By Asnath Agatha
That question, casually thrown at me by a colleague during a walk, has echoed in my mind ever since. And it echoed even louder when, recently, a well-established artist told me, almost wistfully, “I can’t wait for the day this sector will finally become an industry.”
When I close my eyes and picture Kenyan theatre, I see bold monologues echoing in rehearsal halls, storytellers commanding small but eager audiences, and creatives pouring everything into their craft.
There’s no shortage of raw talent. There’s no doubt about the passion. When I open my eyes, however, that image thins out.
You see, an industry has systems. Structure. Sustainability. In Kenya, we have scattered brilliance—pockets of activity held together by sheer will and great personal sacrifice. Practitioners often have to wear multiple hats: actor, director, producer, and marketer, to get a production off the ground.
There’s no clear entry point, no clear career pipeline or discernible progression, and little State support to keep things steady, with no clear government policy, that often entirely depends on the personal goodwill of the person in charge of the Arts docket.
That’s the thing, you know, everyone working in the performing arts sector can feel; there’s movement, there’s momentum, but the foundation is still soft. While theatre in Kenya is vibrant and pulsating with energy, it’s still more of a sector than a fully-fledged industry. What we currently have is a loose network of passionate creatives and collectives holding things down through sheer determination. And yet, within that informality, some theatre companies have created real impact, proving that consistent work and storytelling excellence can shape culture, even without a formal industry or support behind them.
Take Too Early for Birds, for example. This company has gained significant recognition for its innovative approach to storytelling, often blending historical narratives with contemporary social commentary. They are known for engaging performances and have tackled significant Kenyan figures and events, such as their acclaimed production, Tom Mboya. Their work often sparks dialogue and encourages audiences to reflect on the nation’s past and present.
Art Chatterbox – known for their diverse productions has been making waves in the Kenyan theatre scene. They scooped several awards at this year’s Kenya Theatre Awards (KTAs), including Best Adaptation, Best Musical Theatre Production, and Best Production for the highly-acclaimed Lwanda Otero, a musical based on a Kenyan legend. They are recognised for their high-quality productions and engaging storytelling. Chemi Chemi Players – formed in 2022, have quickly established themselves with productions like In Other Words (a play about Alzheimer’s), Pilate, and Carnival Girl. They have received multiple nominations and awards in theatre, showcasing their impactful storytelling and the talent of their all-female founding members. Their mission includes providing a safe and uplifting environment for actors and offering audiences thought-provoking dramas that speak of hope. 
Stepping out of the country’s capital, one finds 64 Theatre, based in Eldoret, painting a picture of how theatre can still prosper outside Nairobi. This group was recently recognised at the Kenya Theatre Awards, with the founder, Cosmas Bii, receiving the Jury’s Special Award at this year’s event. They are known for their diverse productions, including those in local languages like Oret, which received a nomination for Best Kikwetu Production. Their work highlights the importance of linguistic diversity in Kenyan theatre. Other groups like Nairobi Performing Arts Studio, Heartstrings Entertainment, Phoenix Players, Prevail Presents, and Muthaland Entertainment also deserve mention for, despite the storms, staging consistent work, building communities of practice, and offering platforms for both emerging and experienced performers.
Much as they must get their accolades for doing the heavy lifting, these companies are still operating in survival mode. The success they achieve is hard-won and not easily sustainable without funding, infrastructure, or consistent institutional support. This is where national platforms come in and why they matter.
The Kenya Cultural Centre, which houses the historic Kenya National Theatre (KNT), has been and continues to be a cornerstone of the performing arts sector in Kenya. It is the stage where, quite literally, the artists meet and interact with the State. KNT provides essential infrastructure, fosters artistic expression, facilitates networking, and contributes to the professionalisation of the field. But its impact is mostly concentrated in Nairobi, and without expanded funding or strategic outreach, it can only do so much for the practitioners. KitFest (Kenya International Theatre Festival) plays a multifaceted role in the Kenyan performing arts sector by providing a crucial international platform, fostering skills development, promoting collaboration, driving audience engagement, and recognising artistic excellence. KitFest has become a key event in the cultural calendar, contributing significantly to the growth, visibility, and vibrancy of the Kenyan theatre landscape. It offers vital exposure for sure.
Still, there is a need for a constant structure to sustain the momentum generated by these events.
The KTAs have become an important moment for celebration and recognition. They uplift the work being done across the country and offer validation to creatives who are often working in the shadows. But awards don’t equal livelihood, and without the economic scaffolding of an industry, the applause fades quickly.
We’re still missing the basic elements of an industry: formal entry points, training-to-career pipelines, consistent funding, national distribution models, audience development strategies, and strong archival practices. So much brilliant work disappears after closing night—undocumented, unreviewed, unremembered.
As other creative fields like film and music are slowly beginning to formalise, drawing investment, shaping policy, and building structured economies around creativity, theatre lags behind.
Not because the talent isn’t there, but because the system isn’t. So, where does that leave us?
Somewhere, groping in the dark between passion and infrastructure. Somewhere between sector and industry. Thankfully, we’re not starting from scratch. We already have the sparks, we just need the fuel to build the fire. Maybe the shift begins with mapping out what’s working, strengthening the institutions we already have, and pushing for policy that sees theatre not just as culture, but as an economy.
Theatre can be a significant economic driver, creating jobs not only for performers but also for technicians, designers, marketers, and administrators. It can also boost local economies through increased tourism and spending in related sectors like hospitality and transportation. Crucially, this transition requires a commitment to documenting our work—archiving performances, scripts, and production processes—to ensure that our history is preserved and that future generations can learn and build upon our achievements. Maybe it starts with dreaming bigger, but also organizing smarter. Until then, the curtains rise.
We perform. We create. We hustle.
But we deserve more.
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