Prince Iyke: Reimagining the Theatre Artist Beyond the Stage
By Oriyomi Joseph
Nigerian Award-Winning Theatre Director, Actor and Performance Expert
Having first encountered Peterside Iyke Joseph, professionally known as Prince Iyke, as a performer in 2010, I have had the opportunity to observe his artistic development over many years. Most recently, I collaborated with him on The Custom Show earlier this year. From this vantage point, his evolution from performer to multidisciplinary theatre practitioner, choreographer, creative director and producer is particularly noteworthy.
Prince Iyke’s practice demonstrates an understanding of theatre that extends beyond the conventional stage. His work brings together dramatic performance, movement, choreography, visual presentation and live production, reflecting the increasingly fluid boundaries of contemporary Nigerian performance.
His performance as Duro in Fela and the Kalakuta Queens illustrates the theatrical foundation of his practice. The production requires performers to navigate acting, music, rhythm, physicality and ensemble movement. Prince Iyke’s participation demonstrates his capacity to use physical presence as an extension of dramatic characterisation, rather than relying solely on dialogue.
His progression into choreographic leadership became particularly evident in 2023, when he collaborated with Drtonez, curator, music and artistic director, on Zedfest, serving as Director of Choreography. This represented a significant shift from interpreting an artistic vision to helping construct one. His responsibility involved using movement, spatial arrangement and timing to contribute to the overall visual and performance language of the festival.
Prince Iyke subsequently extended this approach into a different creative environment through the Fashion and Auto Runway Show, a collaboration between Ngolomgolon Couture and Mercedes-Benz. As curator and creative director, he brought theatrical principles of movement, sequencing, staging and visual composition into fashion and automotive presentation. The project demonstrated his ability to translate performance knowledge across disciplines while maintaining a coherent artistic vision.
Most recently, I collaborated with Prince Iyke on The Custom Show earlier this year, which provided another perspective on his development. Working with him in a production environment revealed an artist increasingly concerned with the broader construction of a creative experience, rather than limiting himself to performance alone. His involvement as a producer further demonstrates the expansion of his artistic responsibilities.
What has remained consistent in observing Prince Iyke’s work over the years is his relationship with performance. Whether acting, choreographing, directing or producing, he demonstrates an instinct for movement, staging and audience engagement. His multidisciplinary practice is therefore not simply a collection of different roles. The disciplines are connected by a common understanding of performance.
This progression is significant within contemporary Nigerian theatre. As theatre increasingly intersects with music, fashion, festivals and other forms of live entertainment, practitioners with the ability to move between disciplines are helping to expand the possibilities of performance.
Prince Iyke represents this emerging direction. From the performer I encountered in 2010 to the multidisciplinary creative practitioner I worked alongside more recently, his development reflects a clear movement from performing within creative visions to increasingly helping shape them.
That trajectory makes Prince Iyke a compelling figure within Nigeria’s evolving theatre and performance landscape, and an artist whose continued development deserves attention.
Oriyomi Joseph
Nigerian Award-Winning Theatre Director, Actor and Performance Expert
