Veteran actor Kola Olaiya has criticised fellow thespian Pete Edochie over the ongoing debate about seniority in Nigeria’s acting industry, accusing him of arrogance and failing to acknowledge the contributions of earlier theatre pioneers.
Olaiya made the remarks during a recent episode of Oyinmomo TV, uploaded on Friday, amid renewed controversy following comments by Edochie and Yoruba theatre veteran Lere Paimo.
“Pete Edochie is a proud human being. I have known him for long. Pride is in his blood. That is why he cannot respect elders,” Olaiya said.
The veteran actor argued that Nigeria’s theatrical history dates back decades before Edochie became prominent, citing legendary theatre practitioner Hubert Ogunde, who began his theatrical career in 1944 after leaving the police.
“Before they gave birth to Pete Edochie, Ogunde had been acting. That is why he cannot admit that some people started before him. Ogunde started theatre in 1944, when he resigned as a police officer,” he said.
Olaiya also acknowledged the contributions of other pioneering figures, including Oyin Adejobi, Duro Ladipo and Kola Ogunmola, whom he described as part of the generation that laid the foundation for Nigeria’s modern acting industry.
“Ogunde produced a lot of movies and made records before Edochie was born. After that, people like our fathers, including Oyin Adejobi, Duro Ladipo and Kola Ogunmola, joined the industry. Where was Pete then?” he asked.
While acknowledging that Edochie might be regarded as a senior figure within his regional acting tradition, Olaiya insisted that such recognition should not automatically translate into nationwide seniority.
“I do not know if he is the first in his region and has no superior; that is fine. But in the whole of Nigeria? No,” he said.
The controversy follows Edochie’s appearance on Isbae U’s Curiosity Made Me Ask podcast, where he said he began acting in 1962 at the age of 15, including performing in William Shakespeare’s The Merchant of Venice.
The exchange has reignited discussions about how seniority should be determined in Nigeria’s entertainment industry, with questions surrounding the distinction between early theatre practitioners, regional acting traditions and the emergence of modern Nollywood.
Beyond individual claims, the debate has also drawn attention to the importance of recognising the pioneering contributions of earlier generations of Nigerian performers whose work helped shape the country’s theatrical and cinematic heritage.
