By Mariam Tijani
The first time I met Oluwaseun Johnson, her performance on stage as Mórẹmí Àjàṣọrò was the only knowledge of her I had and held on to. The next time I would meet her, on a friday morning at the department of theatre arts; after weeks of trying to get in touch with her, I would finally hear her speak, walking me through a fraction of her journey in the world of theatre.
On the 5th of July 2025, I joined a group of students at the University of Lagos in a coaster bus, which journeyed us to Terra Kulture in Victoria Island, Lagos. We were going to see a stage play titled “Mórẹmí Àjàṣọrò”. This play was a retelling of the history of the hero, Mórẹmí, which marked the 3rd edition of UNILAG In Town, a brainchild of the vice-chancellor, Professor Folashade Ogunsola.
As I sat amongst the audience and watched the powerful display of culture and history by the talents on stage, I could not help but note how much the lead character embodied her role and brought the fire and bravery of Moremi to the room. My first experience of UNILAG in town was its debut in 2023, with Esu and the Vagabond Minstrels. However, after seeing Oluwaseun’s performance, I instantly knew I had to hear her speak about what the experience meant to her.
Interviewer: Hello Oluwaseun, I was blown away by your performance. How long have you been doing stage plays?
Oluwaseun Johnson: 10 years. Give or take 10 years.
How long have you been doing stage plays in UNILAG?
I’ve done series of stage plays in UNILAG as a student. I also did Mórẹmí in year one. But it was for my practical course in 2020. Infact, what we used in the whole script was just 3 scenes.
Was the stage play your first time playing a lead character?
No, it was not my first time.
That was my first time watching you, and I felt that was a special performance. Do you feel it’s special too?
It is. Every opportunity you get to be on stage is a special one. And to think that it was not like I was really prepared or wanted to be in it. The director just saw me in another stage play, saw my performance, and he was like, this girl has to be in Mórẹmí.
Aww, I actually see it too.
Hahaha, thank you
I am aware UNILAG In Town debuted in 2023 and has since become a vibrant display of arts and culture. What impact has it had on theatre students and UNILAG as a whole?
Okay, I will cite an example for myself. This Mórẹmí play has actually taken me out of my shell and hiding, because a lot of people now know me. Apart from knowing, they know my strength when it comes to acting. They know what I can deliver, and they know they can actually trust me when it comes to acting or some particular roles. UNILAG In Town started just to expose the talents we have in UNILAG. To show UNILAG’s talent to the world, that this is what we have. Our students are doing this, doing that, and they’re very good at what they do. That’s the overall aim and idea of it, and it’s actually doing justice.
Hm. That’s impressive. So, when did you decide to act the role of Moremi? Can you walk me through the background processes?
The stage play the director saw me in was Luwo. Ooni Luwo. We did that on the 6th of June and that was where the director saw me and was like I would be in Mórẹmí. There was an audition for the Mórẹmí. The audition was broadcasted and there were people from different departments, not just theatre students. But, I wasn’t auditioned. Let me say; the stage play where the director saw me stood as my audition because I played a lead role and an historical figure there. Luwo was the first female oba of Ife and it was just like they were seeing all the attributes of Moremi in me at that point.
Wait, that means the time it took you to practice for Moremi was short?
It was not much. As a matter of fact, there were 2 more Mórẹmís. During rehearsals, we were 3 Mórẹmís. So you know, in situations when you have double, not to talk of triple, one person will do more than another. It is not always balanced. During rehearsals, the director wants a block, wants to do this and do that. Every director has a favorite actor, no matter what. There will be one person that the director will work with more than the rest.
Is that like talent-wise or character-wise?
Not talent-wise. Where we have doubles, let’s say I’m the first person they brought in as Mórẹmí, and then as time goes on they think; let’s look for a double, just in case God forbid, something happens or she’s not getting the character well. Then, they bring in the second person. Like that, they may bring in a third person. But the fact remains that the first person will remain the first because the director started with that person. There’s an 80% possibility that they’ll call that person to come and do this and that before they remember the doubles.
So, having 3 Mórẹmís, rehearsal was not easy because most of the time, I was just sitting down. I didn’t have the opportunity to run. I did a full run from beginning to the end once before the performance. Yes, just once before the performance. So I just come, learn my lines on my own and that’s all.
The director saw me on that 6th of June during Luwo stage play. I don’t think it was an immediate decision for me to act Mórẹmí as he was looking at me. He just knew that this person is good. But then as time went on, as the rehearsal moved, he felt like ‘I saw one girl, please call her for me’. But there wasn’t much time left. I had like 3 weeks to rehearse with him and within that, I rehearsed just once. It was hectic. It was crazy. At some point I got frustrated like what am I doing, do you even need me, bla bla bla because you came to call me, it’s not like I came to squeeze myself inside this thing by fire by force. I was just sitting most times. Time that I could use to do other things, go to work or take jobs. I could not take jobs within that period at all.
That was interesting and surprising to hear. When did you know exactly that you would be the one acting on that day, since there were other Mórẹmís?
It was past 2pm on production day. That same day you watched the play.
Wow. That means at some point you must have felt like you were not needed after all?
I didn’t even know I was going to do anything on that day. I’m telling you! because we were 3 Mórẹmís and there were only 2 shows and one person definitely had to step down for two people to act. It’s best for you not to put your expectations very high because when you get disappointed, you’ll fall so bad. So I didn’t put my mind to it. They didn’t say anything to me. They didn’t say anything to the second Mórẹmí too. The only constant figure we had was the first Mórẹmí.
I watched the first show as an audience and I was applauding and thinking I would also watch the second one. And then later around 2pm, he told me I’ll be running the second show. I was like, okay, and I just sat there. And then I started doing psychological rehearsal of my lines from beginning to the end. Thank God I didn’t say because they were not using me at rehearsals, I won’t rehearse. I learnt my lines even when it didn’t look like it was possible. I was still sitting there and about 10 minutes later, I was hearing different conversations that the first Mórẹmí should just do the second show. So I just relaxed because it happens. By the time they finished the first show and the VC was giving her speech, time was already far spent and there was no more time to prepare. So when the VC finished, and they started preparing for the second show, I started hearing my name and I was like what’s going on here? They were like go and change, go and change, and I was like ‘change for what!!!’ You people already made me relax. It got to a point I had to shout whaaaaaaat, because I was hearing my name everywhere and it was too much for me. I was tense. I was nervous. I was feeling all types of emotions. I was hearing many things at a time and I needed to hear one thing. And then he said go and change for the second show.
My first scene on that stage, I was shaking. I don’t know if it showed in my performance, but after that scene, I was like, okay, we’ve done this, now let’s go.
Amazing. So, how much did you know about the hero, Mórẹmí, prior to the play?
You know I said I did it in year one. It was for my festival practical then. We went to Ile Ife to do some research then and I was able to do some findings and gain knowledge about her.
Was that sponsored by the department or the students?
We sponsored it. From the costume to the props, the stage designing, the light, everything. Nothing is sponsored by the department. It’s your mark and you have to work for it. And then we still write theory exams too.
Did you had to go anywhere for the recent one?
No I didn’t. There wasn’t even time. The script was there, the director was there, there were great minds and great people to work with.
Who was your favorite person to work with?
The director, Mr. Makinde.
Do you feel acting as Mórẹmí has in any way influenced you or your values?
Yes. Mórẹmí is a very brave woman. Even though the history is not very clear because there are different versions of the story. She’s fearless and she believes there’s nothing under the sun that doesn’t have a solution once you set your mind to it. That’s a motivation on its own, and that’s the kind of spirit she has.
How did exhibiting that same spirit feel?
It was really hectic.
Did you at any point feel like you were the actual Mórẹmí?
No, but then yes. When you step on that stage, you are that person. The first time I ran the show from beginning to the end, during rehearsal, that end scene where she had to sacrifice her son and her friend were trying to calm her down, I was crying profusely. I couldn’t control myself. You know it is a make believe, everything is a make believe. You have to put yourself in her shoes. Feel her pains, her joys, her pleasures, everything. So at that point, I felt the weight of her responsibility.
Has there been a time when you felt the exact same way you felt when you acted on stage?
Yes. The part where Ooni of Ife was like you are a woman. This is state affairs. I’m like, are you joking? So I should go back to the kitchen to cook. You call yourselves men yet you can’t do anything. And you’re telling me to go and sit down. Don’t tell me that!
What were some of the challenges you encountered before and after the play?
Before the play? Learning my lines and getting my blockings for each scene, because there was no time to rehearse much. After the play? I don’t think I have any challenges except trying to forget the lines so I can move on. It continues to reply in your head and as an actor, you keep seeing your own flaws and what you could have done better.
Have you acted anything else after that stage play?
I don’t think I have. But I have done series of rehearsals.
What part of your character was the most poignant and reflective for you?
I think I’ve mentioned one already, but I remember the scene where they told me Esimiri needs your son. I remember how the whole hall was laughing with me, because you cannot tell that after everything I went through for you, I still have to sacrifice my son. The only child I have; you must be joking. But then, that kind of laughter is not just laughter because I am a mother too. Yes, I am a mother. Maybe that was why I could not control myself because during rehearsal, someone came to me and was like why were you crying that much? I could not even explain it. Just imagine the way I love my child, and somebody will just come and say come and sacrifice your child. It’s not like I’ve not done anything for you. In fact, turned to a prostitute just to get secrets to give you to win. I just could not control myself. And the guy was like, wait Mórẹmí, what were you thinking? What was going on in your head? Everybody felt that scene. Even our PM said ‘you made me cry’. Even after the scene, I could not still control myself. The SM had to stay with me for a few minutes before I could get hold of myself, because I still had to go back on stage for the closing. So, that part of the play was everything.
And then the first scene, our prologue scene. I was supposed to be flowery and poised, because knowing what was inside the play helped playing that scene. That scene was not the present Mórẹmí, that was why I had grey hair on and makeup like a statue. So for that scene, it was like a moment of pride for me. Like when all the things that happened had happened, it wasn’t easy. But then looking back, I feel proud of my sacrifice. On stage, we started with the future, like the ancestral Mórẹmí came down, looking at the people celebrating in her name and honor.
Listening to you talk about it is just as touching. What is next for you after Mórẹmí?
I want to do more. More stage plays, more screen acting, more and more, exploring my acting career. I see myself on multichoice. I see myself on big screens too, cinemas, even Hollywood. After this degree, I want to go to Ebony Life film school. Then graduate, get my certificate, and by God’s grace, go abroad to explore opportunities like masters, seminars, or anything related to it. I am also a chanter and makeup artist. I’ll continue to explore opportunities. We are not stopping.
Footnotes:
– This interview was conducted on the 8th of August, 2025 by Mariam Tijani.
– The stage play, Mórẹmí Àjàṣọrò, will be restaged at the J. F. Ade Ajayi Auditorium in University of Lagos on the 19th of December.
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