Last week, curtains came down on the first stage theatre production of the year at the historic Kenya National Theatre. Matatu played to sold-out audiences and received widespread critical acclaim.
Matatu is the first production by Njeri Mwangi, the Executive Director at Pawa 254 and Pawa Afrika.
In the nearly three-hour musical, the audience was taken on a journey through Kenya’s political history, from the freedom struggle and independence to the ongoing fight for political space and economic equality. The story highlights challenges such as deceit, assassinations, negative ethnicity, and corruption.
Except for a minor sound issue at the beginning of the show, the metaphorical Kenya was presented as a Matatu, driven by different drivers representing heads of state. The musical is a showstopper, featuring original numbers produced at the Pawa 254 studios.
A great deal of choreography and deliberate lighting made Matatu a consummate story, reflecting a country that has experienced both good and bad times. The story culminates with the 2007 post-election violence resulting from a botched election.
The soft-spoken and humble Njeri introduced the show at the start of every performance last week. A countrywide tour is in the works.
“It took us two months of rehearsals with a short Christmas break, and we are happy with the kind of work and energy from our team,” said Njeri.
Notably, the musical stayed true to African cultural music, especially in the early scenes depicting the independence struggle.
“We engaged Kenyans who lived through the history of this nation, and their input was invaluable in corroborating the facts and details in the story,” said Njeri, who was nominated for an Emmy in 2022 for her documentary Stolen Babies.
Matatu featured a cast of 24 members and a total production team of 51. The audience enjoyed a mix of genres, including Reggae, Rock ‘n’ Roll, and Rhythm and Blues.
Njeri said the production was initially scheduled for November last year but faced several challenges.
“We had allocated Sh1 million for rehearsals initially, and there were additional demands for props, costumes, and other expenses. We went big on marketing so that we could break even,” she said.
She also noted that the Kenya National Theatre, being the only one in the country, places constraints on productions and audiences.
“We want to invite the government to help build more theatres so that we can engage in a sustained creative economy. We are ready to provide land for this development,” Njeri added.
Known for her BBC Africa Eye piece on the sex trafficking of children in Mai Mahiu, Njeri stayed true to her social change advocacy. Matatu is an example of ‘artivism’, with themes of freedom, governance, social action, and livelihoods dominating the narrative.
She said Pawa Afrika will replicate what Pawa 254 has achieved in Kenya and plans to expand to neighbouring countries, including Tanzania, Uganda, and South Sudan.
“Pawa exists to empower artists to create, express, and articulate issues affecting us, and it brings us together to find solutions to our myriad problems,” she said.