By Linda Were
Stuart Nash’s “Sarafina!” at the Kenya National Theatre marks a triumphant return of Mbongeni Ngema’s iconic play to the Kenyan stage after a five-year hiatus. To use Stuart’s words while introducing the play, this production is “bigger and better”.
Set against the backdrop of the 1976 Soweto student riots, “Sarafina!” tells the story of a high school girl dreaming big in the face of apartheid’s harsh realities. Nash’s production has breathed new life into this South African classic, adapting it for a Kenyan audience in a way that’s clever, authentic, and relevant. A sprinkling of local languages such as Kiswahili, Dholuo and even Sheng’ makes the play especially relatable for the Kenyan viewer.
From its opening moment, the production commands attention, engaging the audience with high energy that sets the tone for the entire show. Nash’s direction is bold and immersive, maintaining a delicate balance between the play’s heavier themes and lighter moments. The pacing is tight, with smooth and ingenious set and costume changes that maintain the show’s momentum. Set changes are executed with remarkable speed and creativity, even maintaining auditory continuity during transitions.
The set design effectively recreates the atmosphere of 1976 Soweto. The attention to detail, including the use of dust on the set, adds a sense of place and realism. In addition, the production goes beyond visual, engaging multiple senses to fully immerse the audience. During a street protest scene, the distinct scent of gunpowder permeates the air, vividly placing viewers in the midst of the action. Even the smell of a cigarette smoked by Lieutenant Bloem adds to the authenticity of the scene. The backdrop provides clear visual cues as to location, and the production makes excellent use of the entire theatre space; the cast used not just the stage, but also the aisles.
Lorna Lemi leads the cast with a stellar performance as Sarafina. She convincingly portrayed Sarafina’s character, drawing the audience into her character’s gradual journey into activism. Lemi has incredible stage presence, and her dance skills are particularly noteworthy.
The ensemble cast is equally impressive, with standout performances from Wakio Mzenge as Miss Masembuko and Daniel Lee Hird as the detestable Lieutenant Bloem. Helen Mtawali’s portrayal of Sarafina’s mother is a highlight, bringing well-timed humour to the production, which helps balance out the heavy themes of the play. Her use of Dholuo and mentioning the Luo and the Kikuyu rivalry oddly adds authenticity and subtly touches on Kenya’s underlying ethnic dynamics. Each of her appearances elicited chuckles and laughter from the audience.
The music and choreography deserve a standing ovation of their own. You would be forgiven for thinking that the cast are professional dancers. And here, we cannot go without mentioning Helen Mtawali’s powerful singing voice.
Nash’s production doesn’t shy away from the serious themes at the heart of “Sarafina!” The ironies of the expectations vs actions in Soweto are powerfully portrayed. The surprisingly realistic violent scenes drive home the gravity of the historical context.
Although it was not intentional, this play comes at an opportune moment, considering Kenya’s current socio-political climate and sense of nationalism. Themes of protest and governance strike a chord with recent events in Kenya, creating a palpable sense of recognition among audience members. The use of current Kenyan protest lingo further enhances this connection. (After the national anthem played at the beginning of the show, the audience clapped.)
Sarafina’s assertion that an African would one day win an Oscar was a nod to Kenyan actress Lupita Nyong’o’s historic win.
Stuart Nash and the Nairobi Performing Arts Studio have achieved their goal of raising the profile of national theatre with this high-quality production of “Sarafina!”
The production continues this week, from Thursday 22 to Sunday 25 August at Kenya National Theatre. Get your tickets. Don’t miss this opportunity to experience Kenyan theatre at its finest.