Kenya’s theatre scene is enjoying a vibrant resurgence this year, with an increase in productions and full houses becoming the norm, even as industry stakeholders continue to call for better facilities.
During an industry forum hosted by the Kenya Theatre Awards (KTA) at the Kenya National Theatre (KNT), attendees highlighted the urgent need to renovate Ukumbi Mdogo and establish more fully equipped venues to meet the growing needs of local thespians.
It was also noted that while the government is yet to invest in building theatres for schools, churches have stepped up to fill this gap.
KTA Jury Chairperson and veteran actor Ian Mbugua urged theatre practitioners to consider staging plays on weeknights to tap into less competitive time slots.
“I have come to watch plays here on Wednesday nights, a less popular day for theatre shows, and yet they were packed. If you market your play really well, it doesn’t matter which day you put your show on. Stage on Wednesday nights; you are competing with many things on weekends,” he said.
The first six months of the year have seen a flurry of theatrical activity.
In January, African Twist, a play by Ketebul Music, was staged at the Alliance Française Nairobi. Directed by Martin Kigondu, the performance transported audiences to the 1960s as it celebrated the legacies of legendary musicians Fadhili William, Fundi Konde, Daudi Kabaka, and Grant Charro.
In May, the historical play Wangu wa Makeri was performed in Kikuyu at the Kenya National Theatre. The production attracted 2,700 attendees across five shows. Its producer, Mwana Mwende, said the turnout reflected a strong cultural curiosity among Kikuyu audiences.
“The real story is that no one knew how she became a chief. We did a lot of research and decided to come up with our own story of how she became one. Our intention with the play was to show that women can be leaders and have faults like any other person,” said Mwana.
Vernacular and religious theatre rising
Vernacular productions have also gained traction, entertaining audiences with culturally grounded storytelling.
Highlights include Horia Mwaki (Put Out the Fire) by Andu A Mumbi Production at the KNT; Wendo wa Cebecebe, a Kikuyu romantic comedy by General Theodore at Alliance Française Nairobi; and Chemoget Muite by Kalenjin Statehouse and Champions Production, staged at Klique Hotel in Eldoret.
Churches also joined the theatre wave around Easter, transforming sanctuaries into stages for religious dramas. Trial of Hearts by ICC Nairobi, Is He Worthy? by Mamlaka Hill Chapel Ruaka, and The Proclamation by Nairobi Chapel all depicted events leading to the crucifixion of Jesus.
Religious-themed productions also featured in mainstream theatre during the same season. One notable production was In the Name of the Father, staged by KCA University students. Inspired by the real-life Shakahola massacre, the play delved into the mind of a cult leader.
This year’s productions have showcased a new level of glamour and investment.
Bad Girls of the Bible, a bold and provocative production by Chemichemi Players, brought together an all-star cast at Daystar University. Written by Yafesi Musoke, the play reimagined the stories of eight famous women from the Bible.
Solo performances also remain a strong presence on the scene. Noteworthy shows include My Man My Choice by Suki Wanza at Alliance Française Nairobi, Miss Understood starring Makena Kahuha at the KNT, and a re-staging of Elements by John Sibi-Okumu at the Little Theatre Club (LTC).
Theatre researcher Steenie Njoroge noted significant activity in Mombasa as well, with Jukwaa Arts Collective staging a performance aboard a cruise ship, construction of a theatre at Alliance Française Mombasa, and consistent full houses at LTC.
As 2024 progresses, it’s clear that Kenya’s theatre industry is alive with creativity, cultural pride, and a hunger for more spaces to bring stories to life.