Kenyan playwright Francis Imbuga’s Betrayal in the City returns: A drama of post-colonial violence

directed and produced by Stuart Nash; March 2-12 at the Kenya National Theatre.

On the eve of the 60th anniversary of Kenyan independence, Francis Imbuga betrayal in the city 46 years after its last production, Kenya is back at the National Theatre.

Imbuga (1947–2012), one of Kenya’s most important playwrights, was part of the “second generation” of post-independence writers. He grew up at the end of the brutal British occupation and after independence, when the Kenyan bourgeoisie demonstrated its inability to meet the democratic, social and economic aspirations of workers and peasants and increasingly positioned itself as a new tool of imperialism. exposed from

betrayal in the city (1976) is one of his most popular plays, which has long been required reading in the country’s secondary education system.

The revival was directed by British expatriate, Stuart Nash, whose recent productions have indicated a healthy interest in Kenya’s post-independence politics. The popularity of Ngugi wa Thiong’o and Ngugi wa Mirii’s revivals i will marry when i want testified to the enduring relevance of its themes of exploitation, inequality and betrayal of the struggle against imperialism by the post-independence elite. Nash then mastinjiAdaptation of Moliere’s Classic Miser (1668), set in a similar country to Kenya, troubled by a money-greedy dictator.

Francis Imbuga’s early preoccupation with family relationships led him to consider broader social questions. “Eventually,” he said, “the question of how to influence such relationships turned out to be crucial. And in reflecting on this question, outside influences such as politics, religion, and even economics appeared to be at the center of this reflection.” And so I began to think seriously about the effects of politics on the drama of life.”

Betrayal Set in “Kafira”. The fictional country is ruled by Jomo Kenyatta (c. 1897–1978), the first president of independent Kenya, in what is recognized as a Western-backed totalitarian government, although Kafira resembles many newly-independent African countries.

Nash makes Kenya the obvious setting. Unfortunately, in doing so, he introduces new comedy business and promptly pokes fun at contemporary Kenyan politics. This prolongs the play for over three hours and often dilutes its more powerful satirical content.

Kafira/Kenya is formally independent, but has not met the demands of its common people. Under the dictatorship of the Boss (Raymond Ofula), the economy is still dominated by foreign capital, citizens are jailed for asserting freedom of expression, strikes are violently suppressed and student demonstrations are suppressed. But firing is done. The corrupt ruling elite is ruining the state.

Nina (Wakio Mazenge) and Doga (Omondi Ngota) grieve for their son, Adika, who was killed during anti-government protests. His grave has been desecrated, probably by his killer, preventing a traditional burial ceremony.

His other son, university student Jasper (Francis Ouma Faiz), has gone insane after Adika’s murder (here in a long scene). Nina and Doga, eager to get him out of the way, fail to realize that Jasper is telling them that he killed his brother’s killer after a scuffle. After confessing, he was jailed.