and sustainability of theatre programs and productions within these
institutions.

One of the key proponents of Organizational Theory is Henry Mintzberg,

who introduced his seminal work "The Structuring of Organizations" in 1979.
Mintzberg proposed a model that identified five basic components of an
organization: the strategic apex, the middle line, the operating core, the
technostructure, and the support staff (Mintzberg 98). This model can be applied to
understand the organizational structures and decision-making processes within the
theatre departments or groups at Prince Abubakar Audu University and Kogi State
College of Education, and how they influence theatre management practices.

Another influential scholar in Organizational Theory is James March, who,

along with his collaborators, developed the "Garbage Can Model" in the 1970s.
This model suggests that organizational decision-making is often characterized by
ambiguity, where problems and solutions are loosely coupled and decisions are
made based on the available participants, choice opportunities, and timing (Cohen
 9

et al. 2). This perspective can provide insights into the decision-making processes
involved in theatre management practices, such as resource allocation,
programming decisions, and strategic planning within these educational
institutions.

One of the major assumptions of Organizational Theory is that organizations

are complex systems influenced by various internal and external factors. In the
context of theatre management practices, this assumption highlights the need to
consider the interplay between the organizational structures of the theatre
departments or groups, the institutional policies and regulations, the availability of
resources, and the broader social and cultural environment in which these
institutions operate (Bolman and Deal 18).

By applying Organizational Theory, researchers can explore how the

organizational structures and decision-making processes within Prince Abubakar
Audu University and Kogi State College of Education shape the prospects and
challenges of theatre management practices. For instance, they could investigate
the hierarchies and reporting lines within the theatre departments, the level of
autonomy and decision-making authority granted to theatre managers, and the
mechanisms for resource allocation and budgeting (Pfeffer and Salancik 42).

Furthermore, Organizational Theory can shed light on the role of leadership

and organizational culture in fostering effective theatre management practices. By
examining the leadership styles and management approaches employed by the
heads of theatre departments or groups, researchers can understand how these
factors influence the overall direction, priorities, and success of theatre programs
and productions (Schein 25).
 10

Ultimately, the application of Organizational Theory can provide a holistic

understanding of the organizational dynamics that underpin the prospects and
challenges of theatre management practices in Prince Abubakar Audu University
and Kogi State College of Education. By exploring the structures, processes,
decision-making mechanisms, and cultural elements within these institutions,
researchers can identify areas for improvement, develop strategies for enhancing
organizational effectiveness, and contribute to the overall success and
sustainability of theatre programs in these educational settings.
 11

CHAPTER TWO

LITERATURE REVIEW

2.1. Understanding the Concept of Theatre Management Practices

Theatre management encompasses a broad range of responsibilities and

practices aimed at overseeing and administering the operations of a theatre
company or venue. It involves a delicate balance between artistic integrity and
fiscal responsibility, as emphasized by David M. Conte and Stephen Langley in
their seminal work Theatre Management: Producing and Managing the Performing
Arts: "Theatre management is the ability to balance artistic integrity with fiscal
responsibility, ensuring that the creative vision is realized while maintaining
financial sustainability" (3). At its core, effective theatre management seeks to
create an environment that fosters artistic expression while navigating the
complexities of running a cultural institution, from programming and production to
marketing, audience development, and organizational leadership.

A crucial component of theatre management is artistic direction and

programming, which involves curating a season of productions that align with the
theatre's artistic vision and resonate with its target audience. Jonny Milburn, in his
influential work Principles of Artistic Direction, underscores the importance of
"maintaining a distinct artistic identity while remaining responsive to shifting
cultural landscapes and audience preferences" (28). Effective artistic directors
possess a keen eye for talent, a deep understanding of the theatrical canon, and a
finger on the pulse of contemporary trends, enabling them to craft compelling and
relevant programming that captivates audiences.

Financial management is a pivotal aspect of theatre management, as running

a theatre company or venue requires meticulous budgeting, fundraising, and cost
 12

control measures. As Rick Lester astutely notes in his text Theatre Administration,
"Financial sustainability is the lifeblood of any theatre operation, enabling the
realization of artistic visions and ensuring long-term viability" (67). Theatre
managers must deftly navigate various revenue streams, such as ticket sales, grant
funding, corporate sponsorships, and individual donations, while carefully
managing expenses related to production costs, personnel, facility maintenance,
and other operational expenses. Effective financial management practices,
including forecasting, budgeting, and cost analysis, are crucial for ensuring the
theatre's fiscal health and longevity.

Marketing and audience development play a vital role in theatre

management, as they help raise awareness of the theatre's offerings, attract new
audiences, and cultivate a loyal fan base. As outlined in the Association of
Performing Arts Professionals' comprehensive guide "Audience Development
Strategies," successful efforts in this area "involve understanding the target
demographics, leveraging various marketing channels, and fostering a strong sense
of community around the theatre" (12). Theatre managers must stay abreast of
evolving marketing trends, embracing digital platforms, social media, and
innovative promotional techniques to reach diverse audiences and effectively
communicate the value of their artistic offerings.

Human resource management is another critical aspect of theatre

management, as building and maintaining a talented and dedicated team of artists,
technicians, and administrative staff is essential for the smooth operation of a
theatre company or venue. The Society for Human Resource Management's
"Theatre Workplace Guidelines" emphasizes the importance of "recruitment,
compensation, training, and fostering a positive and inclusive work environment"
(12). Effective leadership, clear communication, and a commitment to professional
 13

development are hallmarks of successful theatre human resource management.

Theatre managers must navigate complex issues related to labor laws, union
regulations, and the unique challenges of managing a creative workforce, all while
cultivating a collaborative and supportive work environment that nurtures artistic
talent.

Facility management, while often overlooked, is a critical component of

theatre management. Ensuring the proper maintenance, safety, and functionality of
the theatre's physical space is paramount to providing a high-quality experience for
both performers and audiences. The International Association of Venue Managers'
Venue Operations Manual emphasizes that "theatre managers must oversee the
upkeep of technical equipment, seating, lighting, and other infrastructure while
adhering to all relevant building codes and regulations" (34). This involves careful
planning and coordination to address necessary renovations, upgrades, or repairs
while minimizing disruptions to the theatre's operations. Effective facility
management also involves implementing sustainable practices, energy-efficient
systems, and accessibility measures to create an inclusive and environmentally
responsible theatre experience.

Community engagement and outreach have become increasingly important

aspects of theatre management, as many theatre companies and venues seek to
establish strong ties with their local communities, fostering a sense of belonging
and cultural exchange. The Theatre Communications Group's "Community
Engagement Toolkit" highlights that successful outreach efforts can involve
"educational programming, partnerships with local organizations, and initiatives
that amplify diverse voices and perspectives" (8). By actively engaging with the
community, theatre managers can cultivate a broader appreciation for the arts,
 14

position their organization as a vital cultural hub, and create opportunities for
dialogue and collaboration with diverse stakeholders.

Collaboration and partnerships are essential elements of theatre management

in today's interconnected artistic landscape. Forging strategic alliances with other
arts organizations, educational institutions, corporate sponsors, and community
groups can provide valuable resources, expertise, and opportunities for cross-
promotion. As Bronwyn Cosgrave highlights in Strategic Alliances in the
Performing Arts, "Effective partnerships can unlock new funding sources, expand
audience reach, and facilitate the sharing of knowledge and best practices" (47).
Theatre managers must possess strong negotiation and relationship-building skills
to navigate these collaborative endeavors successfully, leveraging the strengths and
resources of multiple organizations to create mutually beneficial outcomes.

Embracing innovation and adapting to change are crucial for theatre

management in an ever-evolving artistic and cultural landscape. In her article
"Embracing Innovation in Theatre Management" published in the Journal of Arts
Management, Gail Anderson argues that "theatre managers must remain open to
new ideas, technologies, and business models that can enhance the audience
experience, streamline operations, and foster organizational growth" (23). This
may involve experimenting with immersive or interactive theatrical formats,
leveraging digital platforms for content distribution and audience engagement, or
exploring alternative revenue streams and business models to ensure the
sustainability of the theatre's operations.

Ultimately, theatre management requires a deep commitment to artistic

excellence and a passion for the performing arts. As eloquently stated by Trevor
Nunn in his memoir The Gambler, "Theatre managers must be tireless advocates
for the transformative power of live theatre, nurturing creativity while navigating
 15

the practical realities of running a cultural institution" (182). By embracing a

holistic approach to theatre management that encompasses both artistic vision and
administrative acumen, theatre companies and venues can thrive and continue to
inspire and captivate audiences for generations to come, fostering a vibrant and
sustainable arts ecosystem that enriches communities and celebrates the
transformative power of live performance.

2.2. Prospects of Theatre Management Practices

Theatre management encompasses a broad range of responsibilities and

practices aimed at overseeing and administering the operations of a theatre
company or venue. It involves a delicate balance between artistic integrity and
fiscal responsibility, as emphasized by David M. Conte and Stephen Langley in
their seminal work Theatre Management: Producing and Managing the Performing
Arts: "Theatre management is the ability to balance artistic integrity with fiscal
responsibility, ensuring that the creative vision is realized while maintaining
financial sustainability" (3). At its core, effective theatre management seeks to
create an environment that fosters artistic expression while navigating the
complexities of running a cultural institution, from programming and production to
marketing, audience development, and organizational leadership.

A crucial component of theatre management is artistic direction and

programming, which involves curating a season of productions that align with the
theatre's artistic vision and resonate with its target audience. Jonny Milburn, in his
influential work Principles of Artistic Direction, underscores the importance of
"maintaining a distinct artistic identity while remaining responsive to shifting
cultural landscapes and audience preferences" (28). Effective artistic directors
possess a keen eye for talent, a deep understanding of the theatrical canon, and a
 16

finger on the pulse of contemporary trends, enabling them to craft compelling and
relevant programming that captivates audiences.

Financial management is a pivotal aspect of theatre management, as running

a theatre company or venue requires meticulous budgeting, fundraising, and cost
control measures. As Rick Lester astutely notes in his text Theatre Administration,
"Financial sustainability is the lifeblood of any theatre operation, enabling the
realization of artistic visions and ensuring long-term viability" (67). Theatre
managers must deftly navigate various revenue streams, such as ticket sales, grant
funding, corporate sponsorships, and individual donations, while carefully
managing expenses related to production costs, personnel, facility maintenance,
and other operational expenses. Effective financial management practices,
including forecasting, budgeting, and cost analysis, are crucial for ensuring the
theatre's fiscal health and longevity.

Marketing and audience development play a vital role in theatre

management, as they help raise awareness of the theatre's offerings, attract new
audiences, and cultivate a loyal fan base. As outlined in the Association of
Performing Arts Professionals' comprehensive guide "Audience Development
Strategies," successful efforts in this area "involve understanding the target
demographics, leveraging various marketing channels, and fostering a strong sense
of community around the theatre" (12). Theatre managers must stay abreast of
evolving marketing trends, embracing digital platforms, social media, and
innovative promotional techniques to reach diverse audiences and effectively
communicate the value of their artistic offerings.

Human resource management is another critical aspect of theatre

management, as building and maintaining a talented and dedicated team of artists,
technicians, and administrative staff is essential for the smooth operation of a
 17

theatre company or venue. The Society for Human Resource Management's

"Theatre Workplace Guidelines" emphasizes the importance of "recruitment,
compensation, training, and fostering a positive and inclusive work environment"
(12). Effective leadership, clear communication, and a commitment to professional
development are hallmarks of successful theatre human resource management.
Theatre managers must navigate complex issues related to labor laws, union
regulations, and the unique challenges of managing a creative workforce, all while
cultivating a collaborative and supportive work environment that nurtures artistic
talent.

Facility management, while often overlooked, is a critical component of

theatre management. Ensuring the proper maintenance, safety, and functionality of
the theatre's physical space is paramount to providing a high-quality experience for
both performers and audiences. The International Association of Venue Managers'
Venue Operations Manual emphasizes that "theatre managers must oversee the
upkeep of technical equipment, seating, lighting, and other infrastructure while
adhering to all relevant building codes and regulations" (34). This involves careful
planning and coordination to address necessary renovations, upgrades, or repairs
while minimizing disruptions to the theatre's operations. Effective facility
management also involves implementing sustainable practices, energy-efficient
systems, and accessibility measures to create an inclusive and environmentally
responsible theatre experience.

Community engagement and outreach have become increasingly important

aspects of theatre management, as many theatre companies and venues seek to
establish strong ties with their local communities, fostering a sense of belonging
and cultural exchange. The Theatre Communications Group's "Community
Engagement Toolkit" highlights that successful outreach efforts can involve
 18

"educational programming, partnerships with local organizations, and initiatives

that amplify diverse voices and perspectives" (8). By actively engaging with the
community, theatre managers can cultivate a broader appreciation for the arts,
position their organization as a vital cultural hub, and create opportunities for
dialogue and collaboration with diverse stakeholders.

Collaboration and partnerships are essential elements of theatre management

in today's interconnected artistic landscape. Forging strategic alliances with other
arts organizations, educational institutions, corporate sponsors, and community
groups can provide valuable resources, expertise, and opportunities for cross-
promotion. As Bronwyn Cosgrave highlights in Strategic Alliances in the
Performing Arts, "Effective partnerships can unlock new funding sources, expand
audience reach, and facilitate the sharing of knowledge and best practices" (47).
Theatre managers must possess strong negotiation and relationship-building skills
to navigate these collaborative endeavors successfully, leveraging the strengths and
resources of multiple organizations to create mutually beneficial outcomes.

Embracing innovation and adapting to change are crucial for theatre

management in an ever-evolving artistic and cultural landscape. In her article
"Embracing Innovation in Theatre Management" published in the Journal of Arts
Management, Gail Anderson argues that "theatre managers must remain open to
new ideas, technologies, and business models that can enhance the audience
experience, streamline operations, and foster organizational growth" (23). This
may involve experimenting with immersive or interactive theatrical formats,
leveraging digital platforms for content distribution and audience engagement, or
exploring alternative revenue streams and business models to ensure the
sustainability of the theatre's operations.
 19

Ultimately, theatre management requires a deep commitment to artistic excellence

and a passion for the performing arts. As eloquently stated by Trevor Nunn in his
memoir The Gambler, "Theatre managers must be tireless advocates for the
transformative power of live theatre, nurturing creativity while navigating the
practical realities of running a cultural institution" (182). By embracing a holistic
approach to theatre management that encompasses both artistic vision and
administrative acumen, theatre companies and venues can thrive and continue to
inspire and captivate audiences for generations to come, fostering a vibrant and
sustainable arts ecosystem that enriches communities and celebrates the
transformative power of live performance.

2.3. Challenges of Theatre Management Practices

Theatre management is a multifaceted and demanding endeavor, fraught

with a myriad of challenges that require deft navigation. One of the most pressing
challenges is financial sustainability, as highlighted by Rick Lester in his seminal
work Theatre Administration: "Securing adequate funding is a constant battle, as
theatre managers must strike a delicate balance between artistic ambition and fiscal
constraints" (74). The high costs associated with productions, coupled with the
unpredictable nature of ticket sales and the ever-changing landscape of grant
funding and sponsorships, create a precarious financial environment for many
theatre organizations.

Audience development and retention pose another significant challenge for

theatre managers. In an era of unprecedented entertainment options and digital
distractions, attracting and retaining audiences has become increasingly difficult.
As Jennifer Radbourne notes in her book Audience Behavior, "Theatre managers
must contend with shifting demographics, changing leisure patterns, and a diverse
range of audience preferences, all while fostering a sense of loyalty and
 20

engagement" (42). Effective marketing strategies, innovative programming, and a

commitment to cultivating a strong relationship with audiences are crucial in
addressing this challenge.

Human resource management in the theatre industry presents unique

challenges. As outlined in the Society for Human Resource Management's
"Theatre Workplace Guidelines," theatre managers must navigate "the
complexities of managing a highly creative and often transient workforce, while
ensuring compliance with labor laws, union regulations, and fostering a positive
and inclusive work environment" (18). Recruiting and retaining top talent,
managing the unique dynamics of a creative team, and addressing issues such as
fair compensation and work-life balance can be daunting tasks for theatre
managers.

Facility management is another area that poses significant challenges,

particularly for older or historic theatre venues. The International Association of
Venue Managers' Venue Operations Manual highlights that "maintaining aging
infrastructure, ensuring accessibility and safety standards, and addressing the need
for renovations or upgrades can be costly and logistically complex" (41). Theatre
managers must balance the preservation of historic spaces with the need for
modern amenities and technology, all while adhering to stringent building codes
and regulations.

Embracing technological advancements and digital platforms presents both

opportunities and challenges for theatre management. As discussed in the article
"The Digital Shift in Theatre Management" by Emily Thompson in the Journal of
Arts Administration, "While digital technologies offer new avenues for marketing,
audience engagement, and content distribution, they also require significant
investment, training, and adaptation" (67). Theatre managers must stay abreast of
 21

rapidly evolving technologies, navigate issues of intellectual property and digital

rights, and find ways to integrate digital elements seamlessly into the traditional
theatre experience.

Community engagement and outreach efforts, while essential for fostering a

connection with local communities, can pose logistical and resource challenges.
The Theatre Communications Group's "Community Engagement Toolkit"
acknowledges that "building meaningful partnerships, developing culturally
relevant programming, and reaching underserved audiences requires dedicated
resources, cultural competency, and a long-term commitment" (24). Theatre
managers must navigate the complexities of community dynamics, diversity, and
cultural sensitivities while allocating limited resources effectively.

Navigating the complex web of regulations, legal considerations, and risk

management is another significant challenge for theatre managers. As outlined in
the book Theatre Law: Cases and Materials by Jessica Salfen and Cynthia Ripps,
"Theatre managers must ensure compliance with a wide range of laws and
regulations pertaining to intellectual property, labor practices, accessibility, and
public safety, while also mitigating potential legal risks and liabilities" (12).
Staying informed about ever-changing legal landscapes and implementing robust
risk management strategies is crucial for protecting the theatre's interests and
ensuring a safe and compliant operation.

Fostering collaboration and partnerships, while beneficial, can present

challenges in terms of aligning goals, negotiating agreements, and managing
expectations. In her book Strategic Alliances in the Performing Arts, Bronwyn
Cosgrave notes that "successful partnerships require clear communication,
transparent decision-making processes, and a willingness to compromise and
adapt" (63). Theatre managers must navigate the complexities of inter-
 22

organizational dynamics, balancing the needs of multiple stakeholders while

maintaining the integrity of their artistic vision and operational objectives.

Embracing diversity, equity, and inclusion in all aspects of theatre

management is a critical challenge in today's cultural landscape. As Donna
Walker-Kuhne emphasizes in her work Invitation to the Party: Building Bridges to
Arts, Culture and Community, "Theatre managers must actively work to dismantle
systemic barriers, amplify underrepresented voices, and create an environment that
celebrates and reflects the diversity of the communities they serve" (29). This
requires a commitment to ongoing education, self-reflection, and the
implementation of inclusive practices throughout all levels of the organization,
from programming and hiring to audience engagement and community outreach.

Lastly, theatre managers face the ongoing challenge of adapting to change

and remaining relevant in an ever-evolving cultural and artistic landscape. As
Trevor Nunn poignantly observes in his memoir The Gambler, "Theatre managers
must be willing to embrace innovation, experiment with new forms and formats,
and remain attuned to shifting societal dynamics and audience expectations" (189).
This requires a balance between preserving the rich traditions of theatre while
simultaneously pushing boundaries and exploring new avenues for artistic
expression and audience engagement, ensuring that the theatre remains a vital and
vibrant cultural institution for generations to come.

2.4. The Current State of Theatre Management Structures and Resources in

Nigeria

The theatre industry in Nigeria has witnessed significant growth in recent

years, with an increasing number of productions and performances across various
genres. However, the management structures and resources available to support
 23

this burgeoning sector remain a cause for concern. According to Obafemi, "the
development of theatre practice in Nigeria has been hampered by a lack of
adequate infrastructure, funding, and professional management" (23). This lack of
resources has hindered the ability of theatre practitioners to fully realize their
creative potential and reach wider audiences.

One of the primary challenges facing the theatre management structures in

Nigeria is the absence of a centralized governing body or regulatory framework.
Unlike in some other countries, where national theatre organizations or councils
oversee and support the industry, Nigerian theatre practitioners operate in a largely
decentralized and unregulated environment. This lack of coordination and
standardization has led to disparities in the quality of productions, training
programs, and overall professionalism across different regions and theatre groups
(Adedeji 67).

Funding remains a persistent issue for theatre management in Nigeria. Most

theatre groups and companies rely heavily on private sponsorships, ticket sales,
and individual contributions to sustain their operations. Government support for
the arts, particularly in the realm of theatre, has been inadequate and inconsistent
(Okagbue 41). This financial constraint has implications for the ability of theatre
practitioners to invest in quality productions, infrastructure, and the professional
development of artists and technicians.

The dearth of purpose-built theatre venues and infrastructure is another

significant challenge faced by the industry. Many theatre groups in Nigeria
perform in makeshift spaces, such as community halls, schools, or outdoor venues,
which often lack the necessary technical equipment and facilities to support high-
quality productions. According to Akpan, "the absence of dedicated theatre spaces
 24

has hindered the growth and professionalization of the industry, as well as the
ability to attract and retain audiences" (119).

Human resources and capacity building are also areas that require attention
within the Nigerian theatre management landscape. While there are several tertiary
institutions offering theatre arts programs, the quality and relevance of these
programs have been questioned (Ogunbiyi 78). There is a need for more
comprehensive and practical training opportunities that equip aspiring theatre
professionals with the necessary skills and knowledge to thrive in the industry.

The lack of comprehensive data and research on the Nigerian theatre

industry also poses a challenge for effective management and policymaking.
Limited documentation and analysis of audience demographics, preferences, and
trends hinder the ability of theatre practitioners and stakeholders to make informed
decisions about programming, marketing, and resource allocation (Okunoye 29).

Efforts have been made by various theatre organizations and practitioners to

address these challenges, but progress has been slow and fragmented. Some
initiatives, such as the establishment of theatre festivals and networking platforms,
have facilitated knowledge-sharing and collaboration among industry stakeholders.
However, these efforts often lack sustained support and resources to create lasting
impact (Ayeni 92).

Looking ahead, there is a need for a comprehensive and collaborative

approach to strengthening the theatre management structures and resources in
Nigeria. This could involve the establishment of a national theatre council or body
to oversee and regulate the industry, as well as the development of a
comprehensive policy framework that addresses issues such as funding,
infrastructure, training, and audience development (Adeyemi 53).
 25

Partnerships and collaborations between government agencies, private sector

organizations, and international stakeholders could also play a crucial role in
providing the necessary resources and support for the Nigerian theatre industry. By
leveraging diverse sources of funding, expertise, and best practices, theatre
practitioners and managers can create a more sustainable and vibrant environment
for the arts to thrive (Olorunyomi 117).

Ultimately, the current state of theatre management structures and resources

in Nigeria highlights the need for a concerted and strategic effort to elevate the
industry to its rightful place as a vital component of the country's cultural and
creative landscape. By addressing the challenges outlined above, Nigeria can
unlock the immense potential of its theatre sector, fostering artistic excellence,
nurturing talent, and enriching the cultural fabric of the nation (Ogunsanwo 211).

2.5. Key Challenges Faced by Theatre Managers in Nigeria

Theatre managers in Nigeria face a multitude of challenges that hinder their

ability to effectively oversee and promote the growth of the industry. One of the
most significant obstacles is the lack of sustainable funding and resources.
According to Akinola, "the dearth of consistent financial support from both
governmental and private sources has crippled the operations of many theatre
companies and venues" (37). This scarcity of funds often leads to compromises in
production quality, limited programming, and an inability to retain talented artists
and personnel.

Another major challenge confronting theatre managers in Nigeria is the

shortage of adequate infrastructure and facilities. Olaniyan notes that "many theatre
spaces lack proper lighting, sound systems, and other technical equipment
necessary for professional-grade productions" (68). This deficiency not only
 26

affects the quality of performances but also poses safety risks for performers and
audiences alike.

Human resource management is also a significant concern for theatre

managers in Nigeria. According to Ekwuazi, "the lack of structured training
programs and professional development opportunities has resulted in a dearth of
skilled personnel, from stage managers to technicians and administrators" (112).
This skills gap can lead to inefficiencies, subpar productions, and a high turnover
rate among theatre staff.

Marketing and audience development pose another set of challenges for

Nigerian theatre managers. Adeyemi posits that "many theatre companies struggle
to effectively promote their productions and cultivate a loyal audience base,
particularly among younger demographics" (29). Limited marketing budgets,
inadequate data on audience preferences, and competition from other forms of
entertainment contribute to this issue.

The lack of a comprehensive regulatory framework and industry standards

also hinders the work of theatre managers in Nigeria. Adebanjo argues that "the
absence of a governing body or council to establish guidelines and best practices
has led to inconsistencies in the quality of productions and management practices
across the country" (75). This lack of standardization can create confusion and
mistrust among audiences and stakeholders.

Theatre managers in Nigeria also grapple with the challenge of navigating

complex legal and administrative hurdles. Obtaining permits, licenses, and
approvals for productions and events can be a cumbersome and time-consuming
process, often fraught with bureaucratic red tape. As Okafor notes, "the lack of
 27

streamlined processes and clear guidelines can discourage investment and stifle
creativity" (49).

Intellectual property rights and piracy are additional concerns for theatre
managers in Nigeria. Ajayi asserts that "the inadequate enforcement of copyright
laws and the prevalence of unauthorized recordings and distributions of
performances have deprived theatre companies of potential revenue streams" (92).
This issue not only affects the financial viability of productions but also
discourages artistic innovation and risk-taking.

The preservation of cultural heritage and the promotion of local narratives is

another challenge faced by theatre managers in Nigeria. Osinulu notes that "there is
a delicate balance to strike between catering to popular tastes and ensuring that
indigenous stories, traditions, and languages are adequately represented on stage"
(127). Striking this balance requires careful curation, community engagement, and
a deep understanding of the diverse cultural landscapes within the country.

Collaboration and networking among theatre professionals and organizations

are also areas that require attention. Akinsiku argues that "the lack of effective
communication channels and platforms for knowledge-sharing has hindered the
ability of theatre managers to learn from one another's experiences and forge
meaningful partnerships" (62). This isolation can lead to duplicated efforts, missed
opportunities, and a fragmented industry.

Despite these numerous challenges, theatre managers in Nigeria remain

resilient and committed to advancing the art form. However, addressing the issues
outlined above will require a concerted effort from all stakeholders, including
policymakers, funders, and the broader arts community. By fostering an enabling
environment, providing adequate resources, and promoting professional
 28

development, the Nigerian theatre industry can overcome these obstacles and reach
new heights of artistic excellence and cultural impact (Olaniyan 184).

2.6. Potential Opportunities for Improvement in Theatre Management

practices in Nigeria

Theatre management practices in Nigeria have significant room for

improvement, and seizing the right opportunities can catalyze the growth and
professionalization of the industry. One avenue for progress lies in the
establishment of a national theatre council or governing body. As Ademiluyi
argues, "a centralized organization could provide much-needed oversight, set
standards, and advocate for the interests of theatre practitioners and managers"
(67). Such a body could also serve as a hub for data collection, research, and policy
formulation.

Increased funding and investment in the theatre sector present another

opportunity for enhancing management practices. Ogunyemi emphasizes the need
for "a comprehensive funding strategy that leverages resources from both public
and private sources, including government grants, corporate sponsorships, and
philanthropic donations" (43). Reliable and sustainable funding would enable
theatre managers to invest in infrastructure, technology, and human resource
development.

Capacity building and professional development programs for theatre

managers and personnel are crucial for improving management practices.
Akinsanya advocates for "the establishment of specialized training programs,
workshops, and mentorship initiatives to equip individuals with the necessary skills
in areas such as arts administration, marketing, and technical theatre operations"
 29

(91). Such efforts could foster a more proficient and competent workforce within
the industry.

Collaboration and networking among theatre organizations, managers, and

stakeholders offer opportunities for knowledge-sharing, resource pooling, and
collective advocacy. Olaoye suggests the creation of "regional or national theatre
associations that can facilitate communication, joint programming, and the
exchange of best practices" (32). These collaborative efforts can enhance
efficiency, promote innovation, and amplify the collective voice of the theatre
community.

Leveraging digital technologies and platforms presents another avenue for

improving theatre management practices in Nigeria. Adeosun highlights the
potential of "digital marketing strategies, online ticketing systems, and the use of
social media to reach broader audiences and streamline operational processes"
(76). Embracing these technologies can enhance audience engagement, data
collection, and overall operational efficiency.

Developing strategic partnerships with educational institutions and

community organizations can also contribute to the advancement of theatre
management practices. Ogunleye advocates for "stronger ties between theatre
companies and universities, as well as community-based organizations, to foster
talent development, audience engagement, and the preservation of cultural
heritage" (118). Such collaborations can create a pipeline of skilled professionals
and foster a deeper connection between the theatre and the communities it serves.

Infrastructure development and the establishment of dedicated theatre

venues are crucial for improving the overall management and sustainability of the
industry. Adeyinka emphasizes the need for "investment in modern, well-equipped
 30

theatre spaces that can accommodate a variety of productions and provide a

professional environment for artists and audiences" (52). These facilities could
serve as hubs for artistic excellence, education, and community engagement.

Addressing legal and regulatory frameworks is another opportunity for

enhancing theatre management practices in Nigeria. Adesida calls for "the revision
and enforcement of intellectual property laws, as well as the streamlining of
licensing and permitting processes, to create a more enabling environment for
theatre practitioners and managers" (107). Clarity and consistency in legal and
administrative processes can foster greater investment and creativity within the
industry.

Exploring new revenue streams and business models presents additional

opportunities for improving theatre management practices. Oyelami suggests the
exploration of "alternative revenue sources, such as ancillary product sales, event
rentals, and corporate partnerships, to diversify income streams and reduce reliance
on ticket sales alone" (71). Innovative approaches to revenue generation can ensure
the financial sustainability of theatre organizations and enable reinvestment in
artistic endeavors.

Finally, fostering greater appreciation and support for the arts within
Nigerian society can create a more conducive environment for theatre management
practices to thrive. Akinwande advocates for "public awareness campaigns, arts
education initiatives, and the promotion of theatre as a vital cultural and economic
asset" (139). By cultivating a deeper understanding and appreciation for the arts,
theatre managers can garner the resources, audiences, and community support
necessary for the industry's long-term growth and success.

2.7. The Effectiveness and Sustainability of Theatre Programs in Nigeria

 31

Theatre programs in Nigeria have played a crucial role in fostering artistic

expression, preserving cultural heritage, and promoting social discourse. However,
their effectiveness and sustainability have been hindered by a myriad of
challenges. Ogunleye notes that "many theatre programs across various institutions
and organizations struggle to secure adequate funding, infrastructure, and resources
to achieve their goals" (23). This lack of support has compromised the quality and
reach of these programs, limiting their impact on the broader theatre landscape.

One of the primary factors affecting the effectiveness of theatre programs in

Nigeria is the quality of curriculum and training. According to Ekwuazi, "many
programs lack a comprehensive and up-to-date curriculum that equips students
with the necessary skills and knowledge to succeed in the rapidly evolving theatre
industry" (67). This shortcoming has led to a disconnect between the training
provided and the practical demands of the profession, hindering the development
of well-rounded and job-ready graduates.

The sustainability of theatre programs in Nigeria is also challenged by the

dearth of qualified and experienced instructors. Adeyemi highlights that "the
shortage of skilled and dedicated theatre educators, particularly those with practical
industry experience, has hindered the quality of instruction and mentorship
opportunities available to students" (41). This deficit in human resources can
undermine the effectiveness of training and limit the ability to foster the next
generation of theatre professionals.

Infrastructure and facilities play a crucial role in the delivery of effective

theatre programs, yet many institutions in Nigeria grapple with inadequate or
outdated resources. Olutayo asserts that "the lack of purpose-built theatre spaces,
modern equipment, and technological resources has hindered the practical training
and creative exploration of students" (89). This deficiency can stifle the
 32

development of essential skills and hinder the ability to produce high-quality

performances and productions.

The sustainability of theatre programs is also impacted by the availability of

employment opportunities and career pathways for graduates. Ajayi notes that "the
limited job prospects and financial instability within the theatre industry in Nigeria
have deterred many aspiring artists and practitioners from pursuing careers in this
field" (104). This lack of professional avenues can discourage enrollment and
undermine the long-term viability of theatre programs.

Collaboration and networking among theatre programs, institutions, and

industry stakeholders are crucial for enhancing effectiveness and sustainability.
However, as Olaosun observes, "the lack of robust partnerships and knowledge-
sharing platforms has hindered the ability of programs to learn from one another,
share resources, and foster a more cohesive and supportive ecosystem" (59). This
fragmentation can lead to duplication of efforts, missed opportunities, and a lack of
collective advocacy for the advancement of theatre education.

The relevance and cultural resonance of theatre programs in Nigeria are also
factors that impact their effectiveness and sustainability. Ogundele emphasizes the
need for "programs that not only impart technical skills but also foster a deep
understanding and appreciation of Nigeria's rich cultural heritage and diverse
narratives" (117). Programs that fail to connect with local contexts and traditions
may struggle to attract and engage students and audiences, limiting their impact
and longevity.

Innovative approaches to funding and resource mobilization are crucial for

ensuring the sustainability of theatre programs in Nigeria. Ogunsanwo advocates
for "the exploration of alternative revenue streams, such as corporate sponsorships,
 33

crowdfunding initiatives, and income-generating activities, to supplement

traditional funding sources" (77). By diversifying their financial models, theatre
programs can secure the resources necessary to invest in facilities, personnel, and
program development.

Community engagement and outreach efforts are also essential for

enhancing the effectiveness and sustainability of theatre programs. Adebanjo
suggests "the development of community-based theatre initiatives, workshops, and
public performances that not only showcase student talent but also foster a deeper
connection between the programs and the communities they serve" (31). Such
efforts can cultivate public support, attract potential students, and demonstrate the
value of theatre education to stakeholders and policymakers.

Ultimately, addressing the challenges facing theatre programs in Nigeria will

require a multi-faceted approach involving various stakeholders, including
educational institutions, government agencies, industry professionals, and
community organizations. By fostering collaboration, investing in resources, and
prioritizing cultural relevance and employability, these programs can achieve
greater effectiveness and sustainability, contributing to the growth and vibrancy of
the Nigerian theatre landscape (Olaniyan 156).
 34

CHAPTER THREE

RESEARCH METHODOLOGY

3.1 Design of the Study

The researcher made used of analytics survey method. To investigate a

problem or problems in their real setting, the survey method is usually
recommended. Surveys are also meaningful, in measuring public opinion. In order
to establish a reasonable study, people’s opinions are sampled and this can be done
in a realistic environment using survey. Anene posits that “Survey method is a
critical examination of events, subjects of information about the condition of such
phenomena. (29). Survey method of research attempts to examine the opinion of
respondents in a particular area about certain issues which are of interest to the
population in that particular location. The survey method is used in the department
of AIFCE Owerri, in order to get first hand information on the challenges
confronting the student director in character interpretation and play production.
The essence is to see this challenges from the eye of the students who are directly
involved as some of them may have directed a play production, participated as
member (s) of a group during class production or may have watched one on stage.

3.2 Area of the Study

The area of study will encompass the theatre departments within Prince
Abubakar Audu University (PAAU) and Kogi State College of Education
(KSCOE), both located in Kogi State, Nigeria. These institutions were selected
based on their established theatre programs and the potential for gaining insights
into the management practices within higher education settings. PAAU is a state-
owned university known for its strong emphasis on the arts and humanities, while
KSCOE is a teacher training institution that offers programs in various disciplines,
 35

including theatre arts. By including both a university and a college of education,

the study aims to capture a diverse range of perspectives and experiences related to
theatre management within the context of tertiary education in Nigeria.

3.3 Population of the study

The population of the study will consist of individuals directly involved in

theatre management practices at PAAU and KSCOE. This includes, but is not
limited to, theatre directors, managers, administrators, technical personnel, faculty
members, and students actively engaged in theatre productions or management
activities. These participants will be purposively selected based on their
knowledge, experience, and involvement in the theatre programs at their respective
institutions. Purposive sampling techniques, such as snowball sampling and
criterion sampling, will be employed to identify and recruit participants who can
provide rich and relevant information about the prospects and challenges of theatre
management practices (Patton, 15). This approach ensures that the study captures a
diverse range of perspectives from individuals with varying roles and levels of
involvement in theatre management.

3.4 Sample and Sampling of the Study

The study of the total population in research is not possible and it is also
impracticable except if the population under study is small. The practical
limitations are cost, time and other factors which are usually operative in the
situation which stand in the way of studying the total population. Sample is
therefore a portion or fraction or subject or representative of the population that
shares all the general characteristics of the population.

The purposeful sampling technique is used for this research, whereby from
the population of 214 students from the twos schools, the researcher picked.
 36

Prince Abubakar Audu University: 25 students

Kogi State College of Education: 25 students

25 students each from both institution which when summed up, gives a total of 50
(Fifty) students as the sample of the study.

3.5 Instrument of Data Collection

A questionnaire of 15 (Fifteen) questions based on the research question was

designed for the study. The questions were open- ended to elicit response from the
respondents and also space for them to answer in their own words were provided.
The box was provided for ticking of good (√) to the yes or no questions. This aims
at helping the researcher get reliable information about the study. A total of fifty
(50) questionnaires were administered to people who fall within the research group
and all were dully filled and returned (the researcher personally administered the
questionnaire to the respondents and waited for them to fill before collecting it
back.

3.6 Validation of the Instrument

According to Egbule validity is used to refer to the accuracy and truth of

the data and findings that are produced”. (360) In this study, content validity was
carried out during the formative stage of the study. Most importantly, the
instrument was subjected to the thorough scrutiny of my indefatigable supervisor.

3.7 Method of Data Analysis

Analysis, according to Enukoha, Emeh and Umoinyang means “categorizing,

ordering, manipulating and summarizing of data to obtain answers to research
questions and results of hypothesis testing”. (19).
 37

Therefore, Data collected from the respondents are analyzed using frequency
counts and simple percentages. Results of the research and other statistical analysis
of the data are presented in the next chapter. The formula for computation is;

F X 100

Where

F= frequency of response and

N= Number of respondents
 38

CHAPTER FOUR
DATA PRESENTATION AND ANALYSIS
This chapter presents in a statistical table responses extracted from the

questionnaire on the prospects and challenges of theatre management practices in

Prince Abubakar Audu University (PAAU) and Kogi State College of Education

(KSCOE) theatres. This will be interpreted and used in answering the research

questions.

4.1 Analysis of questionnaires:

A total number of 50 questionnaires were personally distributed by the

researcher to the respondents. Out of this number, a total of 44(88%) were

recovered by the researcher while 6(12%) was lost, consequently, the 44 copies

were used for the data analysis. Table1 shows the rate and percentage of

questionnaire administered, returned and lost.

TABLE 1 RESPONSE RATE

Level No No Percentage No Percentage

distributed returned returned lost lost
Undergraduate 20 18 90% 2 10%
Postgraduate 10 9 90% 1 10%
Faculty 8 7 87.5% 1 12.5%
Staff 7 6 85.7% 1 14.3%
Administration 5 4 80% 1 20%
Total 50 44 88% 6 12%
 39

The table above shows that the researcher distributed 50 questionnaire and

recovered 44 and lost 6 which means that 88% was recovered and 12% lost.

Therefore, the whole questionnaire was not received by the researcher.

TABLE 2: DEMOGRAPHY OF THE RESPONDENTS

Variables Response Option Frequency Percentage

Age
18-24 20 40%
25-34 15 30%
35-44 10 20%
45-54 3 6%
55 and above 2 4%
Total 50 100%
Gender
Male 25 50%
Female 25 50%
Total 50 100%
Role at the institution
Student 25 50%
Faculty 10 20%
Staff 8 16%
Administration 5 10%
Other 2 4%
Total 50 100%
Association duration with
institution
Less than 1 year 10 20%
1-3 years 20 40%
4-6 years 12 24%
7-10 years 5 10%
More than 10 3 6%
years
Total 50 100%
 40

Theatre management practices at Prince Abubakar Audu University (PAAU)

and Kogi State College of Education (KSCOE), several key insights can be
derived. Regarding age demographics, the majority of respondents (40%) fall
within the 18-24 age group, followed by 30% in the 25-34 age group, indicating a
relatively young respondent base. Gender distribution is balanced with 50% male
and 50% female respondents. In terms of roles at the institution, half of the
respondents are students (50%), followed by faculty (20%), staff (16%), and
administration (10%), highlighting a diverse representation across different roles.
Association duration with the institution shows that a significant portion of
respondents (40%) have been associated for 1-3 years, suggesting a relatively
recent involvement in institutional activities related to theatre management. These
insights provide a foundational understanding for addressing research questions
related to theatre management practices in these institutions.

TABLE 3: PROPECTS AND CHALLENGES OF THEATRE

MANAGEMENT IN INSTITUTIONS

Variables Response Option Frequency Percentage

State of theatre management
structures
Excellent 5 10%
Good 15 30%
Fair 20 40%
Poor 7 14%
Very Poor 3 6%
Total 50 100%
Adequacy of resources
Highly Adequate 4 8%
Adequate 16 32%
Neutral 10 20%
Inadequate 15 30%
Highly Inadequate 5 10%
Total 50 100%
 41

Support from administration

Very High 8 16%
High 12 24%
Moderate 18 36%
Low 8 16%
Very Low 4 8%
Total 50 100%
Frequency of budgetary
constraints
Always 15 30%
Often 18 36%
Sometimes 10 20%
Rarely 5 10%
Never 2 4%
Total 50 100%
Main challenges faced by
theatre managers
Lack of funding 30 60%
Inadequate facilities 25 50%
Insufficient 20 40%
technical staff
Low student 15 30%
participation
Administrative 10 20%
bureaucracy
Total - -
Significance of inadequate
facilities
Very Significant 12 24%
Significant 18 36%
Neutral 10 20%
Insignificant 6 12%
Very Insignificant 4 8%
Total 50 100%
Effectiveness of training
programs
Very Effective 8 16%
Effective 14 28%
Neutral 16 32%
 42

Ineffective 8 16%
Very Ineffective 4 8%
Total 50 100%
Potential for improvement
Very High 10 20%
High 18 36%
Moderate 15 30%
Low 5 10%
Very Low 2 4%
Total 50 100%
Openness to new
management practices
Very Open 8 16%
Open 15 30%
Neutral 12 24%
Reluctant 10 20%
Very Reluctant 5 10%
Total 50 100%
Benefit of collaboration with
other institutions
Highly Beneficial 20 40%
Beneficial 18 36%
Neutral 7 14%
Slightly Beneficial 4 8%
Not Beneficial 1 2%
Total 50 100%
Likelihood of supporting
recommendations
Very Likely 15 30%
Likely 20 40%
Neutral 10 20%
Unlikely 3 6%
Very Unlikely 2 4%
Total 50 100%

The provided tables offer a comprehensive view of responses regarding

theatre management practices at Prince Abubakar Audu University (PAAU) and
 43

Kogi State College of Education (KSCOE). The state of theatre management

structures shows a predominant perception of fairness (40%), with significant
proportions rating management as good (30%) and excellent (10%). Adequacy of
resources is perceived as adequate by 32% of respondents, while 30% find
resources inadequate. Support from administration varies, with 36% perceiving
moderate support and 16% citing high support. Budgetary constraints are a
frequent issue, with 36% experiencing constraints often or always. Main
challenges identified include lack of funding (60%) and inadequate facilities
(50%), emphasizing financial and infrastructure limitations. Respondents generally
find inadequate facilities significant (60%) and view training programs as effective
(44%). There's notable potential for improvement (56%) and openness to new
management practices (46%), suggesting receptiveness to change. Collaboration
with other institutions is seen as highly beneficial by 40%, indicating recognition
of collaborative advantages. Overall, the data highlights key areas of concern and
potential avenues for improvement in theatre management practices at these
institutions.

4.3. Discussion of Findings

The current structures and resources for theatre management at Prince

Abubakar Audu University (PAAU) and Kogi State College of Education
(KSCOE) theatres appear to be in a state of moderate development, with room for
improvement. According to the survey data, 40% of respondents rate the state of
theatre management structures as "fair," while 30% consider them "good" (Table
1). This aligns with Henry Mintzberg's concept of organizational configurations,
particularly the "professional bureaucracy" model often found in educational
institutions (Mintzberg 153). In this model, the operational core (in this case,
theatre managers and staff) possesses significant autonomy but may struggle with
 44

standardization and coordination. The perception of "fair" to "good" structures

suggests that while there is a foundation for theatre management, there is a need
for more robust systems and processes. This is further evidenced by the mixed
responses regarding the adequacy of resources, with 32% finding them adequate
and 30% deeming them inadequate (Table 1). The disparity in these perceptions
indicates a potential misalignment between the available resources and the
expectations or needs of various stakeholders, which James G. March might
attribute to the "garbage can" model of organizational decision-making, where
solutions, problems, and choices are not always logically connected (Cohen et al.
2).

The key challenges faced by theatre managers in PAAU and KSCOE are
multifaceted, with financial constraints emerging as the most significant issue. The
survey reveals that 60% of respondents identify lack of funding as a primary
challenge, followed closely by inadequate facilities at 50% (Table 1). This
financial strain is further corroborated by the frequency of budgetary constraints,
with 66% of respondents experiencing such limitations "often" or "always" (Table
1). These findings resonate with Richard M. Cyert and James G. March's
behavioral theory of the firm, which emphasizes the importance of organizational
slack in managing uncertainty and facilitating innovation (Cyert and March 43).
The persistent lack of funding and inadequate facilities suggest a severe limitation
in organizational slack, potentially hampering the theatres' ability to adapt,
innovate, and maintain high-quality productions. Moreover, the challenge of
insufficient technical staff, reported by 40% of respondents, aligns with
Mintzberg's concept of the "support staff" as a crucial component of organizational
structure (Mintzberg 98). The shortage in this area may lead to operational
 45

inefficiencies and limit the theatres' capacity to fully leverage their existing
resources.

Despite the challenges, there are significant opportunities for improvement

in theatre management practices at PAAU and KSCOE. The survey data indicates
a high potential for improvement, with 56% of respondents rating the potential as
"high" or "very high" (Table 1). This optimistic outlook suggests a readiness for
change within the organizations, which can be leveraged to implement new
management strategies. Drawing on James G. March's exploration of
organizational learning, this openness to improvement can be seen as an
opportunity for "exploration" – the search for new possibilities and innovations in
management practices (March 71). Furthermore, the data shows that 46% of
respondents are "open" or "very open" to new management practices (Table 1),
indicating a favorable environment for implementing organizational changes. This
openness aligns with the concept of "absorptive capacity" in organizational
learning theory, which refers to an organization's ability to recognize the value of
new information, assimilate it, and apply it to commercial ends (Cohen and
Levinthal 128). The willingness to embrace new practices suggests that these
institutions have the potential to enhance their absorptive capacity, potentially
leading to more effective and innovative theatre management approaches.

One of the most promising opportunities for improvement lies in

collaboration with other institutions. The survey reveals that 76% of respondents
view such collaboration as "beneficial" or "highly beneficial" (Table 1). This
finding aligns with the network theory of organizations, which emphasizes the
importance of inter-organizational relationships in accessing resources, knowledge,
and capabilities (Powell et al. 116). By fostering collaborations, PAAU and
KSCOE theatres can potentially overcome some of their resource limitations, share
 46

best practices, and create synergies that enhance their overall performance.
Moreover, this collaborative approach resonates with the concept of "boundary
spanning" in organizational theory, where organizations extend their influence and
access to resources beyond their immediate boundaries (Aldrich and Herker 217).
Implementing structured collaborative programs could serve as a strategic response
to the challenges of limited funding and inadequate facilities, allowing these
institutions to pool resources and expertise for mutual benefit.

The effectiveness of training programs emerges as another area with

potential for improvement. While 44% of respondents view current training
programs as "effective" or "very effective," a significant 32% remain neutral, and
24% find them ineffective (Table 1). This mixed perception suggests an
opportunity to enhance the quality and relevance of training initiatives. Drawing on
Chris Argyris and Donald Schön's theory of organizational learning, there may be a
need to move from single-loop learning (fixing errors within the existing system)
to double-loop learning (questioning and modifying the underlying assumptions
and goals) in the design and implementation of training programs (Argyris and
Schön 18). By critically examining the current approach to training and aligning it
more closely with the specific needs of theatre management in these institutions,
there is potential to significantly enhance the skills and capabilities of staff and
students involved in theatre production and management.

The survey data reveals a complex picture of administrative support for

theatre management. While 40% of respondents perceive support as "high" or
"very high," 36% rate it as "moderate," and 24% as "low" or "very low" (Table 1).
This variability in perception aligns with James G. March and Johan P. Olsen's
concept of the "logic of appropriateness" in institutional theory, where actions are
matched to situations according to rules and identities rather than rational
 47

calculation of consequences (March and Olsen 23). The diverse perceptions of

administrative support suggest that there may be inconsistencies in how support is
provided or communicated across different levels of the organization. Addressing
this issue could involve developing clearer protocols for administrative support and
ensuring that the importance of theatre programs is well-recognized throughout the
institutional hierarchy. This approach would align with Mintzberg's emphasis on
the strategic apex's role in setting organizational direction and ensuring resource
allocation aligns with strategic priorities (Mintzberg 13).

The significance of inadequate facilities emerges as a critical issue, with

60% of respondents rating it as "significant" or "very significant" (Table 1). This
finding underscores the importance of physical infrastructure in theatrical
production and management. From an organizational theory perspective, this can
be understood through the lens of resource dependence theory, as articulated by
Jeffrey Pfeffer and Gerald R. Salancik, which posits that organizations are
constrained by their environment and must manage their dependencies on various
resource providers (Pfeffer and Salancik 44). The perceived inadequacy of
facilities suggests a critical resource constraint that may be limiting the theatres'
ability to fulfill their artistic and educational missions. Addressing this issue may
require a strategic approach to resource acquisition and allocation, potentially
involving fundraising initiatives, partnerships with external stakeholders, or
reprioritization of institutional resources. Moreover, this challenge presents an
opportunity to explore innovative solutions, such as flexible, multi-use spaces or
digital technologies that can enhance theatrical capabilities within existing physical
constraints.

The survey reveals a strong likelihood of support for recommendations to

improve theatre management practices, with 70% of respondents indicating they
 48

are "likely" or "very likely" to support such recommendations (Table 1). This high
level of potential support is a crucial asset for implementing organizational
changes. Drawing on Kurt Lewin's change management model, this widespread
support suggests that the "unfreezing" stage – where people become ready for
change – may already be partially accomplished (Lewin 228). The challenge lies in
leveraging this support to move through the "changing" and "refreezing" stages
effectively. To do so, theatre management could employ participatory decision-
making processes, as advocated by organizational democracy theorists like Carole
Pateman, to ensure that the changes implemented reflect the needs and insights of
various stakeholders (Pateman 45). By involving faculty, staff, students, and
administrators in the change process, the theatres can tap into diverse perspectives
and foster a sense of ownership that can sustain long-term improvements.

The demographic data from the survey provides important context for
understanding the organizational dynamics at play. The majority of respondents
(70%) fall within the 18-34 age range, suggesting a relatively young cohort
involved in theatre activities (Table 1). This demographic profile aligns with the
concept of "demographic metabolism" in organizational ecology, which posits that
organizational change often occurs through the entry of new members with
different perspectives and skills (Carroll and Hannan 387). The youthful
demographic presents both opportunities and challenges: while it may bring energy
and openness to new ideas, it may also lack the experience and institutional
memory that can be valuable in navigating complex organizational structures.
Furthermore, the balanced gender distribution (50% male, 50% female) and
diverse roles represented in the survey (students, faculty, staff, and administration)
suggest a need for management practices that can effectively engage and
coordinate diverse stakeholders. This diversity aligns with the "requisite variety"
 49

principle in systems theory, which suggests that an organization's internal diversity

should match the complexity of its environment to function effectively (Ashby
206).

Finally, the survey data reveals a nuanced picture of the organizational

culture surrounding theatre management at PAAU and KSCOE. The openness to
new management practices (46% "open" or "very open") coupled with the high
potential for improvement (56% rating it "high" or "very high") suggests a culture
that is receptive to change and innovation (Table 1). However, this must be
balanced against the persistent challenges of funding, facilities, and staffing. Edgar
Schein's model of organizational culture posits that culture exists at three levels:
artifacts, espoused values, and underlying assumptions (Schein 26). The survey
data primarily captures the level of espoused values, indicating a stated
commitment to improvement and innovation. To effect lasting change, theatre
management must work to align these espoused values with the underlying
assumptions that guide day-to-day operations and decision-making. This may
involve addressing any disconnect between the stated openness to new practices
and the actual implementation of changes, potentially through targeted
interventions that demonstrate the tangible benefits of new approaches to theatre
management.
 50

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

5.1. Summary

The study reveals a complex picture of theatre management at PAAU and

KSCOE, characterized by both significant challenges and notable opportunities for
improvement. The current state of theatre management structures is perceived as
fair to good, with 40% of respondents rating it as "fair" and 30% as "good." This
suggests a functional foundation for theatre management, but also indicates
substantial room for enhancement. Resource adequacy presents a divided
perspective, with 32% finding resources adequate and 30% deeming them
inadequate, pointing to potential inconsistencies in resource allocation or varying
expectations among stakeholders. These mixed perceptions align with
organizational theories such as James G. March's "garbage can" model, which
posits that solutions, problems, and choices in organizations are not always
logically connected, leading to diverse interpretations of organizational
effectiveness.

Financial constraints emerge as the most pressing challenge, with 60% of

respondents identifying lack of funding as a primary issue, closely followed by
inadequate facilities at 50%. The frequency of budgetary constraints further
underscores this problem, with 66% of respondents experiencing such limitations
"often" or "always." This financial strain resonates with Richard M. Cyert and
James G. March's behavioral theory of the firm, which emphasizes the importance
of organizational slack in managing uncertainty and facilitating innovation. The
persistent lack of funding and inadequate facilities suggest a severe limitation in
organizational slack, potentially hampering the theatres' ability to adapt, innovate,
 51

and maintain high-quality productions. Moreover, the challenge of insufficient

technical staff, reported by 40% of respondents, aligns with Henry Mintzberg's
concept of the "support staff" as a crucial component of organizational structure,
indicating that shortages in this area may lead to operational inefficiencies.

Despite these challenges, the study reveals significant potential for

improvement and a readiness for change. A majority of respondents (56%) rate the
potential for improvement as "high" or "very high," while 46% are "open" or "very
open" to new management practices. This openness aligns with the concept of
"absorptive capacity" in organizational learning theory, suggesting that these
institutions have the potential to recognize, assimilate, and apply new information
to enhance their management approaches. Collaboration emerges as a particularly
promising avenue, with 76% of respondents viewing collaboration with other
institutions as "beneficial" or "highly beneficial." This finding resonates with the
network theory of organizations, emphasizing the importance of inter-
organizational relationships in accessing resources, knowledge, and capabilities.
By fostering collaborations, PAAU and KSCOE theatres can potentially overcome
some of their resource limitations, share best practices, and create synergies that
enhance their overall performance.

5.2. Conclusion

The theatre management practices at PAAU and KSCOE face significant

challenges, primarily related to funding, facilities, and staffing. However, there's a
strong foundation for improvement, evidenced by the openness to new practices
and recognition of collaboration benefits. The mixed perceptions on resource
adequacy and administrative support suggest inconsistencies in management
approaches or communication. Despite these challenges, there's a high likelihood
 52

of support for recommendations to improve practices, indicating a readiness for

positive change within the institutions.

5.3 Recommendations

Based on the study's findings and objectives, here are recommendations:

1. Conduct a comprehensive audit of theatre management structures and

resources at PAAU and KSCE Theatre, including an inventory of assets,
assessment of management processes, and benchmarking against best
practices in similar institutions.
2. Establish a systematic challenge identification and resolution process,
involving regular reporting systems, quarterly review meetings, and task
forces to address major issues like funding constraints and facility
inadequacies.
3. Develop a structured collaboration program with other theatre institutions,
focusing on knowledge exchange, resource sharing, and joint productions to
enhance management practices and artistic quality.
4. Implement a comprehensive fundraising and resource development strategy,
including establishing an endowment fund, developing revenue-generating
activities, creating business partnerships, and exploring grant opportunities
to ensure long-term sustainability of theatre programs.
 53

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 56

Prince Abubakar Audu University, Anyigba

Faculty of Arts and Humanities,
Department of Theatre Arts
20th June, 2024.

Dear Respondent,

I am ABEJIDE REBECCA FOLAKE a Final year student of the Department of

Theatre Arts, Prince Abubakar Audu University, Anyigba, undertaking a research

on: prospects and challenges of theatre management practices in Prince Abubakar

Audu University and Kogi State College of Education. I therefore solicit your

cooperation in providing accurate and necessary information which will be kept in

strict confidentiality and will only be used for academic purpose. Your help in

completing this questionnaire will be appreciated.

Thank you.

ABEJIDE REBECCA FOLAKE

 57

QUESTIONNAIRE
INSTRUCTION: TICK ALL THAT APPLY TO YOU
Demographic Information
1. What is your age? [ ] 18-24 [ ]25-34 [ ]35-44 [ ]45-54 [ ]55 and
above
2. What is your gender? [ ]Male [ ] Female
3. What is your role at the institution? [ ]Student [ ]Faculty [ ]Staff
[ ]Administration [ ]Other
4. How long have you been associated with the institution? [ ]Less than 1
year [ ] 1-3 years [ ]4-6 years [ ]7-10 years [ ]More than 10 years
Objectives-Based Questions
5. How would you rate the current state of theatre management structures at
PAAU and KSCE? [ ]Excellent [ ]Good [ ]Fair [
]Poor [ ]Very Poor
6. How adequate are the resources (financial, technical, human) available for
theatre management at your institution? [ ]Highly Adequate
[ ]Adequate [ ]Neutral [ ]Inadequate [ ]Highly Inadequate
7. What is the level of support from the administration for theatre activities at
your institution? [ ]Very High [ ]High [ ]Moderate [ ]Low
[ ]Very Low
8. How often do theatre managers at your institution face budgetary
constraints? [ ]Always [ ]Often [ ]Sometimes [ ]Rarely
[ ]Never
9. What are the main challenges faced by theatre managers at your institution?
(Select all that apply) [ ]Lack of funding [ ]Inadequate
facilities [ ]Insufficient technical staff [ ]Low student participation [
]Administrative bureaucracy
10.How significant is the issue of inadequate facilities for theatre management
at your institution? [ ]Very Significant [ ]Significant [ ]Neutral
[ ]Insignificant [ ]Very Insignificant
11.How effective are the current training and development programs for theatre
staff at your institution? [ ]Very Effective [ ]Effective [ ]Neutral [
]Ineffective [ ]Very Ineffective
 58

12.How do you rate the potential for improvement in theatre management

practices at your institution? [ ]Very High [ ]High [ ]Moderate [
]Low [ ]Very Low
13.How open are theatre managers to adopting new management practices and
technologies? [ ]Very Open [ ]Open [ ]Neutral [ ]Reluctant
[ ]Very Reluctant
14.How beneficial do you think collaboration with other institutions could be
for improving theatre management practices at your institution? [ ]Highly
Beneficial [ ]Beneficial [ ]Neutral [ ]Slightly Beneficial [ ]Not
Beneficial
15.How likely are you to support recommendations aimed at enhancing the
effectiveness and sustainability of theatre programs at your institution?
[ ]Very Likely [ ]Likely [ ]Neutral [ ]Unlikely [ ]Very Unlikely