Tosin Adeyemi on the Power of Theatre: How Discipline Became Her Greatest Role

Tosin Adeyemi learned early that theatre doesn’t forgive mistakes. Every night, thespians either deliver or they don’t. No director yelling “cut,” no second takes, just them and an audience that paid to see something worth their time.

 

That unforgiving training has become Adeyemi’s biggest advantage in a film career that surprised even her. This year, she had two films premiere at Cannes—My Father’s Shadow and Osamede—both her cinema debut after a decade of working across stage and screen.

 

“Theatre taught me how to comport myself, what to do and what not to do during, before, and even after performance,” she says. “Discipline and etiquette are the most valuable lessons I carried into film.”

 

In an exclusive interview with The Nollywood Reporter, Adeyemi talks about moving from university theatre to international festivals, learning Benin language from scratch, and why she thinks Nigerian cinema is finally ready to show the world what it’s been missing.

 

What they Don’t Teach in Universities 

Adeyemi started acting in university, but she’s quick to set the record straight about her path. “I didn’t start with Queen Moremi. I had already been acting for about five years before Queen Moremi came.”

 

Studying theatre arts gave her some foundation, but the real world was different. “Studying theatre arts still doesn’t prepare you for the professional stage, let alone film. In our universities, most of what is taught is renaissance theatre, the classics, the nitty-gritty from back in the day. They don’t really focus on what’s happening in the present.”

 

She had to learn the current reality on her own. “Today, we’re mostly on film sets, and even the theatre we do now is very different from what Shakespeare or Sophocles did.” The techniques change across mediums, but the discipline? That stays the same.

 

 Learning Benin, Fighting Her Mind

For Osamede, Adeyemi had to speak entirely in Benin language—something she’d never done before. Playing Adaze, the strong woman who gives birth to the film’s superhero, meant learning not just words but a whole culture.

 

“Learning any language from scratch is tough,” she explains. “You have to remember each syllable and word, form sentences that are accurate, and then still embody your character. Right now, we’re speaking English, but when you’re speaking Benin, you’re interpreting in your head what it means in English while saying it in Benin. And you must not let the audience see that thought process.”

 

The role also demanded horseback riding and stage combat. But the real fight was in her head. “The hard part wasn’t just the physical training but believing in yourself that you were chosen for a reason, that you auditioned and got picked, and you can do it. That mental battle was tough.”

 

Every day meant showing up despite the doubts. Technical skills matter, but Adeyemi learned that training one’s mind is just as important.

 

Fourteen Days That Felt Like Family

Director James Omokwe shot Osamede in just 14 days, creating an intense atmosphere that brought everyone together. “One thing the production did was to bring everyone together: from the executive producer down to the crew. Everyone gave their all. No one was asking for five-star treatment.”

 

Adeyemi was supposed to be on set for four days. She stayed all 14. “Even when I wasn’t filming, I’d leave my hotel to be on set with everyone. That’s the spirit I’m talking about; it felt like a family.”

 

Filming in Edo State wasn’t easy—”very different from Lagos,” she notes. But instead of complaining, everyone stepped up. “Everyone made up their minds that we came here to finish in 14 days, and that’s exactly what we did.”

 

The experience showed her what happens when everyone commits fully. Individual excellence becomes not just possible but expected.

 

 Two Films at Cannes

Having two films at Cannes as her cinema debut was, in her words, “fulfilling.” But it went beyond personal achievement. “I was surrounded by like-minded people, colleagues, people talking about film, performance, craft. It made me see things differently and gave me new ideas to improve myself.”

 

The global reception hit different. “People from different cultures – Asians, Blacks, and Whites – watching and appreciating your performance and your story. That takes it to another level.” After years in Nigerian theatre and television, this felt like validation that local stories could travel anywhere.

 

 Playing Strong Women in Different Languages

Adeyemi’s recent characters share something: they’re complex women who speak languages other than English while fighting for what matters to them. In House of Ga’a, she played Zainab, controversial and complicated. In Osamede, she’s Adaze, selflessly protecting cultural traditions.

 

“Both characters are very different, but one thing they have in common is speaking a different language other than English.” This isn’t coincidence. She believes cultural authenticity matters in Nigerian cinema.

 

The characters themselves show her range. “Some people might call Zainab selfish, but Adaze is selfless. They’re completely different characters.” But both, she notes, “ended on their own terms.”

 

 Nigerian Stories Going Global

When asked about films like Osamede and My Father’s Shadow reaching international audiences, Adeyemi doesn’t hesitate. “It’s about time. It’s not new, but the more we put our stories out there, the better. There are so many versions of Nigerian stories waiting to be told.”

 

She wants to expand what people think Nigerian cinema can be. “We’re saying, ‘How about a superhero from here?’ Not just Wakanda or Wonder Woman. We’re saying, ‘This is what happened during the 1993 elections, this was the build-up.’ We’re putting history out there, we’re putting fantasy out there, and making people see sides of Nigeria they didn’t know before.”

 

Why She’s Choosing Film Over Theatre

Despite her theatre background, Adeyemi now focuses on film for practical reasons. “My theatre people won’t like this, but I’d say film. That’s because, sadly, theatre takes longer to produce. With film, you’re able to become many more characters than in theatre.”

 

The math is simple: “In film, you might spend two or three weeks on set becoming one character. In theatre, you might spend a month or more just rehearsing one role before you even get to perform. In the same time, you could have acted in two films already.”

 

She’s not rejecting theatre, just being strategic. “The goal is to tell stories by bringing characters to life, and if I can do that more often through film, I’ll take that opportunity.”

 

 

Collecting Languages

Adeyemi speaks Yoruba, Pidgin, English, and now Benin. Each language opens new storytelling worlds. “As an actor, it helps to go into different worlds, and knowing the language makes it even more real.”

 

She’s actively adding more. “One of my goals this year was to learn French and Hausa.” A recent audition tested her preparation when it included Hausa lines. “After my audition, they asked if I spoke Hausa. I said no, I just practiced. That’s the beauty of it.”

 

Language learning goes beyond work. “You retain some of what you learn, and that helps in life generally.” She’s building for the long term, not just the next role.

 

 Physical Transformation as Art

Adeyemi wants physically demanding roles that push beyond typical Nollywood expectations. “I’d love physically challenging roles. In Osamede, it was horseback riding and combat. But I mean roles where you have to train to be an athlete, for example.”

 

She looks to Hollywood for inspiration. “In Hollywood, actors often talk about training and transforming for roles, and I think Nigeria should get to that point too.” For House of Ga’a, she lost five kilograms, but she wants to go further. “I’d love to go deeper, maybe lose 20kg or bulk up, given the right time and resources.”

 

This isn’t about vanity. “I’d like to have those opportunities, even if it’s not a ‘big’ project. I’m speaking that into the universe.”

 

 

 What She Wants Next

Adeyemi has specific genre goals. “I’d love to do a rom-com. I’d also love to do horror. Those are genres I’m very interested in. Casting directors, producers, directors, hear me now, I’d love to do rom-coms and horror!”

 

The choices make sense. Rom-coms would show her lighter side and commercial appeal. Horror would test her range and technical skills. Both genres need more development in Nollywood, positioning her as someone building rather than following.

 

The One Thing She’d Tell Her Younger Self

Asked what advice she’d give her younger self, Adeyemi’s answer is simple: “’You know why you chose this career. Don’t ever lose sight of that.’ That’s what I’ve held on to through the years, and I’d still tell my younger self the same thing. ‘Just keep going.’”

 

 What Comes Next

My Father’s Shadow was released in September, Osamede premieres in October. Both are her cinema debut, which seems impossible given her growing recognition. But that’s the point—she’s just getting started.

 

“Both films are my cinema debut,” she notes. Despite the Cannes premieres and international attention, she’s relatively early in what looks like a significant career.

 

The foundation is: theatre discipline, cultural fluency, physical preparation, and clear vision about her mission. For someone who learned to trust her preparation while staying open to growth, what comes next will probably be as carefully planned as everything before.

 

In an industry that often rewards shortcuts, Adeyemi’s commitment to doing the work suggests she’s building something meant to last.