In 2016, Sola Sobowale, one of Nollywood’s veteran actors renowned for her intergenerational appeal, returned to the Nigerian film industry after nearly two decades away. The film that triggered her career renaissance was Kemi Adetiba’s Wedding Party. Adetiba’s Kings of Boys, which was released on Netflix two years after Wedding Party, further strengthened Sobowale’s return to the Nollywood screen.
Between 2019 to 2020, Nse Ikpe-Etim, backed by Taiwo Adeyemi, her talent manager, made a steady comeback to Nollywood after an understandable 5-year hiatus. Unlike Sobowale who quickly gained cultural and mainstream acceptance with Wedding Party and King of Boys, Ikpe-Etim had to slowly rise to the surface with films like Kayode Kasum’s Quam’s Money, Adetiba’s King of Boys: The Return of the Kings, and Yemi Morafa and Fiyin Gambo’s The Wait, making her one of Nollywood’s highest grossing actresses in 2020. In 2023, Chidi Mokeme returned to industry prominence with Dimeji Ajibola’s Shanty Town after a short hiatus to treat a health-related issue. Mokeme’s performance as Scar earned him an African Magic Viewers Choice Award (AMVCA) nomination which Tobi Bakre eventually won. Now making a comeback is Bukky Wright with Akay Mason’s Red Circle. Against the backdrop of the Red Circle’s team’s relentless and engaging marketing, will the film revive Wright’s paused acting career?
Actors temporarily quit for various reasons. For some actors, like Sobowale and Wright, stepping away from the industry was a choice driven by familial obligations, an effort to be present for their children. For Mokeme, it was a necessary pause to focus on treating Bell’s Palsy. For Ikpe-Etim, it stemmed from her fertility struggles. These hiatuses, spanning personal, professional, and creative reasons, often reflect a deeper search for balance after years in the spotlight, navigating critical and commercial success. Veteran actress, Bukky Wright, renowned for her roles in Nollywood classics like Chico Ejiro’s Outlast, Tunde Kelani’s Saworoide and Abeni, Omotara Johnson, and Agbeke amongst other projects, is now set to make a comeback to the big screen in Rixel Studio‘s upcoming project, Red Circle. But, how will this play out?
When the Red Circle team unveiled its cast, industry players and audiences alike unanimously recognized Bukky Wright’s return as a comeback. Print and digital media publications, as well as social media platforms gracefully carried the announcement with virtuoso skills and precision. The comeback announcement was further amplified by the Red Circle’s team reflecting on the significance of having the veteran join their project. Producer and Cinematographer Nora Awolowo, alongside producer and writer Abdul Tijani-Ahmed, eagerly shared their excitement about working with an actor they grew up watching.
But how will this play into cementing Wright’s place once again in the minds of producers, casting directors, directors, critics, and the general audience?
Nigerian screenwriter Olanna is certain that Red Circle will propel Wright back into the mainstream simply by virtue of her involvement. However, whether this reintroduction translates into a lasting spotlight or a fleeting moment depends on several key factors.
Reflecting on Sobowale’s resurgence, Olanna suggests that Wedding Party was pivotal to establishing the mainstream appeal that the veteran enjoyed with King of Boys. Olanna asserts that the factor responsible for Sobowale, Mokeme, and Ikpe-Etim’s career revival lies in the intensity of their villainous characters and their ability to fully embody well-crafted roles. These elements earned these veteran actors the approval and attention of audiences and critics. “I think the intensity of these characters, and the ability of these two persons to carry that intensity through, played a role in their reception by the audience.”
For Wright, Olanna proclaims that the formula for revival is clear: if she is given a compelling script with enough screen time to deliver a commanding performance, a career resurgence is possible. Joseph Benjamin’s lukewarm resurgence and performance in Finding Me and Baby Farm is a telling example. Another recent example is Chioma Akpotha’s dominant performance as a supporting character in Jade Osiberu’s Gangs of Lagos and recently, as lead female actress in Seven Doors which got the returning veteran the 2025 AMVCA award for Best Lead Actress. “I believe this could be her career revival. This could be aided by good writing, dialogue, and her performance, which would be a much more desirable setup, than having to carry the character through her sheer talent.”
Talent Manager and co-founder of Guguru Media Mautin “Mr. M” Tairu, asserts that the stellar PR and marketing done by the Red Circle’s has already reintroduced the veteran actress to the mainstream. This, Mr. M says, was done by initiating and driving conversations around what it took to convince the veteran to be a part of the film. “The real icing on the cake is when the film comes out and she plays an unforgettable villain. If she plays a villainous character, it will go a long way into reintroducing her character.” Echoing Olanna’s stance, Mr M also asserts that Mokeme and Sobowale’s reintroduction was easier due to their villainous character and memorable performances. An additional factor is the accessibility of these projects to the general audiences. If these factors are in place, the talent manager believes that Wright’s career will witness a new surge.
It isn’t certain if Red Circle has these elements yet. The film’s trailer reveals little about Wright’s character and role in the film. Thus, whether Red Circle and Bukky Wright’s performance have these elements isn’t specific. “Bukky Wright had a successful career in the Old Nollywood years, with solid performances in movies like Saworoide, and gave decent performances in more recent productions like Seyi Babatope’s When Love Happens, albeit in a smaller role, but just as with footballers, I believe form may be temporary, but class is permanent, and Bukky has always been class. So, she does have it in her to pull off a solid performance. Like I often say for actors, even if they say the movie is poor, make sure you give a performance so good, it gets an honorary mention,” Olanna says.
As Adeyemi’s post suggests, a career resurgence takes strategic thinking, meetings, and ideation. It isn’t wishful thinking that miraculously happens. It isn’t just about the films they star in again but the behind-the-scenes work of a talent manager who invests thoughts, time, and energy. In recent times, Red Circle’s marketing and publicity efforts have been swerving away from Wright. This tonal shift might result in potentially diminishing the visibility of her return. The promotional focus now centers largely on her co-stars, gradually sidelining her in the conversation. With this recent development, the buzz and organic conversation that the film could generate for the veteran actress is getting cold, reducing the chances of meaningful audience engagement. Thus, the possibility of monumental organic conversations that contribute to a definitive and successful comeback is getting lesser too.
Actors should occasionally step away from the spotlight, allowing audiences time to miss them, this sets the stage for a statement-making comeback. Mr. M, subtly reiterating some of what Adeyemi did in reviving Ikpe-Etim’s career, suggested that there should be a solid PR strategy and well-laid plans around it. A comeback should be grand, marked by a project that reinforces an actor’s legacy rather than one that diminishes the significance of their time away. He also mentions that for veteran actors making a comeback, money shouldn’t be the priority. Rather, the priority should be making a bold statement by carefully selecting projects that will elevate their craft and employing creative PR strategies that ensure a memorable reentry into the industry. “A major comeback is much more about how solid the project is and how memorable the performance is. For Bukky Wright, people are already talking about missing her and reminiscing about her role in Omotara Johnson. So, if she plays a villain, it will play a role in further reintroducing her.”
Olanna opines that breaking back into the mainstream is hinged on grace. The writer doesn’t believe there are laid down procedures, especially in Nigeria where things don’t follow a direct line. However, she believes that getting the right project, putting in brilliant performances, and playing a memorable character will go a long way in ensuring a career renaissance. Referencing actors like Emeka Ike (with Steve Sodiya’s Malaika) and Charles Okafor (with Mason and Adebayo Tijani’s Ada Omo Daddy) still in the process of career resurgence, Olanna mentions how tedious it is to get mainstream appeal without certain elements. “Ultimately, getting the right project, a challenging character, delivering on that character, are some of the ways one can get that mainstream appeal.”
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