"Mwelusi is speaking against an oppressive system, and even though he has few lines, he is a lead character. I want to honour Albert Ojwang', Rex Maasai, and the many others who were victims of police brutality," Gadwill says.
As he reads Mwelusi's lines, his appreciation for art as a prophetic and activist tool deepens.
That despite Professor Kithaka penning the book in 2001, its themes are still relevant. Gadwill observes that as political systems change, their characteristics of oppression and suppression remain.
"We have been able to transport ourselves to 2001 while speaking about the same things. It goes to show that even as we go to the streets to protest, we also need to go back to literature," he says.
Gadwill had never turned the pages of Kifo Kisimani before he auditioned for Mwelusi.
He has also never watched previous stage performances, to avoid influence from other Mwelusis and to give it his authentic spin.
He wanted his performance to express the current political happenings in the country.
The Kalasha Award winner has acted in several stage plays, including 'Sarafina,' 'Betrayal in the City,' 'Antigone,' 'Mgonjwa Mwitu,' and 'Vienyeji Pro Max.'
Even as the stage is his forte, he's aware of the high audience expectations in a much-loved, powerful art piece, 'Kifo Kisimani,' and he fuels it with his artistry.
In May, he was the assistant director in Ngugi wa Thiong'o and Micere Mugo's 'The Trial of Dedan Kimathi' at the Kenya National Theatre.
"There's no time as beautiful as now for these kinds of plays. The audience is already angry at the governance issues; hence, I am only projecting their feelings as an actor," he says.
Playing Mwelusi has also added a new layer of anger and approach towards his speaking truth to power.
The role holds a personal meaning to him as an actor and Kenyan citizen.
"Art is a powerful medium to speak against oppression. I am here, speaking against systemic oppression in this country through Mwelusi," he says.