Veteran Nigerian actor Abiodun Ayoyinka, famed for his role as Papa Ajasco, has disclosed that legal restrictions tied to the iconic character have hindered his ability to secure work outside the long-running comedy series. The actor revealed in an interview with Lucky Udu that the trademark for the Papa Ajasco persona is owned by Wale Adenuga’s production company, effectively preventing him from leveraging the character’s popularity for personal commercial ventures.
According to Ayoyinka, the registration of the Papa Ajasco name and costume by Wale Adenuga Productions means he cannot use the identity without explicit permission. This has barred him from appearing in advertisements or brand endorsements where sponsors specifically request the famous persona. “I don’t have the right. I can’t use the name Papa Ajasco unless I go and take permission. I can’t even use the costume,” he stated.
The actor explained that his strong public association with the character creates a dual challenge. Not only is he restricted from using Papa Ajasco for profit, but the very fame of the role also makes it difficult for him to be booked for projects as himself. “Because that character is very strong, they want to see me as Papa, dress like Papa, look like Papa. It is always difficult for me to do it,” he said.
Ayoyinka, who previously worked with the Lagos State Government’s Ministry of Tourism, Arts and Culture before retiring approximately five years ago, described ongoing financial and professional hardships. “Things have never been okay for years now… I’m always thinking every day. Look at my home—I don’t have my own house. I don’t have a car,” he admitted.
Papa Ajasco & Company, created by Wale Adenuga Productions, is one of Nigeria’s most beloved and enduring television comedies, with Ayoyinka’s portrayal central to its success for decades. His comments highlight a common industry tension where actors’ most famous roles are legally controlled by production entities, potentially limiting their long-term earning power and career flexibility beyond the original franchise. The situation underscores the complex intersection of intellectual property rights and performers’ livelihoods in Nigeria’s entertainment sector.
