The Cheche Gallery at the Kenya Cultural Centre was packed as theatre lovers turned up for It’s Such a Good Time, a deeply personal one-man play performed by Faiz Francis Ouma.
Directed by seasoned filmmaker Gilbert Lukalia, the production is an emotional rollercoaster that tackles fatherhood, childhood trauma, family and romantic relationships, and the complexities of fame and artistry.
Through dance, monologues, flashbacks, and layered voiceovers, Faiz breathes life into multiple characters, each representing a fragment of his lived experience.
The performance opens with Faiz dancing energetically, capturing the vibrant essence of Nairobi’s contemporary culture.
The mood quickly shifts as he flashes forward to a scene where he is packing a hospital bag: his partner is about to give birth. As a first-time father, Faiz’s anxiety sets in, and the weight of his new responsibilities becomes palpable.
The postpartum room becomes a symbolic anchor in the play, triggering memories of his own upbringing and complicated family ties.
Faiz takes the audience back to his childhood, where he faced neglect from his father and moved to live with his grandfather in the village. His dreams were derailed when financial constraints forced him to drop out of school.
However, a turning point came in adulthood when he found purpose in acting. His career soared when he landed a role in the hit Netflix series Volume, but fame brought its own share of problems, including tension and mistrust in his relationship.
Although based on Faiz’s real life, the script, crafted by Sanchez Marley and Emmanuel Chindia, was fictionalised in parts. Faiz worked closely with a therapist during pre production to process and heal from the emotional weight of his story.
“I went through the script with my therapist. By the time I was on stage, I was speaking from a place of healing, not bitterness,” he shared.
Director Lukalia encouraged Faiz to approach the role as a character distinct from himself, a method that proved both challenging and therapeutic. “I hadn’t realised how emotionally heavy some parts were until rehearsals,” Faiz admitted. “Gilbert wasn’t just a director; he was a father figure. That’s why I chose him.”
Faiz says becoming a father was a transformative moment in his life. “It made me want to rediscover myself and reconnect with my roots,” he said. “Staging this play helped me relive my story, and it resonated with the audience. That’s the power of storytelling.”
Having stayed off stage for three years, Faiz was deliberate in choosing this project. He partnered with Clare Wahome of Millaz Productions, known for works around mental health. The play’s timing during Mental Health Month (May) and Men’s Mental Health Month (June) was intentional.
Blending themes of masculinity, emotional vulnerability, and self-discovery, the play advocates for men embracing their emotions. “There’s strength in feeling. Men need to experience every kind of emotion to understand themselves better,” Faiz emphasised.
He also underscored the importance of showing up as a parent, regardless of relationship dynamics. “Children raised without fathers are deeply affected. We have a responsibility as men to be present.”
The play struck a powerful chord with the audience. Faiz recalled several men approaching him afterwards to share personal stories, some even moved to tears. “One said he’d never want his son to tell a story like mine about him. He resolved to reconnect with his child,” Faiz said.
In Act Two, a recorded dialogue between Faiz and his father plays as he dances, embodying anger, grief, and frustration, a testament to his versatility as a performer. “I’ve realised I have no limits. I’m a much better actor than I was last year. I can tell stories through movement too.”
The play closes with Faiz making peace with the mother of his child, with his father, and most importantly, with himself. He promises to be a present father as he plays joyfully with his son, a full circle moment that leaves the audience in silent reflection.