Fast-paced at the Kenya National Theatre, I couldn’t afford to miss out on Prevail Presents’ Picha. Upon entry, the Ukumbi Mdogo Hall was silent. The only voices commanding the space were those of Lucy Wache (Kanini), Suzanne Karani (Kwetu), Polyann Njeri (Kwetu’s Aunt), and Michael Ndunda (Baba Kwetu), the subject of discussion; Kwetu is Pregnant.
The above news doesn’t elicit a jolly reaction, especially from the man of the house, Baba Kwetu, as he charges to strike his daughter. The altercation, being my first sight of the play, certainly served as a building block. For context, Kwetu was impregnated at University, a reality that her father deems an embarrassment to his family, and most importantly, his reputation. However, this surely doesn’t warrant his reaction, revealing more than what meets the eye.
Directed by Martin Kigondu, Picha explores the consequences of Baba Kwetu’s unfaithfulness to his wife and his brutality towards his family. The man shows no shame in abusing his wife, openly having affairs with her knowledge, and hypocritically buying her gifts after committing acts of violence. He even goes so far as to flirt with her sister, who surprisingly seems receptive to it, with her loyalty always hanging in the balance.
Speaking of loyalty, Picha takes a dark turn as it is revealed that the father of Kwetu’s child, Junior (Fadhili Kerosi), is the son of Kwetu’s father due to him defiling his mother, Mwanambali (Suki Wanza), years ago with Kanini’s knowledge. Jealousy towards Mwanambali for her looks leads Kanini to ignore her pleas for help. This incident leaves Mwanambali extremely traumatized, downtrodden, and her health in jeopardy.
Kanini attempts to take her life but fails. This drives Baba Kwetu into another hypocritical spree as he lavishes her with gifts and tells her a lie about renewing their vows, while in reality, a second wife occupies his thoughts. This situation doesn’t last long as the discussion shifts, and Kanini courageously, and with rage, exposes the man’s iniquities. With his ego bruised, he attempts to strike, but Kwetu intervenes, and the altercation ends as Kanini burns him with an iron box on his back.
Written by Komeja Mohamed, Picha takes its time in shaping the family dynamic, and as a result, emotional resonance shines through. Michael Ndunda evokes a side of himself that shifts impeccably from a seductive persona to an outright monster, bearing the burden of propelling the play’s events. Lucy Wache embraces the role of one who takes things as they come to a point of making you believe there is no respite for her, but alas, the tides shift as she boldly expresses what one couldn’t think she could. Kwetu, the glue of the family, embraces her new family and advocates for her mother, a conviction that arose after her conception.
The above exemplifies the character growth that allows one to embrace them even more in their triumphs than their tribulations, supported by engaging pacing.
From a technical standpoint, Picha employs Taarab soundtracks that blend with the Swahili dialogue of the play, transporting the audience to a coastal theatrical experience. This is further enhanced by the production design created by Polyann Njeri, who also plays the role of Kwetu’s aunt.
Complementing this is the costume design by Michelle Tayars and Beril Oondo, adding a touch of coastal signature attire to Picha.
The climax, on the other hand, felt rushed, leaving one wishing for a more fitting consequence for Baba Kwetu’s actions and a desire to see him answer for his crimes.
A restaging since 1985 has introduced a new tune to theatre in Nairobi, inspiring Prevail Presents to stage more Swahili plays—a flair that I, for one, hope to witness from other outfits.
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