Wale Elegbede
For decades, iconic Nollywood actress Sola Sobowale has captured the attention of viewers with her talent, grit and energy. She made her mark in Nigerian television, including the classic pioneer drama, The Village Headmaster, and has since used the screen to leave audiences spellbound with her remarkable performances.
From one production to another, she has established herself as a powerhouse actress, renowned for her riveting, no-nonsense characters, restless energy and captivating interpretation of roles. Little wonder producers and directors scramble to get her on set whenever they have scripts that demand a character with natural grit, authority, a sassy demeanour and an unmistakable sense of strength.
The fiery actress rose to widespread popularity in the early 2000s when she played the role of Toyin Tomato, the mistress of a married man, in the legendary Super Story television series, Oh Father, Oh Daughter. Her versatility and memorable interpretation of the character gave the production an extra boost, earning her the nickname “Toyin Tomato”, a moniker that became synonymous with headstrong women bearing the name Toyin.
I believe in dignity in labour. There’s no job I won’t do to put food on my table, to provide for my children, except prostitution and fraud
However, at the height of her popularity, Sobowale left Nigeria in 2004 and stayed away from Nollywood for 12 years. She returned in 2016, seemingly without missing a beat. Yet, behind the remarkable comeback was a chapter of her life that many of her admirers could hardly have imagined.
During her years away from Nigeria, the actress experienced a dramatic departure from the celebrity lifestyle she had enjoyed. She relocated to the United Kingdom, where she had to start afresh, taking up employment in the care sector to make ends meet and provide a future for her children.
Speaking during an interview on the Teju Babyface Show, Sobowale recounted how her celebrity status counted for little when she arrived in the UK and had to take up a caregiver’s job in London.
She noted: “I believe in dignity in labour. There’s no job I won’t do to put food on my table, to provide for my children, except prostitution and fraud.”
Sobowale said she worked as a caregiver, undertaking physically demanding responsibilities that included washing, carrying and cleaning. She explained that the job required her to do virtually everything expected of a care worker.
But she did not stop at taking up the job. Determined to develop herself professionally, she enrolled for training and obtained National Vocational Qualification certificates at Levels 2, 3 and 4, eventually progressing to the position of a team leader.
Her description of herself as an “elevated omo odo”, a Yoruba expression meaning a glorified servant, offered a glimpse into the humility and determination with which she approached her new reality.
The actress explained that when she began working in the care sector, she started from the grassroots before proceeding to college to acquire the necessary qualifications.
“When I started this ‘elevated omo odo’ thing, I started from the grassroots. Then, I went to the college. I got my NVQ 2, 3, 4, to a team leader,” she recalled.
Her experience also brought an unexpected encounter with people who recognised her despite the change in circumstances.
Sobowale recalled that Nigerians, Jamaicans and Ghanaians working in the establishment knew her from her television appearances. However, her work identification tag carried the name “Olu” rather than Olusola, creating some confusion among colleagues who knew her as Sola Sobowale.
It was during this period that she met Seye Fadipe, who was surprised to discover that the woman he had encountered performing routine care duties was the same actress he had watched on television in Nigeria. After she eventually acknowledged her identity, Fadipe encouraged her to return to acting.
The encounter was one of the moments that helped redirect her attention towards the entertainment industry she had left behind.
Sobowale eventually returned to Nigeria and staged one of Nollywood’s memorable comebacks. Her performance as Madam Tinuade Coker, the mother of Adesua Etomi’s character in The Wedding Party (2016), reintroduced her to a new generation of movie lovers.
Two years later, she delivered another commanding performance in Kemi Adetiba’s King of Boys (2018), playing Alhaja Eniola Salami, a formidable businesswoman, philanthropist and influential figure whose ambition and political connections placed her at the centre of the film’s gripping storyline. The role further cemented her standing as one of Nollywood’s most compelling actresses and earned her the Africa Movie Academy Award for Best Actress in a Leading Role in 2019.
With her acting career firmly back on track, Sobowale has now turned part of her attention to a different calling, drawing on the experience she acquired in the United Kingdom to establish an elderly care facility in Nigeria.
On November 3, 2026, Oyo State Governor, Seyi Makinde, commissioned her elderly care facility, Joseph and Esther Homes, in the Akobo area of Ibadan. The ceremony also witnessed the unveiling of her book, Built From the Break.
The event attracted prominent personalities from the entertainment industry, politics and other sectors. Among those present were veteran actor Adebayo Salami, popularly known as Oga Bello; filmmakers Kunle Afolayan and Femi Adebayo; actor Ibrahim Chatta; and former Lagos State Commissioner for Information and Strategy, Steve Ayorinde.
Named after Sobowale’s parents, Joseph and Esther, the facility is designed to provide accommodation, professional care and support for older people in a safe and comfortable environment. Her father was a retired principal, while her mother served as a headmistress.
Operating under the tagline, “Live Well, Age Well, Thrive Together”, Joseph and Esther Homes seeks to offer older people more than just a place to stay. Its philosophy is built around personalised accommodation, professional assistance, security and opportunities for community living.
One of its guiding principles is particularly noteworthy: “We do not replace family. We help families care better.”
For Nigerians living abroad, the challenge can be even more pronounced, as many have ageing parents and relatives back home but cannot always be physically present to attend to their daily needs.
This is where the concept of organised residential elderly care becomes important. Rather than leaving families to manage every responsibility alone, properly managed facilities can provide professional assistance while allowing older people to retain their dignity, independence and sense of belonging.
For Sobowale, the decision to venture into this area of care appears to have a personal connection. Having experienced the demands of caregiving herself, she understands that the work goes beyond washing, cleaning and attending to physical needs. It requires patience, compassion, commitment and respect for the people receiving care.
Speaking at the commissioning ceremony, Makinde commended the actress for translating her concern for older people into an initiative aimed at promoting their welfare and dignity. He also encouraged Nigerians with resources and influence to deploy them towards improving society.
The ceremony took an emotional turn when Sobowale was moved to tears during a tribute celebrating her vision, determination and commitment to the project. Her journey from working at the grassroots of the UK care sector to establishing an elderly care facility in her home country was a significant part of the story behind the occasion.
The woman who once washed, carried and cleaned while earning a living in the United Kingdom has now returned home to establish a place where older people can receive care and support.
Clearly, the unveiling of Joseph and Esther Homes marks a new chapter in Sola Sobowale’s life beyond the entertainment industry. From being a celebrated actress to a caregiver in London and now an entrepreneur investing in elderly welfare in Nigeria, her journey offers an important reminder that no honest experience is wasted.
