In case you missed it or have been living under a rock, April gave us some amazing shows, both in music and theatre. Among the best were Nyashinski’s ‘Showman’, a 7-day residency held at the Carnivore grounds and the Too Early For Birds’(TEFB) play, Wangari Maathai, about the life of Kenya’s first Nobel Laureate.
Given the calibre and success of both shows, KBC Digital reached out to Abigail Arunga, who worked as a publicist for both shows and as a writer on the Wangari Maathai play, to find out how she managed to publicise two shows in the same month.
Exhausted but grateful, Abigail says she is still in disbelief.
“Wow. Ghai. That was me? We did that? In April? As in… And it’s over? I’m just… Surprised. Pleased. Grateful. I mean, outside of me, that was a great freaking weekend for the arts, and the art revolution, and the revolution,” she begins. “Inside of me… Still can’t believe it, to be honest. Like, I’ve been waiting for the Monday after the shows are over for months, and now… I have many Sundays.”
Explaining her role for both shows, she called them lifetime experiences.
“TEFB was writing, and PR, Showman was PR, just to be clear. True experiences of a lifetime, both of them, in different ways, but the thing that stood out the most for me was the incredible teamwork that went into making those events a success.
“Everyone was working to make everyone look good without focusing on self or ego. And of course… They were both really good products. I’m thankful. To be a part of that. To be a part of that history.”
‘Showman’, which began on April 4 and ran until April 12, remains one of Kenya’s most-talked-about musical concerts to date and the country’s first musical residency. Combining theatre, acrobatics and music, Nyashinski put on a 7-day show full of charm. And in true Nyashinski form, the show did make history.
On the other hand, the Wangari Maathai play told the story of one of Kenya’s most beloved icons on stage at the Jain Bhavan auditorium, with Ms Arunga serving as a writer for the play, a role she was unsure about taking.
“This is an emotional question for me. The short answer is that it was more. The long answer is, I didn’t even want to do this thing in the first place. Ironically! Ngartia (co-founder of TEFB) gently strong-armed me into compliance, in a way I have also done for him many times in our friend and writing relationship.
“He asked me once years ago, and I wasn’t ready. He asked me this time, and I thought it was much of the same, so I was absolutely planning to say no, and I was lazy, and December was coming. Then he said, ‘just come for the meeting to see what’s up and talk contracts’. The meeting, which he held at Karura, was literally the first meeting of the core writing and research team.
“So, I was dragged in kicking and screaming, but I was held so well by Storyzetu (a partner for the show) and this amazing cast and crew, that I came out singing and dancing, also, crying.”
However, it did take a lot of work, from a number of people, to create the final script and show.
“I could go on and on, and it sounds self-aggrandising, but you don’t understand the different stages that that script went through to make it what you saw,” Abigail continues. “There’s a little magic from us, the writers (Wacuka and Ras), and from the research team (Sookie, Meran, Kimemia, Muthoni), and from the editors (Ndinda and Ngartia), and from the producer (Sheba), and from the director (Kigondu), and from the actors (Akinyi, Red, Karimi, Shiviske, Diya, Charlie, Sam, Joe).”
Making reference to one of the scenes in the play that showcases Professor Maathai’s love for nature while growing up, Abigail says she is happy with the outcome.
“Our hummingbird combined into a glorious forest,” she says, smiling. “I’m very pleased. It’s beyond my wildest dreams. I’m happy what made it in, made it in.”
On the final day of the show, audience members were surprised to learn that friends of Wangari Maathai, who had been referenced throughout the play, were in attendance. Responding to whether their presence had been planned, Abigail described it as an emotional moment for everyone involved.
“Can you believe it was a gift from the universe? Of course, they were invited, and of course, we were hoping. But that they came, and came on stage after, and met the people who were playing them…,” she answers in wonder. “That they can see their friend like this. There wasn’t a dry eye on that stage. I couldn’t even look at them directly.”
She also added that the fact that Wangari’s daughter was okay with the play had also meant a lot to her as a writer.
“Personally, Wangari’s only daughter, Wanjira, came to a few shows, wrote about it, and was excited about it. That was incredible! That could have gone either way,” she says. “We said some spicy things. But she loved it. Can you believe it? She loved it.”
TEFB Wangari Maathai was on stage for one weekend, April 10 to 12, and as it so often happens after a successful run, there have been questions about a rerun. Answering that question, Abigail says it’s financial.
“We are crossing fingers, toes, ankles, knees and all joints in between that a rerun will be possible. Truly, it’s just financial. That’s what we need to figure out. The numbers must make sense, or else we can’t pay people, and there’s NO fun in that, right? So, we wait,” she answers candidly.
In the meantime, Abigail is working on a new project she calls “deep.”
“I’m currently working on PR for a project close to many actors’ and artists’ hearts: a play that addresses the connection between the artist and mental health. It’s called ‘In The Seashell’s Hum’, and it opens in three weeks, on May 15. Starring Nick Ndeda, Foi Wambui, Angela Mwandanda and Gitura Kamau. It’s deep, but in this our 2026, what isn’t?
