At the Goethe-Institut auditorium in Nairobi on March 21, a stage was been set in a simple manner. On several occasions, actors take seats placed in the middle of the auditorium, and the audience envelops them.
For this evening, the actors sit in a collection of seats at the front, facing the audience. The actors each open a book with a microphone in hand, and they begin reading, embodying the characters in the play in their fullness.
This is a play reading of ‘Parliament of Owls’, a published play by Adipo Sidang, who listens intently in the audience. The audience resonated with the characters, seeing real-life politicians through them.
Play reading is a performance where actors read out scripts aloud before an audience. It is a new cultural phenomenon in Kenya that is becoming popular on account of play reading curator Esther Kamba and Joseph Obel, under Musyi Arts and Productions.
It is another way of expression and consumption of theatre productions different from stage performances. It also gives more focus to playwrights and the scripts, something that isn’t the norm in theatre arts.
It was at the heart of the pandemic when an inspiration to found play reading events struck Esther. At the time, theatres had closed, halting live performances.
She further saw it as a chance to promote theatre arts and the culture of reading. In 2022, she held her first play reading edition with her favourite play, ‘A Raisin in the Sun’ by African-American playwright Lorraine Hansberry, put on centre stage at the Kenya Conservatoire of Music. Less than 15 people were in attendance.
In the next edition, a play, ‘A Streetcarcar Named Desire’, by African-American Tennessee Williams, was read. At this time, the audience number had started growing.
Some 17 readings later, they now attract an audience of about 1,000 people. Being the first play reading event in Kenya, convincing people to understand the significance of play readings and attend were strenuous for Esther and Obel.
“As the event grew and more people learnt of it, we have been shocked by the reception from actors, producers, and many more people in the industry who have talked about its importance,” Esther reflects.
Esther says: “There is something that happens to actors when they rehearse and voice-act the plays. They get the opportunity to play versatile roles.”
Esther and Obel have read 15 different plays, and those of Kenyan playwrights include ‘The Trial of Dedan Kimathi’ by Ngũgĩ wa Thiong’o and Micere Mugo, which was read at two events for its success; ‘Role Play’ and ‘Kaggia’ by John Sibi-Okumu; ‘Backlash’ by Cajetan Boy; ‘Parliament of Owls’ by Adipo Sidang’; and ‘Room of Lost Names’ by Sitawa Namwalie.
These playwrights get invited for sessions with the audience to delve deeper into their works. \After the theatrical reading of ‘Room of Lost Names’, which was inspired by the late Mercy Keino, Sitawa went back to her script to make changes.
“Seeing the actors play read is magical; I am able to hear the story better when they read. I am keen on improving myself technically as a writer; therefore, the audience talking to me about my work helps me develop my piece even better,” Sitawa says.
She adds, “A creative work is never finished; therefore, it was incredible to see that what I wrote years ago can be improved. Play reading builds me as a playwright. The imagination of the actors and of the audience expands my own imagination as the playwright.”
With the play reading calendar full for the entire year, Esther has curated plays centered on genocidal conflicts to highlight what has been happening in Congo, Sudan, and Palestine, and governance.
“Plays have become an important tool in political conversations. ‘Parliament of Owls’, although published in 2016, is still relevant today,” she says.
Esther is also on the hunt for more theatrical pieces by Kenyan female playwrights. So far they are planning to read a play by JC Niala, a Kenyan female playwright living in the UK, and a Kenyan playwright living in South Africa whom they don’t wish to disclose to surprise their audience.
“Getting Kenyan plays has been a struggle. We are asking, where are the plays? The known playwrights are mostly men. Our interest is in creating a space for female playwrights and developing and archiving the playwriting scene in Kenya,” notes Esther.
Esther and Obel also select plays that have not been published nor performed.
They had a continuous discussion with JC Niala on her piece, which they will read even though it has not been in the public yet. She further encourages budding playwrights to send in their works for play reading consideration.
Esther calls for publishers to publish plays, stating that there is a thirst for them, as witnessed in the number of copies sold during the play readings.
“It is a confirmation that plays do sell. Publishers need to value plays and start publishing them,” she says.
Goethe-Institut became a home for them and many artists who participated in the play readings. They are looking for more venues to host these readings, like schools, social justice halls, and restaurants to reflect the themes.
“Goethe-Institut used to be the only place that offered us a venue. We have made the space accessible to the everyday people whose first experience of the place was through our events,” she says, with beaming pride.
As entry-free events, they hope that play reading is taken more seriously to be able to get more grants to continue paying the actors and compensate playwrights well. They have opened play reading memberships for audiences, readers, and patrons. Moreover, they have started holding monthly training workshops at Art Zone for producers, actors, students, and teachers on how to read plays in front of an audience.
Sitawa views the future of play reading as brilliant, terming Esther’s and Obel’s efforts as beautiful, valuable, and industry-building.
“Esther has begun something beautiful, and I hope that more people see its value. It encourages playwriting, and these same plays will be here forever, and other people can produce them,” Sitawa expresses.
“I want to get people excited about plays and reading. I want people to get excited about libraries again. I want play reading to be recognised as an industry,” says Esther.