Four major theatrical productions are set to grace Nairobi stages this June, each offering a distinct artistic lens through which to examine society, memory, and identity.
From provocative political drama to nostalgic musical theatre, the performances demonstrate how art continues to mirror life, and deepen our cultural consciousness.
Few directors possess Stuart Nash’s prescience when it comes to timing. His decision to stage The Trial of Dedan Kimathi, and to engage the late Prof Ngũgĩ wa Thiong’o in the process, now reads like a prophetic act.
That the production opens just months after Ngũgĩ’s passing renders it a fitting tribute. Running from June 19–29 at the Kenya National Theatre, the play is performed by the Nairobi Performing Arts Studio, whose 2024 staging of Sarafina! coincidentally followed the June Gen Z-led protests, further cementing Nash’s reputation for socially resonant programming.
Ngũgĩ’s pre-recorded reflections, which open the performance, resonate eerily with the current political moment. Through works like The Trial of Dedan Kimathi, Ngũgĩ grappled with the entrenchment of neoliberal capitalism and the subjugation of postcolonial consciousness.
This revival promises to rekindle those questions, urging audiences to confront history, and its reverberations, in the present.
Meanwhile, Too Early for Birds returns with its characteristically unflinching gaze, this time through a new production titled. Set to run from June 20–22 at Jain Bhavan in Loresho, the show interrogates Kenya’s historical and contemporary relationships with security, surveillance, and state violence.
Expect gangland memories and moral ambiguities to unfold; names like Patrick Shaw may resurface, invoking both nostalgia and unease.
For a more family-oriented offering, Annie takes the stage at the West Nairobi School Theatre in Karen.
Presented by Dance Centre Kenya (DCK), the production brings to life the classic musical based on Little Orphan Annie.
Though widely remembered for its uplifting score and cinematic adaptations, including the 2014 film starring Quvenzhané Wallis and Jamie Foxx, the musical’s original setting in 1933 places it squarely within the Great Depression, revealing stark themes of economic disparity, social injustice, and resilience.
“Annie is often seen as a feel-good children’s story,” says director Cooper Rust. “But its political undercurrents; unemployment, class inequality, and the commodification of hope, make it deeply relevant.”
For DCK’s classically trained ballerinas, this production represents a creative departure. Moving beyond pointe work, the choreography incorporates ballroom waltzes, tap routines, and Charleston steps, expanding their artistic range.
The musical direction is helmed by Levi Wataka, who guides a lean 14-member orchestra.
“The challenge,” he explains, “was to create a scaled-down arrangement that preserved the integrity of the original score. We’ve drawn inspiration from the transitional period in musical theatre, when productions began moving away from operatic forms towards more dynamic, dance-driven narratives.”
Wataka credits the Kenya Conservatoire of Music, Safaricom Choir, and the Nairobi Orchestra for nurturing local orchestral talent, making such collaborations increasingly possible.
Taking on the titular role are Savannah Keir (11) and Gloria Martens (10), who alternate as Annie. Savannah, a long-time DCK performer, steps into her first lead role with confidence shaped by years of ballet training.
“I already knew the lines, I used to quote the film at home for fun,” she says. Gloria’s expressive movement and vocal strength earned her the part, though she admits to some nerves ahead of opening weekend. Her favourite number?
“It’s the Hard Knock Life, it’s punchy and different.”
Arthur Sanya Muiruri stars as the formidable Mr. Warbucks. With credits in Mahabharata, Scrooge, and the television drama Salem, Muiruri is no stranger to the stage. “Musicals are demanding,” he says.
“You’re singing, acting, and dancing while delivering the director’s vision with emotional clarity.” For this role, he avoided imitating previous screen versions of Warbucks. “I had to construct him from the script, he’s a complex figure, successful but emotionally hollow. You might say he’s a prototype of the modern tech billionaire: power without intimacy.”
Muiruri notes a resurgence of interest in live theatre, especially at the Kenya National Theatre. “It’s reminiscent of pre-Covid times,” he says. “The appetite is growing again.”
This production of Annie also serves as a tribute to Charles Strouse, the prolific composer behind the musical’s iconic numbers, including Tomorrow and You’re Never Fully Dressed Without a Smile. Strouse passed away in March 2025 at the age of 95, leaving behind a legacy that bridged genres and generations.
Annie runs Friday through Sunday nights, offering audiences both the joy of live performance and the opportunity to reflect on the enduring power of story and song.
Four major theatrical productions are set to grace Nairobi stages this June, each offering a distinct artistic lens through which to examine society, memory, and identity. From provocative political drama to nostalgic musical theatre, the performances demonstrate how art continues to mirror life, and deepen our cultural consciousness.
