Addis Ababa’s theatre scene is stirring with change. The City Administration is reimagining its state-operated theatre houses, a move that has sparked a mix of curiosity, apprehension, and silence within the artistic community. At the heart of this transformation is the Hager Fikir Theatre, the storied epicenter of Ethiopian artistic expression.
Reopened recently after a facelift, Hager Fikir remains a beacon for staging musical dramas, ethnographic performances, and cultural showcases from Ethiopia’s diverse ethnic groups. Previously managed under the Addis Ababa City Administration’s Culture and Tourism Bureau, the city’s four iconic theatres—Hager Fikir, Ras, the Addis Ababa Theatrical and Cultural Center, and the Children and Youth Theatre—have now been reorganized under a new public enterprise: The Addis Ababa Administration’s Theatre Houses Enterprise.
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The enterprise’s General Manager, Bareke Tadesse, outlined the reform’s threefold objectives: profitability, inclusivity, and modernization.
“These theatres, which had relative autonomy under the city’s cultural bureau, have yet to become profitable,” Bareke explained. “We need to stimulate demand for theatre. When there’s demand, profit will follow. This isn’t just about monetary gain. The reform offers long-term, generational benefits.”
Asked how profitability will be achieved, Bareke emphasized the importance of diversifying and elevating productions while expanding audiences. “With fully equipped halls, modern facilities, and seed funding, what would stop us from becoming profitable?” he asked.
Yet, not everyone shares this optimism. Tesfu Berhane, a famous actor, supports the goals of inclusivity and modernization but challenges the profit-driven approach.
“Hager Fikir, like its counterparts, cannot be expected to generate profits given the realities surrounding its operations. Like our name, our duties should continue to be focused on productions that promote national unity and understanding between and among cultures in Ethiopia,” he argued. “We will think creatively about the generation, about health, and development. This is not the time for us to think about making profits.”
Teshale Worku, a long-serving actor and director, echoed Tesfu’s concerns. He highlighted the stiff competition from digital platforms such as TikTok and DSTV, which dominate monetized entertainment. “Our mission should remain tied to producing plays and performances that celebrate Ethiopian identity and heritage,” he said.
A Legacy of Resistance and Resilience
Hager Fikir Theatre is more than just a performance venue; it is a symbol of Ethiopian resilience. Founded in 1935 as Ye Hager Fikir Mehaber, the theatre emerged as a unifying force amid the looming threat of Italian invasion. Its first performance—a rousing outdoor recital of traditional songs and poems known as Fukera and Shelela—took place at the Menelik Square, attended by notable figures such as YoftaheNigusse, a pioneer of Ethiopian drama.
When Addis Ababa fell to Italian forces, Hager Fikir went underground, clandestinely staging plays, music, and dances to sustain the morale of the Ethiopian resistance. Despite relentless efforts by the occupying forces to suppress the group through imprisonment and executions, the theatre became a vital tool in preserving national pride and unity.
Since 1941, when Ethiopia liberated itself from the grips of fascist Italy, Hager Fikir Theatre has thrived as a cultural cornerstone. From traditional Ethiopian productions to adaptations of international classics by William Shakespeare, Friedrich Schiller, Henrik Ibsen, and Molière, the theatre has long served as a nexus for both entertainment and education.
Now, as part of an ambitious reform effort, the city’s four historic theatre houses have been merged under a unified administration. The restructuring aims to modernize operations while maintaining the unique identities of each venue.
Towards Inclusivity
Leading the charge, Bareke, a doctoral candidate tasked with work to realize ‘a vision’ to harmonize modernization and inclusivity, has pledged to preserve the distinct character of each theatre: Hager Fikir for its ethnographic dramas, Ras Theatre as a training ground for aspiring artists, the Addis Ababa Theatre and Cultural Center for its thematic musical and dramatic productions, and the Children and Youth Theatre as a nurturing space for the nation’s youngest audiences.
“Inclusivity,” Bareke emphasized, “is a cornerstone of this reform. Ethiopian theatre must represent the diverse languages, customs, and traditions of the nation.” He pointed to a parliamentary motion advocating for five working languages—Afan Oromo, Tigrigna, Somali, Afar, and Amharic—and announced that Afan Oromo would be the first addition to the theatre’s operations.
The initiative also includes plans to double the workforce across the theatre houses, expanding from 400 to approximately 800 professionals. For every Amharic-speaking director, artist or unit, there will be a corresponding Afan Oromo counterpart. Hiring, Bareke said, will be merit-based, focusing on linguistic proficiency, education, and artistic talent.
The move toward inclusivity has garnered support from prominent voices in the artistic community. Veteran actors like Tesfu and Teshale support these inclusivity efforts.
“This is long overdue,” Tesfu remarked. “Incorporating Ethiopian languages into our theatre houses aligns with Hager Fikir’s founding principles of unity and cultural cohesion.”
Teshale, a sociologist, concurred with this sentiment, emphasizing the interconnectedness of theatre, community, and culture. “Theatre reflects community, economy, and culture. Our diversity is our strength, and more languages on stage mean greater value for our society.”
“The incorporation of more languages into our artistic operations and onto the stages of our theatre houses should not be regarded as a threat; it is rather something that needs to be embraced as a positive development. More languages on stage means more value. Therefore, I see this as a positive development,” he said.
However, both Tesfu and Teshale expressed concerns about the lack of preparation for the transition. They highlighted gaps in communication and training for artists navigating the new structure.
Challenges and Criticisms
The implementation of the reform has faced criticism for its speed and opacity. Artists and staff have voiced frustrations about insufficient orientation and the elimination of essential budgets for artistic production.
“There’s a lack of clarity about what this reform entails,” said Teshale, who has brought numerous educational and developmental plays to the stage since 1994. He says the rushed nature of the changes has left many uncertain about the future.
A veteran artist, speaking anonymously, described the process as “rushed and hushed.” He noted that the lack of transparency has fuelled rumors and unease among those working in the theatre houses.
