Multidisciplinarity isn’t a burden, it’s a gift — Actor, Daniel Okezue
In a career that has seen him seamlessly blend comedy, drama, and poignant social commentary, Dan Okezue continues to captivate audiences across various creative fields. From his return to the stage in Butterflies III, a popular annual production, to his forthcoming lead role in the UK’s Scrilla, Okezue’s versatility as an actor is on full display. Known for his sharp comedic timing, he’s made a name for himself in the world of theatre, but his talents stretch beyond acting; he’s also a multidisciplinary creative who’s dabbled in fashion, photography, and art. His journey began in 2014, when his creative team made waves in the Fayrouz L’Original competition, and since then, he’s been a constant presence in Nigerian theatre, delivering captivating performances and pushing the boundaries of his craft.
Ahead of Scrilla’s premiere next month, he spoke with art critic, Flourish Joshua, about his artistic evolution, the challenges of balancing entertainment with meaningful social commentary, and his thoughts on the future of theatre in both Nigeria and the UK. The conversation happened over the phone and via email, spanning a week.
Flourish: You’re preparing to play DCI Mason in Scrilla, and last year, reprised your role as Ben in Butterflies III. How do you mentally and physically prepare for such distinct characters? Method acting, for instance, has been lauded and lampooned by many for reasons. Even Plato was of the opinion that actors should be banished from the Republic. How do you internalise the various roles without affecting your sense of self?
Daniel: The idea of theatre really excites me because it's one of those mediums that holds up a mirror to society, reflecting its truths, contradictions, and complexities. Each role demands a different approach, but I focus on understanding the character’s psychology rather than fully immersing myself like a Method actor. I research, find physical nuances, and build a backstory, but I always keep a clear boundary between myself and the role. It’s about stepping into their world, not losing myself in it.
Flourish: You’ve spoken about theatre as a mirror that reflects society, even through humour. How do you balance entertainment with the weight of social commentary in your performances?
Daniel: I approach each performance with the belief that entertainment and social commentary aren’t mutually exclusive; they enhance each other. Comedy, for instance, can disarm audiences, making difficult truths more accessible. The key is authenticity: staying true to the character and story while trusting the audience to engage with the deeper themes. At its best, theatre challenges audiences to think, feel, and perhaps even change.
Flourish: In a chat with our correspondent days ago, you referenced Anna Deavere Smith’s belief that everyone has literature inside of them.’ What literature, art, or personal experiences have shaped your own artistic voice?
Daniel: My artistic voice has been shaped by a mix of literature, comedy shows, and lived experiences. Writers like Chinua Achebe, Wole Soyinka, Shakespeare and Toni Morrison have influenced how I approach storytelling with depth, nuance, and a sense of responsibility. Theatre-makers like Nwando Alayande and Bolanle Austine-Peters inspire me to see performance as a means of dialogue. Beyond that, everyday encounters, conversations, moments of joy or struggle find their way into my work, making it personal yet universal.
Flourish: Your work spans theatre, photography, writing, comedy, among others. This multidisciplinary nature reminds me of Da Vinci’s embodiment of the Renaissance Man. How do you navigate the ‘artificial’ divide which we have come to see as important? Do you even see these disciplines as separate or as extensions of the same creative impulse? In your opinion, is specialisation good for the arts or causes degradation?
Daniel: I see all these disciplines as extensions of the same creative impulse, different languages expressing the same fundamental human experience. The idea of strict specialisation can be limiting; historically, artists, thinkers, and creators have always moved fluidly across disciplines. That said, mastery in any field requires deep focus, but that doesn’t mean one must be confined to a single form. For me, photography informs my theatre and influences my storytelling, it’s all interconnected. The key is to remain curious and open, allowing each medium to enrich the others rather than seeing them as isolated pursuits.
Flourish: Cicero says of actors: Histrionum more sunt: gestus eosdem habent, et vocem eandem; animi autem nihil habent, i.e., They are like actors: they have the same gestures and the same voice, but they have no soul. Of course, this view has changed radically over the centuries, especially since the 20th century. As an actor, I want to know your take on this. Do you have a soul… (bursts into laughter) ok, I mean how do we cut back on the extremities that come along with the theatre, parasocial relationships, for instance, in the present age?
Daniel: (Laughs) Well, I’d like to think I have a soul! But Cicero’s critique, while harsh, touches on something real: the tension between performance and authenticity. Theatre, by its nature, invites audiences to suspend disbelief, but in an age of constant access and social media, that suspension often bleeds into real life.
Parasocial relationships thrive on this blur, making it easy for audiences to feel an intimate connection with performers they’ve never met. The challenge is setting boundaries, both as an artist and for audiences. For actors, it means staying grounded, remembering that we step into roles, but we also step out of them. For audiences, it’s about engagement with the art itself rather than projecting personal expectations onto performers. A little mystery and distance can be healthy, it keeps the magic of theatre alive.
Flourish: Now to this, you’ve performed for diverse audiences in Nigeria and now have an upcoming UK debut in Scrilla. I am thinking about the role of structure in upholding the arts across different spheres. Have you noticed differences in how theatre is received and supported across these spaces, especially financially?
Daniel: Absolutely. The reception and support for theatre vary significantly between Nigeria and the UK, particularly in terms of financial backing and institutional structures. In the UK, there are well-established funding bodies, grants, and theatre institutions that provide a level of stability for artists. There’s also a strong culture of audience engagement, with theatre being an integral part of mainstream entertainment.
In Nigeria, the passion for theatre is undeniable, but financial and structural support can be inconsistent. A lot of productions rely on private sponsorship, personal investment, or corporate partnerships rather than public arts funding. However, the creativity and resilience of Nigerian theatre practitioners are remarkable, they find ways to make impactful work despite the challenges.
That said, both spaces share a common thread: theatre thrives when it connects with its audience, regardless of financial constraints. The key difference is in sustainability, structured support allows for long-term artistic growth, whereas a lack of it can make theatre feel more like a passion project than a viable career.
Flourish: Actors often talk about the magic of live theatre, those moments that feel electric. Can you recall a performance where something unexpected happened, and it altered the way you played the scene?
Daniel: Oh, absolutely! Live theatre is unpredictable, and that’s part of its magic. In fact, that’s part of the most beautiful things about theatre. I remember during one of the 4 shows at The Confab, 2018 where a prop, the national cake accidentally fell at the wrong scene. It was a crucial plot point, and for a split second, panic set in. But instinct kicked in, and we improvised, incorporating the fall into the scene. The other actors picked up on it, and we adapted in real time.
What struck me was how the audience leaned in even more, there was a heightened sense of presence, as if they could feel the stakes rise with us. That moment reminded me that theatre is alive; it breathes, shifts, and sometimes, the unexpected makes a scene even more powerful than what was rehearsed.
Flourish: Camus, the Absurdist pioneer, writes in the Myth of Sisyphus, "one must imagine Sisyphus happy." Tell me more about your relationship with monotony in roles that take too long. How do you infuse the banal with the comedic? Artists often use their trauma to power their art. How can the artist, especially one as multidisciplinary as you are, circumvent that issue of retraumatization when creating?
Daniel: That’s a powerful question. Monotony in long-running roles is real, but I see it as an invitation rather than a burden. No two performances are truly the same; there's always a new nuance to find, a fresh rhythm in a scene, or even a different energy from the audience. Comedy, in particular, thrives on discovery. The trick is to stay present, to find spontaneity within repetition. That’s how the banal becomes comedic, by embracing its absurdity.
As for trauma, art can be a tool for processing, but it shouldn’t consume the artist. There’s a fine line between using pain as fuel and letting it burn you out. One way to circumvent retraumatization “if there is such a word” is by establishing creative distance, approaching difficult material with craft, not just raw emotion. Another is through balance: having spaces outside of art that offer joy, grounding, and renewal. Being multidisciplinary actually helps with this; moving between mediums allows for different modes of expression, making it easier to step away when something feels too heavy. The goal is to create from a place of agency, not just wounds.
Flourish: Scrilla explores themes of love, business, and morality. Without giving too much away, what drew you to this story, and what do you hope audiences take from it?
Daniel: What drew me to Scrilla was its layered storytelling, it’s not just about money or ambition, but the moral grey areas we navigate in pursuit of success. The characters feel real, flawed, and deeply human, which makes their struggles compelling. There’s also a sharp wit to the writing, which keeps it engaging while tackling weighty themes.
I hope audiences walk away questioning their own definitions of integrity. Where do we draw the line between survival and compromise? Between love and self-interest? Scrilla doesn’t offer easy answers, but it sparks conversation, which, to me, is the mark of great theatre.
Flourish: Beyond Scrilla, what’s next for you? Any upcoming projects or artistic experiments that excite you? What is your advice to young people who, as Whitman wrote, "contain multitudes," who are bogged with various art disciplines as you are?
Daniel: Beyond Scrilla, I have a few exciting projects in the works, some in theatre, some in stand up comedy. I’m particularly exploring ways to merge my different disciplines more fluidly in the UK. But firstly, I am starting a creative hub in Bradford, and this is born out of the desire to create a platform where performing arts creatives can hone their gifts and share it with the world. The idea of breaking traditional artistic boundaries really excites me.
For young artists who "contain multitudes," my advice is: don’t rush to compartmentalize yourself. The world may push for specialisation, but creativity thrives in the intersections. Explore freely, let your disciplines inform one another, and trust that over time, a unique artistic voice will emerge. Multidisciplinarity isn’t a burden, it’s a gift. Use it.
About Daniel Okezue
Daniel Okezue is a multidisciplinary creative known for his dynamic work across theatre, photography, writing, and comedy. With a career that began in 2014, Okezue has become a prominent figure in Nigeria's creative landscape. His acting portfolio includes roles in productions such as Butterflies, LAGOSA, The Polygamist, and The CONFAB. He also recently landed a lead role in the UK stage production Scrilla. Beyond acting, Okezue has made significant strides in fashion and art, founding the creative team Creative Lights, which gained recognition in the Fayrouz L’Original fashion and art competition. Okezue is also dedicated to fostering the growth of the performing arts community and is in the process of establishing a creative hub in Bradford. Through his work, Okezue continues to explore the intersections of various art forms, bringing fresh perspectives and creativity to every project.