You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.

But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.

It is the human potentials that interest me. I travel and everywhere I go I am amazed at the presence of Nigerians. The intelligence, integrity, productivity, initiative.

The gods in Yoruba mythology are not remote at all. They're benign, they're malign, they are mischievous, like Eshu for instance, tricksters, rascally, fornicators, that's a similarity to Greek mythology, for instance, you know. They're not saints, they're not saints. They're powerful. It's why they're not tyrannical. Of course, a number of them are also very, you know, benevolent, you know, there are saintly virtues to be found in them.

And gradually they're beginning to recognize the fact that there's nothing more secure than a democratic, accountable, and participatory form of government. But it's sunk in only theoretically, it has not yet sunk in completely in practical terms.

It's my duty to fight those who have chosen to belong to the party of death, those who say they receive their orders from God somewhere and believe they have a duty to set the world on fire to achieve their own salvation.

We wasted a lot of creative energy in that immediate post colonial era, when there was a struggle between, you know, the Cold War between the capitalism and communism. Many writers just wasted their energy and their talent because they want to be ideologically correct and of course all they produced was propaganda.