Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features actor and filmmaker, Iretiola Doyle.
When we think about Nollywood personalities who, through their on-screen characters, have forged the image of the strong, audacious, ambitious and accomplished woman, Iretiola Doyle comes to mind. In a career spanning two decades in the entertainment industry, her credits exist in film, television, theatre, and print—with the quinquagenarian considered a force in the relatively modern history of the Nigerian film industry. One of her most memorable characters is Caro, the last wife of Chief Fuji, in the Amaka Igwe sitcom series Fuji House of Commotion which was popular in the 90s and early 2000s.
Doyle’s past interviews reveal a striking composure and communicative ease —a gift of her lived experiences. Musing over her private life in a 2023 conversation with Nigerian media personality Chude Jideonwo on his show With Chude, Doyle said, “My life is not an animation, and I cannot sacrifice my life at the altar of your imagination of fantasy.”
Born in Lagos, Doyle was nurtured by a mother who instilled in her a healthy, independent, and curious mindset. She had her early childhood education in Boston, the United States, after which she returned to Nigeria where she attended Christ’s School, Ado-Ekiti and Apostolic Church Grammar School, Ikosi, Lagos. Then, she proceeded to the University of Jos where she bagged a Diploma in Mass Communication and a Bachelor of Arts in Theatre Arts.
In her career as a TV presenter, Doyle anchored elite shows such as Morning Ride, Today On STV, and Nimasa This Week on Channels TV at different times. She also curated and hosted her own fashion and lifestyle show titled Oge With Iretiola for a decade.
Doyle is an avid reader, keen writer, and social commentator who has channeled her thoughts through popular columns such as Shooting Breeze in City People and Tiola’s Take in the Saturday Vanguard. She also has some screenplays to her credits, including the legendary Amaka Igwe’s Tempest (Season 1).
In 1998, Doyle received a nomination in the Best Actress category at the Reel Awards for her role in All About Ere. In 2007 and 2009 respectively, she was nominated by Africa Movie Academy Awards (AMAA) for her roles in Sitanda and Across The Niger. She emerged as Best Actress in a Lead Role at the GIAMA Awards in Houston, Texas in 2013, and Best Actress in a Lead Role at the 2014 Nollywood Movie Awards for her depiction of the character of Ovo in Torn, a psychological thriller film. In 2016, she received another AMAA nomination as Best Actress In a Leading Role category for her depiction of Dr. Elizabeth in EbonyLife’s 2015 film, Fifty.
A little more digging into Doyle’s filmography in the current New Nigerian cinema era reveals her sterling embodiment of the characters of Obianuju Onwuka in The Wedding Party 1 & 2, Sheila Ade-Williams in the iconic television series Tinsel, Dr Elizabeth in EbonyLife’s Fifty, Mrs. Maduka in the Merry Men franchise, and Ulan in the recently released Prime Video film, Katangari Goes To Town.
This interview with Iretiola Doyle has been edited for clarity.
For over two decades, you have built a legacy as a formidable force in the Nigerian film and television industry. What is the secret to your longevity?
First, let me acknowledge that there is an unknown quality called “grace”. Just as the Bible says, the race is not to the fastest nor the swiftest. Having talent will get you into the room, but it is not enough. Certain characteristics will make anyone stand out: dedication to your craft; dedication to self-improvement; being a great team player; and being diligent in whatever assignment is placed before you, whether big or small. I think that’s the formula for me.
You seem to possess a sense of matriarchal authority and often portray characters that come off as tough and difficult to deal with. Concerns about certain actors being repetitively used in similar roles across different productions. But for you, it’s worth wondering if these patterns have anything to do with your distinctive style or attributes as an actor.
I am an actor for hire. It’s not a bad thing to have a niche and be known for something, but I do possess the ability to be hard and soft. It just turns out that many of the characters I’ve been offered in my career are strong females. Another element that may not be so obvious: that this industry is a business and a volatile one at that. The person investing in this business will do everything possible to turn in profits. You also forget that these actors people say are always used come with not just years of experience but have built a cult following. That is a large part of what producers are banking on. You’ll hear people say things like If RMD or Ireti Doyle is in a film, they will watch it. RMD comes with many years of experience and worth, and you will not blame a particular producer for casting him. But then, if a Kemi Adetiba or Jade Osiberu does a production and every cast member is unknown, it will not be much of a problem. Some popular producers are willing to cast unknown faces in productions, and I am one of them.
Can you recall your first-ever Nollywood gig and how you approached it?
My first acting role was in a film called Sakobi: The Snake Girl by Zeb Ejiro. I was gunning for the lead. He called me several times to come and audition for the role in his office at Ogulana Drive at the time. It was in the 1990s when Zeb Ejiro was one of the most famous producers around. Getting a role in his production gave me a chance to “blow” as an actor, and I was excited about that. He had a female staff member who was my senior at the University of Jos. One day, after weeks of back-and-forth auditions, she called me to the side and told me I wouldn’t get the lead role. She said it wasn’t because I wasn’t good enough but because there was a pecking order. True to her word, I wasn’t given the lead role; but I got a role in a scene that was one of the most unforgettable ones in the production.
One of your most iconic career roles, which is my earliest memory of you, is your character in the popular TV sitcom series, Fuji House of Commotion. How exactly did that production shape your acting career?
At first, I didn’t want to be a part of Fuji House of Commotion. I was being an artistic snob. Prior to being on the set of the sitcom, the late great Amaka Igwe had produced a very posh show called Solitaire where she cast me as a corporate lawyer alongside RMD. It was a classy soap similar to the famous Checkmate, also created by Amaka Igwe. I think it was a month after the shooting that she called me to her office and told me she had created a character for me in Fuji House of Commotion. She was like a mentor to me at the time as we were quite close, so she saw my reactions were negative. I had a conversation with her regarding her casting me in that show because I felt the acting and writing were not classy. She made me understand that unless I was one-dimensional and limited as a performer, I must be able to play all roles, whether posh or razz. That touched my ego, and I was like bring it on. I enjoyed myself on that show. The show expanded my fan base and allowed me to access a different aspect of myself as a performing artist and person.
In a 2023 interview with Arise TV, you described Dr. Elizabeth the gynecologist in Fifty as the most challenging role you have ever played. I reckon that even though you have taken on more Nollywood characters since then, that role and the wider narrative would still appeal to you because they speak to the struggles and identity crises associated with femininity. What efforts of yours went into playing that character?
I thoroughly enjoyed playing that role. It wasn’t physically taxing. It was a soft set and you can’t compare that to 1929 or Sitanda, or all these epic films that are physically grueling because of being shot under harsh conditions. I think the challenge about Fifty was more mental than any other thing. Dr.Elizabeth was a beautifully crafted, multidimensional, sexy, and intelligent character. For any discerning person, considering the scale of the production EbonyLife’s film, you could tell that the stakes were very high. The crew came from abroad, so it wasn’t the kind of production you would want to mess up regarding professionalism and interpersonal relationships. It was a project that could make or break you. It was an ambitious project at the time because before then, nobody had portrayed the older Nigerian woman the way Fifty did. Before that film, everyone just assumed that once you reached 50 as a Nigerian woman, your life was over. But the film proved otherwise, that life began at 50. I thoroughly enjoyed myself in that production.
Have you ever had a terrible experience that made you consider quitting the industry? If so, what was that?
The only time I ever considered quitting Nollywood was in the beginning, only two years after I had joined the industry. I came into the industry with a lot of arrogance and thought of getting a few waka pass roles before blowing up. I had set timelines for when I expected certain things to happen. Two years later, I hadn’t achieved those things I had hoped to, and I started feeling like I was in the wrong industry. On a particular day, I woke up frustrated and, full of tears, went to see Amaka Igwe. She gave me a nugget of advice which calmed me down. If you ask if experiences have caused me to reconsider how I operated in the industry, I would say absolutely.
You had your early education in the United States before returning to Nigeria for secondary education. How did these formative years contribute to your personality today?
Are we not a tapestry of our entire existence? My mum was very particular about how I was raised. She exposed me very early in life to books, reading, and outings that could fire a young person’s imagination. I used to be an avid reader but I no longer read as much due to being in Nigeria. My mum invested a lot of money to make sure I was educated in a very good school. And you know that once your foundation is solid, you will ultimately find your way unless you are extremely unlucky. She ensured that my mind was open and equipped me with the mindset that I was enough no matter what happened around me. That made me very curious in my formative years. She also raised me to be independent. At age 9, I was in boarding school in Boston. Through her, I could strike the right balance between being humble and being independent.
You said it’s difficult reading in Nigeria. Why so?
My life in Nigeria got really busy. I have to act on Tinsel every day and appear on other sets. So you have all these voices in your head, plus I am still a Nigerian living in the country and dealing with Nigerian issues. I have children who are pursuing their dreams and I must help them birth those dreams. I also have obligations to other people. Whatever little time I have left, I want to go into my closet, put off the lights, and rest. Secondly, because I am pivoting from being a performing artist to being a producer, I am careful about the things I read to avoid copyright issues. I stay off other people’s works to avoid being influenced and being able to come up with original ideas. Now I am more into self-improvement books, particularly ones on finance.
How do you optimize your time outside work hours?
I like to do light exercises. My social circle is very small and tight. Sometimes, we gather in someone’s house, and I enjoy spending time in that intimate circle. I enjoy spending time with my kids although they are grownups.
Lately, you have been venturing into film production. Can you enlighten me on your projects in this regard?
I produced a 13-part Africa Magic Original series, The Hidden two years ago.I produced my first feature film, last year. We are currently in post-production.
If you had the chance to solve a persisting Nollywood problem, what would that be?
I would set up laws protecting the rights of cast and crew, in the industry.
