I had just arrived in Lagos from Ibadan, sometime in 2024, when I decided to attend a performance of Kelvinmary Ndukwe’s Pantyliners. The title struck me immediately as both symbolic and intriguing. True to Ndukwe’s signature site-specific style, the three actors in Pantyliners paid no attention to the audience, immersing themselves fully in the created fictional world. This approach is reminiscent of what Russian theatre practitioner Konstantin Stanislavski referred to as “public solitude”—the ability to act as though one is in complete privacy, even while being intently observed. It’s a fascinating concept: to exist “alone in public,” entirely absorbed in the moment.
In Pantyliners, Ndukwe presents three high-class women who come together to reconnect, share their intimate experiences, and explore the warmth of their relationships. As with many of Kelvinmary’s works, the casting was spot on with performers who embodied their characters so authentically that you might mistake them for real people if it were your first time at the theatre.
As the play unfolds, the audience is deliberately kept at a distance from the performers’ conversation. We’re not invited into their intimate exchange. Instead, we become intruders—silent observers, like flies on the wall, eavesdropping on the secret lives of these women and encroaching on their personal space. This sense of voyeurism adds a layer of discomfort, pulling the audience into the narrative in a way that feels both invasive and compelling. In Pantyliners, this technique reinforced the presence of the fourth wall, positioning the audience as outsiders — unwelcome guests. The actors’ deliberate detachment drew me deeper into the narrative, making the experience both intimate and isolating at the same time—a hallmark of Ndukwe’s mastery.
Pantyliners is an enjoyable play—until it suddenly isn’t, when the facade starts to crack, and the secrets come pouring out. The atmosphere shifts when the proverbial pants begin to fly and the breeze starts to “blow fowl nyash” (when hidden truths are revealed).

What truly drives the intensity of the experience is the audience’s emotional and physical involvement in the unfolding drama. As I observed them, I could feel the palpable tension in the air. Many were visibly uncomfortable, squirming in their seats, unsure whether to move or not, as if they might be caught in the guilt of their reactions. They pretended not to know the perverse topics the characters were discussing, but it was clear—they enjoyed it. The audience flushed with a mix of shyness and guilt, caught in the thrill of the play’s taboo subjects. It was as if they were a group of eager yet embarrassed onlookers, drawn into the rawness of the performance—an audience both complicit and conflicted.
The play was first performed in 2018 at the Lagos Theatre Festival with Kiki Omeili, Rhoda Albert, and Bunmi Sogade pulling the audience along in this secret-savage-sexy play as Adaugo, Atinuke and Titi –the characters in the play. The play returned in 2024 at Terra Kulture (Theatre on the Lawn) with Chinonso Young, Amaka Zin-Michael, and Isoken Aruede as the three friends who reconnect over wine and dirty talk.
Amidst the intriguing performances, my attention was drawn to Isoken. In her performance as Titi, she presented a layered depiction of a woman grappling with a traumatic past, a haunting present, and an undecided future. After watching the captivating play, I was compelled to have a conversation with Isoken. Her indelible performance is a testament to the performer’s dedication to her craft and ability to breathe life into characters.
Isoken is no stranger to the stage. According to Isoken, she has always been a stage kid in certain ways. She did well in school with dancing, acting, and singing. She was also a child model. Having worked closely with her as co-star (on Babatunde Lawal’s Honeycomb, a short film), I’ve witnessed the passion and commitment fueling her artistry. There’s an unmistakable drive — an unrelenting pursuit of excellence that defines her approach to the craft. A multifaceted performing artist, she is trained in the disciplines of music, dance, and acting. She professionally started acting in 2023, and she can tell she has been successfully working in alignment with God’s will.
“I experience art as a purpose-walk, and I enjoy the challenge of constantly learning and pushing boundaries as a medium to impact lives positively. As an artist, I believe I am everything everyone is and everything they are not.”
In this conversation, Isoken opens up about her journey as an actor, her inspirations, and the challenges she faced along the way. Beyond her performances, Isoken wants to use her platform to inspire others and advocate for the transformative power of the arts. Here, we explore the world of Isoken – her dreams, and the unwavering passion that drives her to redefine what it means to be an artist in today’s world.
This conversation was had in December 2024 and has been edited for length and clarity.
Okay, so Pantyliners…
This was the most challenging role of my career at the time because it required me to explore rage and anger – something that is completely far from my real-life character. Honestly, it was quite demanding to embody Titi Pereira’s emotions through the roller coaster of experiences she went through in one sitting. Titi’s journey alone took her from excitement and teasing, to happiness and drunkenness, then to anguish and vulnerability, and finally to rage and unpredictability. The complexities of the character had me praying every chance I got backstage—which would constantly happen before the show, and just before the enraged display would start. Getting to know Titi and understanding her took a lot of my energy, but it was also a journey of discovery and empathy for me. I would say it was an intense and conclusively rewarding experience.
Why did you decide to do it?
I believe Pantyliners is a profound reflection of how many relationships and friendships, unfortunately, are beyond the facade of togetherness and happiness. I decided to take on this role because I am a strong advocate for mental health fitness and high-quality relationships. This play provided the perfect avenue to be part of something impactful—something that could inspire people to see beyond the surface, think more deeply, and strive for a better sense of self-awareness, emotional intelligence, and stronger interpersonal relationships.
Rehearsal process and working with the director
The rehearsal process was quite intense, especially since I was juggling multiple projects at the time. However, working with the team was lovely. Besides sharing home-cooked meals in rehearsals, the director brought a unique blend of patience and guidance to each rehearsal, turning them into conversational-style masterclasses that instilled growth in unexpected ways. I also really enjoyed the cute sisterly bond formed with my co-actors.
How does Pantyliners compare to other Broadway shows you’ve worked on?
Okay, let’s see. First of all, Pantyliners didn’t require me to sing or dance. It also marked my debut performance at Terra Kulture’s Theater on the Lawn. I found myself right in the heart of the audience—a truly immersive experience. This meant I had to balance subtlety and truthfulness with the larger-than-life energy required for the stage. It felt like I was merging the nuances of screen acting with the grandeur of live theater, all within one sitting experience! It was a challenging but masterful balancing act.
What matters most to you in your journey as a creative artist?
My faith. Yes! It’s my faith because that’s really the whole reason for all this.
How do you navigate your faith in a secular industry, and does it influence your creative decisions?
Of course, it does. I know the type of roles I want to embody—characters and films that are impactful to me and others; roles that will make people think, ask questions, reflect, and inspire them to become better people, who in turn, inspire others. That’s why I’m not just taking roles for the sake of sheer entertainment. There have been instances where I’ve turned down roles because the character’s persona didn’t align with my purpose or didn’t serve to progress it. I have other work I do on the side, so I’m thankfully not desperate for roles. When a role doesn’t align with my purpose, I would instinctively request for things to be taken in a different direction, or I’d just recommend another actor. I approach everything with discernment—every role, every decision—and I believe that if something isn’t meant for me, it will be pulled from me.
As much as I am a woman of faith, it was a bit daunting knowing that people who are aware of this would be coming to see Pantyliners and hearing things like culturally taboo topics and curse words. As an individual, you won’t find me using curse words casually. But here’s the thing: the character I play, [Titi], didn’t use curse words casually either. She was a decent but deeply traumatized woman, and that story is the truth of so many people. When she eventually curses, it’s clear that she has reached a relatable, realistic breaking point.
I experience art as a purpose walk, and I enjoy the challenge of constantly learning and pushing boundaries as a medium to positively impact lives. As an artist, I believe I am everything everyone is and everything they are not.
What are your thoughts on awards and the idea of artists seeking validation through them?
I think that typically when a creative person starts out and is asked about their dreams and goals, many aim for fame and desire to win at the Headies, AMVCAs, or even go international to win a Grammy or an Oscar. Back then, my dream was to perform and become this huge star. But over time, what I want has changed. My focus has shifted, and evolution has become my ultimate goal. It’s no longer just about me, and while that might be hard for some to understand, this journey has become deeply spiritual for me. I realized that I’m not here simply to entertain or idolize every passion that sparks my interest. That approach wouldn’t even be sustainable because I’m a woman of many passions. I love so many things and have dabbled in so many areas…
Even relationships…
(laughs) I’ve dabbled into that too. And absolutely, I’m currently in so many beautiful, enriching relationships, and that is enough.
You know, this is my first year as an actor, and before stepping into this industry, I lived many lives and got myself involved in many other things. Over time, I’ve come to realize that I’m aligned with God’s will, and acting is what He wants me to do right now. I see myself as His representative here, using this platform for a greater purpose.
The Delectable Azeezah Sama (2024) has received several nominations and awards, and it’s truly humbling to have my work acknowledged. That recognition is nice, but for me, it’s not the defining factor. I believe the art world often thrives on external validation, and there’s always the temptation to live solely for the applause—but that’s not who I am.
I’m already fulfilled by my journey with the one who is leading, guiding, and aligning my path. So, when nominations and awards come, I see them as stepping stones toward where I’m meant to be. In essence, everything I do is part of His purpose and plan for my life.
What’s the place of discipline for you as a creative artist?
I believe that discipline shouldn’t just serve you as a creative—it should serve you as a whole person. A disciplined individual should naturally bring that discipline into every aspect of their life: as a creative, as a friend, as a lover. It’s something that transcends every role we take on.
I strive to maintain discipline in all areas of my life. It’s not just about creativity; it’s about being consistent and committed to everything I put my hands on. I hear people talk about their work and say things like, “You need to love it so much that you can’t breathe without it,” or, “You can’t imagine doing anything else.” That’s not how it is for me.
For me, this journey is about following a path that’s been ordained for me. Acting is one part of that path, but it’s not everything. Before I started acting, I was doing other things, and still manage other businesses. As someone who values discipline, I’m committed to whatever I take on, and I approach each endeavor with the same level of dedication and focus.
Influences?
I am inspired by versatile artists who are fearless in exploring and pushing the boundaries of their craft. While I haven’t delved deeply into studying the journeys of specific creatives, I draw influence from those who excel across multiple disciplines and continue to innovate with their art. Icons like Meryl Streep, Anne Hathaway, Cynthia Erivo, and Taraji P. Henson come to mind—they undoubtedly embody versatility, resilience, and a commitment to their craft.
Hopes for your career in the industry
I hope to play a role in developing the Performing Arts sector in Nigeria, contributing to its growth and evolution. I aspire to be involved in unconventional projects that are not only entertaining but also have a profound impact, challenging societal norms, and inspiring change. Ultimately, I want my name to be synonymous with excellence and value, and to be known for contributing to meaningful and high-quality work.
Inspiring. Lovely to see how hard work, perseverance, discipline and faith blend together with awesome results. Well done Isoken.
This is really a good read. I have heard and read people talk about faith with the arts profession, this sounds profound and inspiring.
My take home here is being in alignment with God’s will for one’s life and I feel every one should aim at it and be.
This is really educating. It almost felt like I could hear her speak while you asked the questions. Her every response had me nodding. I can proudly say I learnt something.