You can read the comprehensive plot review here
Having caught Prevail Presents’ revival of Mohamed Komeja’s Picha in September, months after its initial run, I found myself focusing less on the powerful story (which has been well executed) and more on the technical execution and the play’s structural foundations.
Kigondu continues his mission to resurrect Kiswahili theatre, following his work on “Kifo” with this thoughtful revival of “Picha.” His directorial approach shows admirable restraint with minimal manipulation of Komeja’s 1985 text, allowing the source material to speak for itself. This philosophy works well for preserving the authenticity of these classic works, though it also means inheriting both their strengths and limitations.
Here’s where I found myself wanting more: for a play that centers entirely around the titular photograph and its devastating revelation, the climactic moment felt like it needed additional dramatic weight. The build-up is masterful, but the payoff, the truth the photograph exposes, could have used more theatrical punch to match the emotional investment we’ve made in reaching that moment. This may reflect the different expectations contemporary audiences bring to dramatic structure compared to 1985.
The production’s pacing suffered from lengthy scene changes that disrupted the emotional momentum, a particular challenge for intimate family dramas where sustained tension is crucial. As Peter Brook once observed, “Theatre is always a self-destroying art, and it is always written on the wind.” This means all must be continually rebuilt, and these technical interruptions reminded us how fragile theatrical illusion can be.
The lighting design presented mixed results. While some cues felt poorly timed or simply ineffective, changes that should have punctuated emotional beats instead fell flat or went unnoticed. There was one choice that stood out, though: the antagonist’s personal lighting scheme. The way the reddish orange light followed and amplified Baba Kwetu’s mood shifts and character reveals showed a sophisticated understanding of how lighting can become character.
Speaking of Baba Kwetu, Michael Ndunda deserves particular recognition for fully embracing what can only be described as his “villain side.” In the play’s heaviest scenes, Ndunda doesn’t shy away from the character’s monstrosity while maintaining the complexity that makes Baba Kwetu more than a cartoon villain. It’s a performance that carries much of the play’s emotional weight.
Despite these technical and structural concerns, this revival serves an essential purpose in Nairobi’s theatre landscape. Seeing classic Kiswahili works restaged allows us to examine both their enduring relevance and their period limitations. “Picha” remains emotionally powerful even when its mechanics don’t fully deliver.
To book exclusive events with a TICKETING PARTNER, check out Sanaapost News 😎👊🏾
