When Ogres Roamed is a children’s folktale theatre play that is an adaptation of traditional stories of ogres, grandparents and village life to the stage.
Set in the 1980s in Murang’a, the play follows children as they listen to stories told by their grandparents and reenact them, exploring themes of caution, honesty and appearances.
Presented by Imagine Nation Theatre, the play is written and directed by Prudy Makena and was staged at Wadau Resort in Toll Ruiru on August 15. Told in Kikuyu, English and Kiswahili languages, the play blends storytelling, farming, family life and imagination.
It revolves around children who return home from farming to find their grandmother preparing dinner. They sit with their grandparents, Guka (Maxwell Maguora), and Shosh (Elizabeth Wangui) to listen to their stories about ogres and bring them to life through reenactments.
The first story is about Muturi, a carpenter who leaves Muthoni, his pregnant wife, at home while he goes to work. When an ogre, Irimu, arrives, he helps the woman give birth but threatens to eat the child when the baby grows up.
The ogre cares for the baby while Muturi is away. A bird warns Muturi that his family is in danger. When he returns home, he finds the ogre eating food meant for his wife. Muturi attacks the ogre, killing him and saving his family.
As Guka tells the story, the children reenact the events, turning the folktale into a theatrical performance. Grandson Njuguna (Leon Ngeshu) reenacts the roles of Muturi and the Ogre, also known as Irimu (Jimmy Mwangi). The story is about paying attention to danger and acting before it is too late.
The second story follows three children who come across a mango tree while farming. They decide to steal its fruit and reenact a story about children who climb an ogre’s tree. The three children are played by grandchildren Njuguna (Leon Ngeshu), Karanja (James Wanderi), and Waithera, also known as Sara (Ginelle Wangari).
“The story explores the consequences of taking what doesn’t belong to you and reminds children to respect other people’s property,” explains Makena.
The third story explores the idea that appearances can be deceiving. It centres on a handsome boy, who is the ogre who attracts the attention of several girls: Nyambura (Stephanie Wanjiku), Nyawira (Rahab Warui), Njoki (Angel Ndichu), Toto (Shanice Wanjiku), Nyokabi (Beattie Warui), and Mso (Kendra Wambui Kamau). While walking with him, one of the girls notices his hair rising to reveal the mouth of an ogre who eats insects as they pass by. Frightened by what she sees, the girls run away.
Mukami (Mary Ngima), however, remains fascinated by the handsome boy and wants to be loved by him. The ogre takes her home and offers her a comfortable seat. He then pulls a string, causing the seat to open and the girl to fall into a pot.
“The story warns children not to be deceived by appearances and reminds them that something attractive on the outside may hide danger underneath,” she says.
Makena selected the stories within the play because they were passed down to her by her mother and aunt.
“I was at home with my mother having a conversation, and she told me these stories. Nowadays families don’t share folktales,” she says.
Her mother encouraged her to develop the stories into a play, while the third story came from an aunt who cared for Makena and her siblings when they were younger. Makena later visited her aunt, who retold the story, before she returned home to write the script.
Makena chose the style of a play within a play because it is the fun of telling the stories. If it were narration, she believes it would have been boring. Storytelling, she adds, is educative and entertaining.
The ogre represents the evil in the world and comes in as a lesson. The decision to adapt traditional ogre stories was intended to remind families of the importance of passing stories from one generation to another.
“Parents will also watch the play. It is to show how important it is for our parents and older generation to pass on the stories they have instead of making new stories. We already have our own stories,” Makena says.
She says that the 1980s setting reflects a period when oral traditions played an important role in teaching children values and strengthening family bonds. She uses a minimalist stage setting and brown costumes to showcase the Kikuyu culture.
“I incorporated the Kikuyu, Kiswahili and English languages. The young actors had a short rehearsal period of two weeks during the school holidays; therefore, they mainly acted in Kiswahili and English,” she says.
Makena says that directing children is fun and playful, and she gets the chance to see herself in them. She adds that she wished she had similar opportunities growing up, noting that her mother wasn’t exposed to the arts and she only discovered acting after high school.
She believes traditional folktales can still connect with children today because of their playful nature.
“Children love fun and are playful by nature. When they see someone being silly on stage, they will easily connect with them,” she says.
She hopes that children remember acting isn’t only on TV and for adults. The stories that their parents tell them will help them become better and take care of themselves.
She also hopes that When Ogres Roamed encourages stronger relationships between grandparents and grandchildren.
“The play highlights the role grandparents can play in helping younger generations learn about their culture and traditions by creating spaces where children can ask questions and listen to family stories,” she says.
Imagine Nation Theatre nurtures children’s talent from a young age and introduces them to theatre. It gives them an opportunity to experience performance while learning through play.