Renowned Ghanaian playwright Kobina Ansah has described the country’s theatre industry as a largely untapped goldmine, calling it a “virgin area” with enormous unrealised potential.
Speaking in an interview with Roman Fada on Entertainment Lounge yesterday, the celebrated dramatist stressed that Ghana has yet to fully harness the power and possibilities within its theatre space.
“I will call it a virgin area, we have still not tapped the full potential of it,” he stated during the discussion.
Kobina Ansah, known for his socially conscious plays and consistent contributions to contemporary Ghanaian drama, explained that while theatre in Ghana has made strides over the years, it remains underdeveloped compared to its vast creative capacity.
According to him, the foundations exist; talented actors, compelling storytellers, and a culturally rich society — yet the industry has not been fully structured or invested in to maximise its impact.
Ghana’s theatre tradition boasts a strong heritage, from concert party performances to literary giants such as Efua Sutherland and Ama Ata Aidoo, whose works laid a formidable foundation for dramatic arts in the country.
However, modern theatre practitioners continue to grapple with limited infrastructure, inconsistent funding, and insufficient policy support.
During the interview, Ansah highlighted that theatre is more than entertainment — it is a tool for education, social commentary, and national development. He suggested that when properly invested in, the sector could generate employment, promote tourism, and serve as a platform for national dialogue.
His “virgin area” remark underscores a call to action for stakeholders — from government bodies and private investors to creative artists — to recognise theatre as a viable and profitable industry.
Industry watchers believe revitalising the theatre sector would require structured funding models, improved theatre spaces, stronger collaborations with educational institutions, and strategic marketing efforts to attract wider audiences, especially the youth.
As conversations on platforms like Atinka TV’s Entertainment Lounge continue to shine a spotlight on creative arts, voices such as Kobina Ansah’s serve as a reminder that Ghana’s theatre story is far from complete. The stage is set — what remains is the collective will to explore its full potential.
