Never mind the smoke and mirrors—smoke from the teargas lobbed at the Butere Girls students in their performance at the ongoing national drama festivals in Nakuru— and the mirrors evoked by politician-cum-playwright, Cleophas Malala. The performances of the year were delivered elsewhere around Mt Kenya, and Nairobi.
Start with the former, and the sight of hundreds of boda boda riders racing against time to get to the next destination in Prezzo Bill Ruto’s recent forays in “Murima” region. I understand Prezzo Ruto’s performance was within a tight radius of a kilometre in the Nanyuki township, where the Equator cuts through, calling to mind Theatre Near The Equator, a biography that documents the eventful life of thespian Annabel Maule, who was recently deceased.
Prezzo Ruto’s fabled tour of Mt Kenya was a well curated and scripted performance in a tradition called theatre of the absurd, which is associated with the Irish playwright Samuel Beckett’s evergreen play, Waiting for Godot.
Never mind the smoke and mirrors—smoke from the teargas lobbed at the Butere Girls students in their performance at the ongoing national drama festivals in Nakuru— and the mirrors evoked by politician-cum-playwright, Cleophas Malala. The performances of the year were delivered elsewhere around Mt Kenya, and Nairobi.
By Peter Kimani