For nearly eight decades, the Kenya National Theatre (KNT) has been a cornerstone of Kenya’s artistic and cultural landscape. From its origins as a colonial-era entertainment venue to its current status as a hub for home-grown talent, the KNT has shaped generations of performers and playwrights. Today, it stands as both a historic institution and an inspirational port-of-call for the future of Kenyan theatre.

The Kenya National Theatre was established in 1949 under the colonial era as part of the Kenya Cultural Centre. Construction was completed and the centre incorporated under an Act of Parliament in 1951. The building comprised a 450-seater hall, an orchestra pit, a curtained stage, and a balcony with a bar and restaurant where patrons could enjoy refreshments during breaks and after performances. The centre was officially opened for use in 1952. This marked the beginning of theatrical performances at the KNT.

Initially, it served as an exclusive entertainment space for the white colonial elite, barring African participation either as performers or audience members. It wasn’t until the mid-1960s, after Kenya’s independence, that African actors and playwrights were allowed on stage.

Uneasy period

During its early years, the national theatre became home to the National Schools Drama Festival. Over time, African-led community theatre grew, leading to the first African productions being staged at KNT.

According to Mike Pundo, Chief Executive Officer at Kenya Cultural Centre, incorporating the Kenya National Theatre, an important figure in this transition was James Falkland, a white producer who took the initiative to train African actors in performance and playwriting.

The theatre at KNT has often mirrored the country’s political landscape. During the fight for independence, it was a platform for plays that expressed the aspirations and struggles of the Kenyan people. Productions such as Muntu and I Will Marry When I Want—the latter written by Ngugiĩ wa Thiong’o—were staged at the venue, often attracting both admiration and scrutiny.

However, as Pundo recalls, there were times when the government closely monitored theatre productions, leading to a “silent period” when politically sensitive plays were discouraged. This form of censorship persisted until the 1990s, when multiparty democracy and increased creative freedoms allowed theatre to flourish once again.

Veteran actor John Sibi Okumu, who debuted at KNT in 1973 as Romeo in Romeo and Juliet, noted how political repression affected creative expression.

“There were times of censorship, and the worst-case scenarios were imprisonment or, as in the case of Ngugi wa Thiong’o, political exile. But from the Kibaki era onwards, if one could write it, one could stage it,” Sibi states.

Kenyan theatre has evolved significantly over the years. In the 1970s and 1980s, productions at KNT regularly attracted large audiences, as theatre was a major source of entertainment. By the early 2000s, however, interest in live theatre began to decline, largely due to the rise of television and digital entertainment.

Recognising this challenge, KNT launched initiatives such as the ‘20 Theatre Campaign’, which aimed to reignite public interest in live performances.

Pundo says that since 2022, audience numbers have steadily steadilygrown, with some productions even selling out. This resurgence aligns with the rise of Kenya’s creative economy, which emphasises monetising artistic talent.

Veteran actor, music teacher, and judge Ian Mbugua, who is currently part of the Kenya Theatre Awards jury and a former director at the Phoenix Players, observes that Kenyan theatre audiences now prefer locally authored plays that reflect their lived experiences.

“The audience is keen on watching plays they can truly relate to and are willing to pay for good Kenyan productions,” he says.

Mbugua, who has acted in major productions such as Les Misérables, Once on This Island, and several Shakespearean plays, notes that more theatre companies are emerging. Popular venues such as Braeburn Theatre and KNT are now booked months in advance.

Grassroots development

A key mandate of KNT today is talent development. They run several programmes aimed at training and nurturing actors, including the Poetry Theatre Development Programme, which trains artists across the country, and The County Theatre Fiesta, a programme that enhances grassroots theatre by equipping local actors and playwrights with skills.

According to Pundo, nearly all major Kenyan stage and screen actors honed their skills at the KNT.

“I can’t think of any prominent actor in the country who is not a product of the National Theatre,” the CEO emphasises.

Beyond drama and theatre, KNT has expanded into a multi-disciplinary performance and exhibition space. The venue now hosts music, dance, poetry, book launches, and visual arts. Weekly programmes such as ‘Band Wednesday’-for musicians and DJs; ‘Poetry After Lunch’-for spoken word artists; and ‘Goyi’- session for drumming, dance, and acrobatics—provide artists with platforms to showcase their talents.

With increasing bookings and a renewed interest in theatre, Pundo notes that the once quiet months of January and February, traditionally considered “low seasons,” are now filled with productions. The theatre is fully booked on weekends throughout the year, with heightened activity from August to December.

Multiple spaces

Kenya’s theatre industry is experiencing a renaissance, driven by a new generation of storytellers and actors eager to share their narratives. At the centre of it all, the KNT remains a vital institution, not just for its history but for its ongoing role in shaping Kenya’s cultural identity. As Mbugua puts it, actors must take theatre seriously.

“They must be teachable, creative, and willing to improve their craft. That is how theatre grows,” the veteran insists.

With its rich history and renewed vision, the Kenya National Theatre is once again proving to be the heart of Kenyan performing arts. It continues to have multiple spaces for diverse creative processes and performance presentations covering drama, live musical concerts, physical theatre, image projection, dance, and movement.

It has an in-built excellent facility comprising of a modern auditorium, a 9 by 10 metes’ proscenium performance stage, four fully-equipped performers’ backstage changing rooms with a wardrobe room, a modern kitted dance studio, three rehearsal spaces, two seminar or discussion rooms, double freshen-up shower rooms, and two kitchenettes.