Shalom Obiago: The Rising Star Bridging the Gap between Hollywood and Nollywood

Birthed with three names, one biblical, one Yoruba, one Igbo, Shalom Obiago embodies the complexity of modern African identity. Growing up in the United States with deep Nigerian roots, he navigated the delicate balance between two cultures, often feeling caught between worlds. But what once felt like a divide has become his greatest strength.

“It took time to understand that being both Nigerian and American was acceptable,” says Obiago, who has emerged as a promising bridge between Hollywood and Nollywood. His latest role as Elo in Christmas in Lagos marked a pivotal moment in his mission to blend Western and Nigerian storytelling traditions.

Culture Custodian sat with Obiago to discuss his first Nollywood role, his journey to self-discovery, and his vision for the future.

From your early acting roles to starring in one of the most talked-about Nigerian films of 2024, what has that journey been like? I’m particularly curious about the moment you learned you’d be working with Jade Osiberu.

Growing up, I didn’t feel American enough because of my name. And so that translates a little bit when it comes to acting, because sometimes when you’re acting, you know you want to find those roles that relate directly to who you are. As a black man in America, when I started acting I was getting a lot of thug roles. It’s not like I couldn’t execute it, that’s what actors do, but it was never something that I felt represented in. On the other hand, when you look at Nollywood, it’s sort of the same thing, because you have that dream to work there, but then everyone has a native local Nigerian accent, or they speak Yoruba fluently, or pidgin or Igbo. I also didn’t know that I fit in there. 

I felt the most seen as Elo in Christmas in Lagos. When I got the script, I was like wow this is amazing, and when I learned I was working with Jade, I was even more thrilled. She inspires me so much because I’ve always been invested in the Nigerian film scene from a distance. 

As a Nigerian-American actor who played a character in Lagos, how did your experience of navigating both cultures influence how you played certain scenes?

So for me, when you grow up Nigerian American, you’re afraid of not being Nigerian enough or not being American enough. That shows in a lot of ways, but in the film, one way it comes out is just in accents.

I grew up in Atlanta, Georgia. This is how I talk, you know. When it came to the role, there was a big debate on how I do things because there’s a difference between doing things for the sake of doing them and doing things right. So I want to say a cultural name correctly, but then I also want to be accurate to the story. My mom said the reason they’re booking you for this role isn’t that you can study to say everything correctly. It’s because they want a Nigerian who lived in America, and who grew up there most of his life. So that’s what I did, pronouncing these things the way I did was authentic to who I am. 

Since you live outside Nigeria, how do you plan to stay connected with Nollywood? What strategies are you using to balance international projects with Nigerian productions?

For one, it’s staying connected with people. The people that I meet and I’ve met in Nigeria from different cast members to outside of cast members and directors and producers. I consider them close friends, associates, and family, many of them. And we talk almost every day. I’m connected almost every day. Honestly, it helps me even when it comes to what I’m preparing for next.

My dream has always been to do this. I wanted to be one of the people bridging the gap. I think that there’s no reason Nigerian cinema should live within the walls of Nigeria alone when there are so many Nigerians across the world. And they are excelling at such a high level everywhere. 

What was the most emotionally challenging scene for you, and how did you connect with a character’s decisions you might not personally agree with?

Elo’s relationship with Fiyin and Yagazie is relatable. I haven’t been in that exact situation, but growing up, I could be very oblivious to things. The word is recovering people-pleaser. I’m not like that anymore, but when you’re like that, you always think you’re trying to make everyone happy. Elo’s trying to make Yagazie happy, but then Fiyin is his friend. So he wants to make her happy. But what you end up doing is being too friendly with everybody and your boundaries sort of get a bit low.

Jade Osiberu’s films often address social issues within entertaining narratives. What insight do you have about portraying modern Nigerian masculinity and vulnerability?

Honestly, I think that I was just the right amount of vulnerable. When you read the script, you see the stark difference between RMD’s character and Elo’s. 

And obviously, Elo was just way more vulnerable, and way more emotionally open, and saw more eye-to-eye with his partners. When it came to RMD’s character, it was more like I’m above you, take these gifts, come be with me, this and that. I just think it’s a beautiful thing to be vulnerable. It’s a beautiful thing to allow your emotions to flow.

What upcoming projects are you working on? How do they compare to your role in A Christmas in Lagos? Are there specific characters or stories you’re excited to explore?

I have a Nigerian production coming up, and I can’t talk about the details yet so stay tuned for that. For characters, it’s so funny to be introduced through a romantic comedy-type role because I’ve always trained for an action role.  I love to lift weights, I box, I’m very active and, you know, playing an action role where either if I’m a soldier or, some sort of mercenary. I’m built for that.

For Nigerian-American actors looking to work in both Nollywood and Hollywood, is there anything about navigating both industries you wish you had known earlier?

I wish I had known my dad was an actor earlier. Because then I would have been able to save myself a lot of confusion. Number two, I wish I had known that there was a taste and a yearning for just more representation of the diaspora, both in Hollywood and Nollywood, because I would have leaned into it more instead of being afraid to own my Nigerianness in my art as well. 

Also, I wish I had known how possible it was for me to come to Nollywood and be accepted. I spent a lot of time feeling like I was not enough. Not Nigerian enough. I was like let me first learn Igbo, let me get my accent perfect. And all of these things that I didn’t need to equip myself with. I wish I hadn’t waited so long. Now I know I can appear exactly as I am and be who I am. Be authentically representative of being a Nigerian American.