By Asnath Agatha
Last weekend, the stage at WoodCreek School vibrated with the energy of Apartment Dabo 54, a compelling new play brought to life by the incredibly talented students of KCA University.
The setting for Apartment Dabo 54 is Apartment Dabo 54 itself, more specifically the relocated Bar 1963, now finding its footing in the dimly-lit basement. The name ‘1963 Bar” carries a significant weight, a nod to the owner, the charismatic Meja Triple G (powerfully portrayed by Ndiangui Muya), who proudly served in the army around that pivotal year in Kenyan history. For the residents, the bar was more than just a base; it was a rooftop landmark, imbued with a sense of legacy and community spirit. 
This once-beloved establishment, a rooftop fixture since the apartment’s construction, has been unceremoniously forced downstairs, a stark symbol of the landlord’s disconnect.
Among those navigating this forced relocation are Shiku (Tamar Muthama), a loyal employee, and Meja Junior (Timothy Wachira), Meja Triple G’s son. Adding a layer of poignant tension is the budding romance between Meja Junior and Achi Babi (Prudence Makena) – a relationship made all the more difficult by the fact that Achi Babi is the daughter of the ruthless Landlord (Mtemi Dominic), the very mkora behind their displacement, aided by the seemingly compliant Caretaker (Jacky Mungai). Adding to the residents’ woes, characters like Hezbon (Calvine Jacob) are facing direct eviction threats, not only due to the exorbitant elevator fee but also a tripling of the rent, demanding immediate payment within the first week of the month.
The play unfolds against the backdrop of the Landlord’s escalating greed. The eviction of Bar 1963 from its cherished rooftop to make way for a lucrative deal with an overseas big data company is a particularly cruel blow. This injustice is further fuelled by the petty demand for kitu kidogo (bribes) to use essential services like the elevator, pushing residents, including the Tenant (Juliet Nduati), to their wits end. It is within the relocated Bar 1963 that the young residents – including Achi, Carol (Kira), Hezbon, and the Tenant (Juliet Nduati) – come to a powerful realisation of the extent of the Landlord’s oppression. Recognising the injustice, they harness the power of social media as a tool for revolution, courageously shedding light on their plight- even when the desperate Landlord resorts to bringing a mob to intimidate them.
By opening the play in the basement, amidst the forced relocation of Bar 1963, the students establish the high stakes. This isn’t just about rent; it’s about the erosion of community, the displacement of history, and the burgeoning fight to get back their space and respect.
Written and directed by the talented Ndiangui Muya, and presented by Chombo cha Sanaa collective, the play immediately immerses us in the one-upping and subsequent fallout from greed within a social set-up.
The play pointedly asks: can the resilient spirit of a once-rooftop icon, now battling in the basement, and the love caught in the crossfire of greed, ignite a revolution that will not be silenced? Apartment Dabo 54 is not just a play; it’s a powerful declaration echoing through Kenya’s ever-evolving landscape, a testament to the vibrant talent and unwavering voice emerging from KCA University.
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