Chabod Oyejide began his acting journey on stage during his time at the University of Ibadan (UI). Now, as he prepares to lead Tarahh Studios’ upcoming theatre production, Dear Dearest Michelle, the actor is looking forward to returning to the medium that shaped his early career.
In an exclusive interview with The Nollywood Reporter (TNR), Oyejide says he is excited to work on a production that gives actors room to explore their characters and share the stage with other performers.
“Not only am I happy to return to the stage, I’m also happy to share the stage with super talented actors. Oh, what joy!” he says.
Securing the role began with an audition invitation. Oyejide recalls that he was on set when he was asked to submit an audition tape. He found time to record the monologue, and the process led to his casting.
“Reading the script, I realised it was definitely something I wanted to be a part of, and here we are!”
With the production scheduled for February 2027, Oyejide sees the time before opening night as both a blessing and a potential challenge. While a distant date can create the impression that there is plenty of time, he knows how quickly the weeks can pass.
For him, however, the extended preparation period offers an important advantage, particularly in theatre, where character development depends on sustained rehearsal and close attention to detail.
“It helps for character growth as it gives the opportunity to go deeper into the study of the character till one begins to breathe the character. With that much time, I get to understand the psychology behind the character’s choices, work on the mannerisms, physicality and even voice,” he says.
Getting Into Benedict’s Character
In Dear Dearest Michelle, Oyejide plays Benedict, a man whose relationships with approximately 17 women form a central part of the story. His troubled relationship with Michelle is complicated by the 16 women who came before her, giving the character a history that audiences will gradually come to understand.
Oyejide is careful not to disclose too much about the plot, preferring to let viewers discover Benedict as the story unfolds.
“Without giving too much away, I’d just say that I am interested in allowing the audience to discover him gradually through the story,” he says.
The role also offers Oyejide an opportunity to demonstrate his versatility. He wants audiences to look beyond their familiarity with him and become absorbed in the character he portrays.
“I honestly don’t want the audience seeing Chabod, I want them seeing Benedict.”
He hopes viewers will notice the smaller choices that bring Benedict to life, including his speech, mannerisms and interactions with other characters.
During a recent rehearsal, his director remarked that he could still see some of Oyejide in the character. The actor says the observation stayed with him, reminding him of the work still required to make Benedict feel distinct from himself.
“Chabod has to disappear into Benedict completely,” he says. “I hope the audience gets to notice that. I want them to leave thinking, ‘I didn’t know he could do that.’”
What the Stage Offers an Actor
For Oyejide, returning to theatre is also an opportunity to reconnect with the particular demands of live performance. He considers the stage a powerful storytelling medium because performers and audiences share the same space at the same time, making each performance an experience that cannot be repeated exactly.
One of the aspects he finds most compelling is the absence of a second take. Unlike film, theatre does not allow an actor to pause, rewind or cut a scene and begin again. Every performance unfolds in real time, requiring concentration and the ability to respond in the moment.
Film, by contrast, offers the opportunity to repeat scenes, use close-ups to capture subtle expressions and manipulate time through editing. Oyejide does not consider either medium superior to the other. Instead, he believes each has taught him something valuable about acting.
“Film has taught me a lot about how to be subtle and not over expressive or too loud in cases that don’t warrant it. Whilst stage teaches spontaneity, discipline and connection with your audience with a little bit of exaggerated expressions,” he explains.
He sees the two forms as complementary. The restraint he has learnt through film can inform his stage performances, while theatre encourages him to remain responsive and connected to the audience in front of him.
Finding the right balance is particularly important in a production such as Dear Dearest Michelle, which combines different historical influences in its presentation.
The play’s dialogue reflects present-day Nigeria, while its costumes and set design draw inspiration from 20th-century Nigeria. The production also draws on personal memoirs and stage drama, bringing different elements together in its approach to storytelling.
As he prepares for the production, Oyejide is focused on the work required to inhabit Benedict convincingly and give audiences a performance that feels distinct from his previous roles.
Scheduled to debut in Ibadan on February 13, 2027, Dear Dearest Michelle marks another stage in the actor’s career, bringing him back to live performance with a character he hopes will challenge audience expectations and demonstrate his range.
