WHILE playwright and producer Kobina Ansah welcomes private sector support, he is firmly pushing back against suggestions that the government should scale back its funding for the arts.

He cautioned that decreasing public support would inevitably increase reliance on the private sector—a shift he believes comes with its own challenges.

“Theatre is expensive; I mean, incredibly expensive. While we may aim to depend less on the government, we cannot absolve it of its responsibility.

“Reducing government support means increasing dependence on the private sector. While that is possible, it may not be easy. We need a balance—a bridge between both sectors to effectively fund authentic Ghanaian storytelling,” he told Graphic Showbiz in a chat on Monday, April 13, 2026.

He also raised concerns about infrastructure, questioning whether private investors would ever look beyond the capital.

“Who is going to build a theatre in Navrongo, Sunyani or Ho?” he asked.

“No private venture will find them commercially attractive. It ultimately comes back to the government. The state must be intentional about setting the pace for the growth of Ghana’s theatre industry,” he stressed.

Addressing the 2026–2030 strategic plan recently announced by the National Theatre of Ghana, Ansah joins a growing number of industry stakeholders urging the institution to fix the basics first.

According to him, ambitious plans will yield little if underlying structural issues remain unresolved. He believes the theatre must address its internal challenges before pursuing broader goals.

“The National Theatre’s new strategic plan is a brilliant idea, especially in the times we find ourselves in. However, it needs to start from home. Many systems and structures must be put in place for the bigger vision to become a reality.”

He highlighted the lack of basic production equipment as a critical concern.

“For instance, the theatre lacks essential equipment, such as in-house lighting and sound systems. Independent producers are forced to rent every single piece of equipment to stage a production. This significantly increases production costs and makes the process overwhelming,” he explained.

Ansah stressed that addressing these fundamental gaps should be a top priority within the strategic plan.

“The plan must be intentional about starting from within. If stakeholders and producers are still complaining about inadequate resources, then it is clear the strategy risks being dead on arrival. We want to see the small things done well first,” he added.

Ansah also suggested a tactical shift in how the National Theatre approaches collaborations. Rather than chasing traditional sponsorships from banks or FMCGs, he encouraged partnerships with service providers within the theatre value chain.

“A company that provides sound or lighting equipment can be far more beneficial than one that offers a cash grant that doesn't even cover production costs," he explained.

“We need financial support, of course, but access to essential services is often more critical,” he added.

Sharing what he is currently working on, Ansah disclosed that he is developing a new musical.

“I skipped staging a play during the Easter celebrations because I am working on a new musical. I want to take my time to gather the right resources and ensure it becomes a truly memorable experience. Something big is coming,” he said.

While keeping specific details under wraps, he gave a "sneak peek" into the production’s core message.

“Leadership sets the pace for a people. It is what distinguishes prosperous nations from others. Where we are today is a reflection of leadership, and where we aspire to be will also depend on it.

“I am telling the story through football, while connecting it to leadership and patriotism. It is shaping up to be a beautiful musical—one audiences should certainly look forward to,” he shared.