From Kenya's most celebrated writer Ngugi Wa Thiong'o and Ngugi Wa Mirii, Ngaahika Ndeenda/I'll Marry When I Want is coming to the Kenya National Theatre stage for the first time ever over 40 years after it was written. Banned when it was first presented, this iconic play was a milestone in African literature and theatre and will be presented in English and Kikuyu at different performances.
Brought to you by the award-winning director and producers of Sarafina, Grease and Jesus Christ Superstar and starring some of Kenya's best-known actors, including Martin Githinji, Angel Waruinge, Nice Githinji and Annestella, Ngaahika Neenda/ I'll Marry When I Want makes it's grand return to the stage from 12th to 29th May.
We caught up with Nairobi Performing Arts Studio founder Stuart Nash and he let us in on what it took to bring Ngaahika Ndeenda/I'll Marry When I Want back to the stage after 32 years, the casting process and what to expect.

KB: After More than three decades, Ngaahika Ndeenda/I'll Marry When I Want makes a victorious return to the stage. Why did Nairobi Performing Arts Studio (NPAS) choose this specific work by Ngũgĩ wa Thiong'o to showcase to theatre audiences in Kenya?
I was looking for a show to direct after Sarafina and as artists we are always looking for something to 'top' our last production. A journalist friend of mine, Margaretta Wa Gacheru, suggested I look at the play. I read it and thought it was brilliant so we decided on doing it without even considering any other shows.
KB: The play explores themes of neo-colonialism, the ills of hyper capitalism and religious indoctrination.  Would you say this is a reflection of contemporary Kenya and not much has changed since 1977 when the play was first showcased?
I feel that the themes explored in the play are universal. They reflect what was and is happening across the world in 1977 and today. One only has to look at Russia, North Korea and the US & Europe for capitalism to see the themes of the play are still very much alive today. Indeed, I was listening to a UK radio station a couple of weeks ago and they were saying that the gap between rich and poor in the UK is the largest it's even been. That is why, I believe, this play has stood the test of time and will continue to do so. In fact, an audience member came up to me after one of the shows last week and asked me which themes we had introduced to make it more modern and I told him none, they are all in the original play but he didn't believe me!

KB: Take us through the production of Ngaahika Ndeenda/I'll Marry When I Want. How long did it take to conceptualize the NPAS interpretation of this play and what was the casting process like?
We started rehearsing at the beginning of February and I had a pretty good idea of how I imagined the set would appear on the stage. Then we refined the blocking and motivation of the characters throughout the rehearsal process over the next couple of months into what you see on the stage now. As I'm not Kenyan or Kikuyu I wanted to cast very experienced actors in the principal roles so they would bring their experience and professionalism to the characters and make them live on the stage. Having said that, the actor who plays Helen is actually still a student at Kenyatta University so whoever is best at the role will get the part.

KB: Does the NPAS interpretation of this play push the envelope for a 2022 audience or does it remain true to its origin?
We've remained true to the original whilst introducing a few modern elements, for example, adding the live band, splitting the stage into 2 acting areas (both of which were not in the original play) and some of the choreography is a fusion of traditional dancing with some modern moves to make it feel like the original but also relatable to a modern audience at the same time.
KB: What was Ngugi's reception like when NPAS approached him with the proposal of bringing back Ngaahika Ndeenda/I'll Marry When I Want to the stage?
We received a personal video from Prof Ngugi in which he says he is very happy we are reviving the play and endorsing our production so that was wonderful to receive a video like that - there's nothing higher than an endorsement from the author.
KB: What would you say about the status of performing arts in Kenya? Is it emerging or regressing or are we witnessing a renaissance? What can be done to make the performing arts better in Kenya?
In the short time I've been in Kenya I've noticed that the performing arts in Kenya is growing at such a fast pace and parents seem to be more willing for their children to pursue a career in the performing arts as well. There are number of really top notch production companies producing very high quality productions throughout the year.
KB: Can we expect to see more of Ngugi's work on stage from NPAS?
Yes, definitely! We have already had discussions with the publisher to bring other Ngugi plays to the KNT stage as well as works from other Kenyan writers including Francis Imbuga's Aminata.