The National Theatre of Ghana has come under sharp criticism from key industry stakeholders who have accused management of failing to address basic operational challenges, placing an unfair financial and logistical burden on creatives.
The concerns were voiced during a stakeholder engagement on Tuesday, March 24, where the Theatre unveiled its new five-year strategic plan, titled “Arts Accessible Everywhere for Everyone” (2026–2030).
While the plan was presented as an ambitious, forward-looking blueprint, stakeholders including actor and playwright Fiifi Coleman and communications professional George Quaye argued that its success hinges on fixing longstanding, foundational issues.
‘Who Did the Homework?’
Mr. Coleman questioned whether the new strategic plan adequately addressed the root causes of the Theatre’s operational decline, pointing to a lack of technical coordination that forces producers to absorb significant extra costs.
He illustrated his point with a recent experience, where new equipment delivered to the Theatre failed to meet the existing technical standards.
“Before my last production, I saw a container with equipment being offloaded and said to myself, ‘at least there are some equipment to ease my burden’,” Mr. Coleman recounted. “But I came back and realised I still had to rent lights because what was brought didn’t match our system. Who did the homework?”
He argued that such lapses undermine the spirit of collaboration. “When you present the institution ‘as is’, then everything becomes the producer’s problem. That is not collaboration. What I am bringing is what you are bringing; we are supposed to meet each other halfway,” he stressed.
Beyond technical issues, Mr. Coleman also highlighted the absence of a functional box office as a major setback for audience engagement and revenue collection.
Unfair Burden on Producers
His sentiments were echoed by George Quaye of Image Bureau, who questioned why producers are expected to source basic materials like wood and handle promotional duties when collaborating with a national institution.
“Why should a producer be burdened with getting simple things such as wood and even advertising a production?” Mr. Quaye asked. “Somebody will call you to ask where to buy tickets. Should that be my worry when I’m collaborating with the National Theatre? These are basic elements the Theatre should be able to provide.”
Management’s Response: ‘A Commitment to Doing Things Differently’
Responding to the criticisms, the Board Chair of the National Theatre, Madam Amarteorkor Amarteifio, acknowledged the frustrations voiced by stakeholders. She stated that the engagement was deliberately organised to confront these challenges head-on.
“We recognise the frustrations of our stakeholders, including concerns like those raised by Fiifi Coleman. That is precisely why we brought everyone together to listen, engage and find solutions,” she said.
Madam Amarteifio assured stakeholders that management is committed to rebuilding trust and restoring the institution’s former status as a pillar of the creative industry.
“Our goal is to take the National Theatre back to its days of glory. This strategic plan is not just a document; it is a commitment to doing things differently, to collaborating better, and to creating an institution that truly supports its creatives,” she added.
A Vision for the Future
The “Arts Accessible Everywhere for Everyone” strategic plan, presented by the Ag. Executive Director, Mr. Henry Herbert Malm, aims to reposition the National Theatre as a future-proof, financially sustainable, and innovative cultural hub.
Its key objectives include:
· Financial Resilience: Diversifying revenue streams and incorporating green practices and eco-tourism.
· Global Collaboration: Attracting top local and international collaborators through co-productions and touring opportunities.
· Audience Expansion: Leveraging digital streaming, interactive ticketing, and loyalty programmes.
· Creative Education: Establishing a National Theatre Academy with youth camps and talent showcases.
While stakeholders welcomed the vision, they stressed that effective implementation and a swift resolution to the Theatre’s operational shortcomings will be critical to its success.
