Nairobi theatre scene trembled with haunting echoes of blind faith, manipulation, and death reflections of real-life horrors that shocked the nation.
Two deeply provocative musical plays, ‘In the Name of the Father’ by Kenda Creatives and ‘Against the Tide’ by Son of Man Theatre Productions, confronted audiences with the dark side of religion.
At the heart of both performances was a brutal, unflinching look at cultism, mass manipulation, and exploitation in the name of God, dramatisations inspired by the chilling Shakahola massacre that shook Kenya in 2023.
Staged at Woodcreek School, ‘In the Name of the Father’ opened with a tender yet tense moment between siblings. Juma (William Anthony) urges his sister Neema (Kirsten Gakii) to take her ailing child to the hospital. Neema, consumed by faith in the enigmatic Pastor Amos (Shatem Omar), refuses, believing only divine healing can help.
But Pastor Amos is no saint. A master manipulator armed with scripture and song, he fleeces his congregation for their last shilling, urging them to abandon modern life and retreat into the forest, where he claims salvation awaits.
The forest soon turns into a nightmare of starvation and death.
In one harrowing scene, Pastor Amos, once a taxi driver saved from a car crash, thanks God for calling him to ministry before phoning clients about the availability of human organs from the forest.
Soon after, he chillingly announces that for souls to ascend, children must die first.
The tension climaxes as Neema, under the crimson glow of the stage, is told to kill her own child. With a haunting soundtrack by Gilda Odongo and Beth Odie swelling, fellow congregant Anita (Namalwa Njoroge) begs her to stop.
Neema hesitates, but ultimately obeys, leaving the audience in stunned silence.
“This wasn’t just theatre, it was an emotional exorcism,” said Marichu Muturi, the play’s director and scriptwriter.
A fourth-year student at KCA University and founder of Kenda Creatives, Marichu dug deep into the psychology of cult leaders while researching the Shakahola massacre.
“I kept wondering, what really goes on in the mind of someone like Mackenzie?” he said.
The music, composed by Marichu and Ben Spencer, blended hymns with unsettling melodies to strike a balance between horror and reflection.
“We needed the audience to connect emotionally and also breathe between the heavy scenes,” said Marichu.
Meanwhile, at Ukumbi Mdogo, Against the Tide tackled similar themes with even more sinister twists.
Written by Mavin Kibicho, nominated for Best Playwright at the Kenya Theatre Awards, the play introduced Priest Saul the Saint (Victor Nyaga), a so-called man of God running a human organ trafficking ring.
He is aided by Sister Ann (Ivy Nyokabi), a nun who once sought his help to bear a child. Her desperate wish led her to steal a baby from Rehab (Naomi Wairimu), a sex worker traumatised by years of abuse, including from her own father.
The lines between sin and sanctity blurred further as the play revealed the priest’s crimes beneath his righteous facade.
“Religion has long been a tool for control, even death,” said Mavin. “We wanted to expose how that same narrative has been twisted by not just cults, but even politicians.”
These bold productions did more than entertain; they held up a mirror to society. In a nation where blind faith has led to tragedy, this weekend’s performances were not just art, they were a warning.
With more religion-themed plays like ‘Crucifixion’ by Eugenia Arts Centre and ‘Atúmwo Aa Jesu’, a Kikuyu comedy by Mastercut Entertainment, lined up for performance, theatre is fast becoming a powerful voice in confronting Kenya’s darkest truths.
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