Tene tene muno ri, oh sorry, the Wangu wa Makeri effect still blooms, the kind that makes you mouth the play’s theme song repeatedly. Kwa Ndego Productions made a lasting statement last weekend at the Kenya National Theatre, dominating the vernacular theatre genre.
The year is 1902; Makeri wa Mbogo’s (Nderitu Nguthi) household is beaming with activity as his five wives attend to several chores. A discussion arises, one that induces envy. One is missing—the one the Agikuyu call Nyakiambia, the first wife. The activities being carried out stem from her orders; her name is Wangu (Lydia Gitachu). Makeri wa Mbogo sees favor in her and spends multiple nights at her quarters.
This infatuation also resides with the Paramount Chief, Karuri wa Gakure (Kimiti wa Gitau), known for trading with the British, primarily in ivory. During his long journeys, he would spend the night at Makeri’s residence, a dear friend of his. As custom dictates, Karuri, the visitor, would choose whose quarters among the six he would like to spend the night in, and without hesitation, his arrow was always thrust outside Wangu’s quarters. His collaboration with the British grants him the rank to elect a new headman; he considers his friend Makeri, but Makeri declines, concerned about the twisted policies involving taxes and labor. This rift, however, serves as an opportunity as Wangu entices Karuri for the office, an act that proves successful.
Her leadership stems from resistance, especially from the men; this is where we get to polish the famed reputation of her sitting on men. In a baraza foreseen by Wangu, a drunkard named Muraya passed by shouting curses at Wangu. Infuriated, Wangu has him captured and sits on his back until the end of the meeting. It turns out he is the only one who suffered this outcome. The village, however, stands up to Wangu in resisting the offers made by the British, deeming the taxes unfair. Wangu finds herself between a rock and a hard place, but through Karuri’s advice, she ends up ruling with an iron fist in favor of British policies, emphasizing infrastructure. Her senior, however, becomes an adversary, as he despises her communing with the British. Wangu stands her ground, propelling the men to craft a plan to root her out. In a celebration meant only for men of military ranks, Wangu, under Karuri’s invitation, sings and dances among them, intoxicated, and her attire falls to the ground. The incident is met with disgust and men of rank “discuss,” but Wangu willingly denounces her office, leaving on her terms.
Wangu wa Makeri’s story portrays someone unwilling to diminish her potential despite the odds. She embraces the uncertainty of an ever-changing world and refuses to let her flaws define her, regardless of how much those around her try to tarnish her identity.
Lydia Gitachu exuded a multidimensional performance as the famed matriarch, evoking power through her outward demeanor, which was complemented by a sense of reciprocal respect and vulnerability toward those she loves and her people.
Kwa Ndego’s Wangu wa Makeri leaves an indelible mark, as it not only sparks curiosity about her rule but also entertains to a point where a rerun would scream ‘Sold Out’. On paper, the story might evoke a tense period epic, but Kwa Ndego incorporates well-timed comedic moments, especially those involving Karuri wa Gakure (Kimiti wa Gitau), Makeri wa Mbogo (Nderitu Nguthi), and the crafty Matere (Matere James). 
The set design and costumes transport audiences back to the 1900s; the huts paint a clear picture of the household structure of the time, and the costumes blend seamlessly with the ranks of notable characters such as Wangu and Karuri, boldly complementing Wangu’s ascension to power. Folk Fusion and the band embody the musical genre of the play, instilling the audience with Agikuyu pride as they stomp their feet to Ngogoyo music.
123 years later, the first female leader in the country, Wangu wa Makeri, still commands attention. Her story still resonates decades later.
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