More about "Kenyan theatre"

'Graveyard Queens' delivers a heartfelt and resonant tribute, bringing the best of a generation of actors together on one stage.

The narrative doesn’t take itself too seriously for the most part, but when it should, it opens itself up and digs deep.

'Watatu' highlights youth radicalisation, religious extremism, xenophobia, economic disparity, corruption and politics at the Kenyan coast.

'Mama’s Mirror' brings a new taste, tackling the very heavy topic of losing a mother in the most unexpected way and time.

Just 'Hamlet' set in Kenya, sprinkled in with the reliable trope of twentieth century African pseudo-activism.

In 'Speak their Names', Silvia Cassini wields her mighty pen to present us a powerful tale set in the summer of 1587 in Triora.

In 'Blessed Be the Fruit', director Martin Kigondu takes us through a harrowing tale of a teenage nun.

The cast do their best with that they're offered, which just happens to be oftentimes, not good enough.

The play doesn’t quite fulfil its promise as it was marketed. It, however, takes a serious jab at how old, rich men pry on young girls.

This play is a step in the right direction to redefine Kenya's slapstick stage comedy by highlighting important issues like queerness.