Veteran Nollywood actor Kehinde Olasehinde, widely recognized by his stage name Pa James, has detailed the profound impact of the long-running television series Papa Ajasco and Company on his career and financial life. In an interview with Lucky Udu, Olasehinde credited the show, produced by Wale Adenuga, with significantly elevating his public profile and economic stability, enabling him to purchase his first car.
Olasehinde, a staple of Nigerian television through his role in the comedic series, stated that his earnings from the production surpassed those from his earlier work in Yoruba-language films. He explained that his compensation per episode has increased substantially over the years, from N2,500 during the show’s early, prolific period to N45,000 in recent times, with typical shoots comprising around ten episodes. Despite the higher per-episode rate, he noted a marked decline in production frequency.
“I still work with Wale Adenuga. He has been good to me,” Olasehinde remarked, acknowledging the producer’s sustained support. However, he described a fundamental shift in the production schedule. “Back then, we worked consistently, but now we may shoot a few episodes and not be called again for up to two years,” he said. This irregular Income flow has necessitated that actors seek additional revenue streams. “These days, you need a side hustle to survive,” he added.
A significant professional constraint he faces is the trademarking of his iconic character name. Olasehinde confirmed he is contractually prohibited from using “Pa James” in other film projects, limiting his opportunities within the broader Nollywood film sector, though he can still act under his legal name.
The actor’s experience reflects evolving dynamics within Nigeria’s entertainment industry. While Papa Ajasco and Company remains a culturally significant series with a loyal audience, its sporadic production cycles highlight the challenges many actors face in securing steady employment. Olasehinde’s narrative underscores the transition from a era of consistent television production to one where even established talents must diversify their income. His account provides a window into the economic realities for performers in a competitive and sometimes unpredictable market, where a single defining role can shape a lifetime of work, but may not guarantee continuous employment.
