“… possibly the best show at the 11th Edition of the Kampala International Theatre Festival.”
Oops, did I just say that? Yes!!! And guys don’t you stone me for it. It’s truly what I think haha. Laughs and runs away… (Be warned! This blog is about to get personal!)
But let’s face it. The show’s narrative style is something to reckon.
In this stage play, ‘storytellers Mark Wabwire and Allan Wasike delve into the political and social dynamics of a land once ruled by Big Sugar, specifically in the kingdom of Mumia Aukah. Through their performance, they explore the universal theme of power struggles and the quest for status in every level of government and bureaucracy.
The narrative exposes the inherent desire of individuals, mostly men, to surpass others and become ‘bigger’ in stature, revealing the intricate web of power play and social hierarchy that exists in every village, town, city and county in Kenya.’
But is it in Kenya only? Certainly not! Much as this is a Kenyan narrative, for me the events were unveiling in a ‘Sugar Plantation Community’ and in my mind, the characters were residents of community like Uganda’s Lugazi, and somehow connected to Jinja and Iganga districts. Big Sugar Towns. Nah?
… Here’s how everything played in my mind…
Shibale was a vibrant community – financially marginalized, but with the most industrious residents. I enjoyed Shibale Town. Characters like Kevo Bright Mkwano, Kyogyo, and others, I’m not even sure I spelled that right, but, what makes the narrative even more intriguing is how the storytellers narrate in turns, each giving intrinsic detail about their characters, weaving a web of rich, authentic and larger than life persona. These, one could say, are tangible, they are real because while Mark and Allan narrate, you cease to see them except for the nicely woven lines and music placed in the sweetest spots, allowing them to break the forth wall.
The audience is in two places at the same time. In this modern arena, listening to the story-tellers and enjoying the performance of a live band, whose music is specific to the ears of the audience. Imagine this narrative had credits to Jose Chameleon, and the audience had the opportunity vibe along. Because of-course, a Ugandan audience would relate very well with Jose Chameleon. Come-on, see that? Sweet!
… Herbert Nkera, an audience member, had this to say about the play; ”
“The show was captivating and incredibly enjoyable. The jokes landed effortlessly, drawing laughter from the audience and creating a lively atmosphere. Their ability to break the fourth wall was a brilliant choice, perfectly suited to the interactive and informal nature of the theatre style they employed.
What stood out most for me was the storytelling. They masterfully ushered us into their world, making us feel as if we were right there in Shibale. The seamless blend of stand-up comedy which felt like our everyday pastors we see on our roads spreading the gospel, we were their sheep and they served us well, narrative, and musical interludes added layers to the performance, making it not just a show but an immersive experience. The music, serving as interludes, amplified the mood and gave the performance a rhythmic flow that kept the audience engaged throughout.” – Herbert Nkera
The show starts with band music (you know those 80’s 90’s tunes that you listen to sometimes and go like, ‘yeah, our ancestors were really gifted. What kind of art are we making these days?) – yeah, that kind of music, intro of the narrators (by the way, it doesn’t feel like a speech), and then the play, in the most dramatic, energy packed and interesting style. Then the painting of the little town, let me take you along, here’s a few lines…
… Now for those of you who have never been to Shibale, let me paint for you a small iconic image of this town.’
Then the detail on Shibale’s location are spilled, somewhere along the Kakamega highway, opposite the Mumianzi Sugar Factory.
… All the money made in the Mumianzi sugar factory, legally, illegally and otherwise was withdrawn and spent in Shibale!’
I could go on and on, but we visit and see everything in Shibale. From the Sugar factory, the market days, the vendors, the barber shops, the brew sellers and right, into the lives of the town’s residents. Moreover, we don’t just see the characters on the surface. We really see them. Their flaws, strengths, habits, aspirations, thought patterns, what can one say. And the subject, the themes, all as powerful, and yet, no cringing, no tears, but still able to draw the audience in psychologically, emotionally and in every sense. Powerful. Very powerful… There are no stage or scenic design changes, no external factors to which we could divert our attention and give a biased perspectives, except for the worthy compliment, ‘Good story-telling!’
Lest I be biased, but this was the most powerful performance /show/ presentation/ narration. However you call it, that showed at this year’s KITF. – What is the point? That if the narrators see this, they pinch themselves on arm and say “‘Auch!’ it seems we did a good job!” and if you were in the audience and think I’m crediting this play too much? Leave a comment. I would like to know your opinion. Or, if you are another creative that had work and think I’m downplaying your piece? No, I am not. This is where I am now, in this mental and physical space, here and now. Maybe tomorrow I’ll think I served you unjustly. Regardless, everything at the festival was worth showing, and I enjoyed it all very much. This was just my personal favorite.
And in conclusion, Multimedia Artist Santos Mutebi had to say this about The Big Boys of Shibale
“…um, besides the language barrier, I feel like comedy has been here for a longtime. And now, its not just about making people laugh but its about industrializing a segment of entertainment which is comedy. So, these guys are pretty much innovating cultural stories, blending them into different spaces. If you’re going to be a comedian, for instance, how are you going to be a comedian, in terms of building a career, without you being innovative? And being innovative doesn’t necessarily mean that you have to use abusive language or be tribalistic, and that’s the kind of thing that we have been seeing recently. I feel like you need to put yourself in certain spaces and one of the ways these guys are being innovative is ‘beautifying, upgrading, or improving cultural stories and giving them some bit of music, dance and drama, and at the end of the day, we’re entertained. And for them, they can always perform in different spaces. They can perform in theatre, choose to shoot sitcoms, they can decide to have comedy festivals, with that kind of style. So I really feel like it was a highly innovative approach to comedy. I was entertained but as a creative, content creator, and also, a multi-talented, or multi-media artist. I hope that makes sense.” Laughs
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The Kampala International Theatre Festival (KITF) is an annual event that brings together theatre practitioners from around the world to showcase their work. The festival is platform for artists to share their stories, exchange ideas, and connect with audiences. Produced by Tebere Arts Foundation, this year’s (2024) / the 11th edition featured artists from Uganda, Germany, Rwanda, Columbia, Namibia, South Africa, Kenya among others.
THE END
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