Long before streaming and short videos reshaped viewing habits, one programme held a firm place in Nigerian living rooms. Papa Ajasco and Company created by Wale Adenuga, first as a comic book in the 1970s before being adapted to celluloid film in 1984. The character brought to television screens in 1996 arrived with a simple formula and a sharp instinct for social commentary. It turned everyday frustrations into humour, using exaggerated characters to reflect familiar realities.
At the heart of the show was a tightly drawn cast. Papa Ajasco, the impulsive and often clueless patriarch. Mama Ajasco, patient yet firm. Bobo, the mischievous son. Boy Alinco, the smooth talking opportunist. Miss Pepeiye, calculating and self serving. Pa James and Pa Jimoh, comic figures of endless schemes.
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Together, they created a world that was chaotic, recognisable, and enduring.
The character of Papa Ajasco stood at the centre of that world. Bald headed, dramatic, and prone to collapsing in disbelief, he became one of the most recognisable figures in Nigerian television. But the role itself tells a deeper story. It is not the story of one actor, but three distinct performances.
Peter Fatomilola, the first interpretation
Before the sitcom, the character appeared in an earlier film adaptation, where Peter Fatomilola became the first to bring Papa Ajasco to life. A trained dramatist, poet, and Ifa priest, Fatomilola’s roots were firmly grounded in theatre.
Born in Ekiti State, he joined the Olokun Theatre group in 1967 under the mentorship of Ola Rotimi at what is now Obafemi Awolowo University. His academic and artistic training shaped a career that blended performance with scholarship.
Fatomilola’s portrayal carried the weight of stage tradition. It was less about exaggerated television comedy and more about character construction, drawing from Yoruba performance culture. His role in the original film laid the conceptual foundation for what Papa Ajasco would later become.
Beyond this, he built a wide body of work in Nigerian cinema, including appearances in films such as Sango, and became known for playing priestly roles in Yoruba productions
Abiodun Ayoyinka, the defining face
Abiodun Ayoyinka defined the character when the series began in 1996 under the direction of Adenuga. With a background in theatre arts and experience at the Lagos State Council for Arts and Culture, Ayoyinka approached the role with a strong sense of physical performance.
His decision to shave his head for the character was more than cosmetic. It became the visual identity of Papa Ajasco. His expressive reactions, sharp timing, and exaggerated collapse scenes quickly set the tone for the show.
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Ayoyinka’s entry into the role followed a chance discovery. A previous appearance in a television production caught Adenuga’s attention, leading to his casting. From 1996 to 2004, and again after a return in 2007, he carried the character through its most formative years.
His portrayal established the template. The voice, the posture, the rhythm of the humour. For many viewers, his version remains the reference point.
Femi Ogunrombi, the measured continuity
In 2006, Femi Ogunrombi stepped into the same role, bringing a different kind of depth. His career before television had been rooted in music, academia, and stage performance, shaped at Obafemi Awolowo University.
Ogunrombi was not just an actor. He was a composer, music director, and educator. He founded the Ayoro Voices and later rose to become director of music at the National Troupe of Nigeria. That discipline carried into his interpretation of Papa Ajasco.
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His version of the character was more controlled, more measured, but still faithful to the comic essence audiences expected. While the physical traits remained, he introduced a subtle theatrical quality that reflected his training.
Beyond the screen, he contributed to the industry through teaching, notably at the PEFTI Film Institute, helping to shape a new generation of performers.
His death on January 14, 2023 prompted widespread reactions, though it also revealed how closely the character had overshadowed the actors themselves. Early reports mistakenly used Ayoyinka’s image, a confusion later clarified.
Few roles in Nigerian television have sustained relevance across different actors without losing identity. Papa Ajasco is one of them.
Fatomilola established the origin in film. Ayoyinka defined the character for television. Ogunrombi sustained it with continuity and depth. All performances, distinct yet connected, ensured the character remained central to the show’s success.
