Translating to Remains of Bullets, Matigari Ma Njirūūngi begs the questions; what happens when a newly independent nation governs itself? Do the principles at which freedom was fought for remain?
An exploration of these rather than answers is done as we follow the protagonist; Matigari as he trots the city in a vow of peace looking for his brothers and sisters of war right after he kills his oppressor, Mr. Williams. His journey joins him with Muriuki, a street kid and Guthera, a sex worker who help him in his exploits but nothing goes as planned as Matigari witnesses the corruption and greed that has swallowed the country.
Such a character driven story demands excellence in performance especially from the protagonist, this time Ndungi Githuku taking the helm. Ndungi wears attires of resolve, confusion, and anger, holding your hand in not only the narratives journey but also the character’s emotional journey as he wrestles with the reality of what his country has become. With a commanding physical presence, Ndungi knows when to stand tall and to ease the imposing demeanor, all in compliance to the story’s trajectory.
Thuita Mwangi as Muriuki was a huge highlight for me. Balancing comedy, grief, and innocence while being an embodiment of the young man whose country has failed him only to rise up after his mentor’s demise and become the embodiment of a revolution. Polyann Njeri as Guthera gives us the perspective of a survivor, who again, the country has failed but in her case, also the church. Polyann exudes resilience for a character who many, not only in the story might cast eyes of pity or judgement.
Matigari Ma Njirūūngi falters in the technicals with late entrances from a few characters in ensemble scenes, late lighting cues, and staging issues music numbers.
Kwa Ndego’s take on the story drove the message home but faltered in keeping one engaged in multiple scenes with only comic, and heartrending sequences doing the trick.
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