The Kenya International Theatre Festival (Kitfest) has evolved from a local showcase into a global stage. This year’s edition, marking its tenth anniversary, attracted over 50 performances from 22 countries, a scale that affirms festival director Kevin Kahuro’s conviction that Kenya is no longer a peripheral player in the global theatre movement.
With an open call for entries from across the world, Kitfest was inundated with applications, far more than it could host.
“South Africa alone sent in 40 submissions,” Kevin notes, “but only four were accepted due to space limitations.”
Participating artists cover their own travel costs, while Kitfest provides accommodation and transport during the festival, a gesture that has earned it admiration across the continent.
This year’s theme, “A Decade of Connecting Cultures,” paid tribute to the festival’s journey since its founding. Besides Kenya and South Africa, the 2025 edition brought together performers from Egypt, Sri Lanka, China, Congo, Slovakia, Georgia, Botswana, Greece, Denmark, Switzerland, and Germany, and several others.
It was a celebration of diversity and endurance, with performances ranging from avant-garde solo acts to full-length productions exploring identity, conflict, and liberation.
Beyond the numbers, Kitfest 2025 demonstrated a sharpened sense of purpose. Over 12 days, Nairobi’s stages pulsed with energy, from street performances and dance to masterclasses designed to professionalise local practice.
Workshops on theatre law, cross-border collaborations, and performance techniques reflected the festival’s intent to elevate artistry through knowledge sharing.
A poignant highlight was the tribute to the late Ngũgĩ wa Thiong’o, whose legacy framed this year’s edition. A one-hour documentary and candlelight ceremony honoured his role in African theatre.
Equally innovative was the introduction of Sauti za Boma (Tales from Home), an immersive audio installation that opened new avenues for accessibility by allowing the visually impaired to experience radio theatre. Members of the Kenya Society for the Blind attended a special session, reinforcing Kitfest’s inclusive spirit.
Organisationally, the festival stood out for its professionalism; tight scheduling, seamless communication, and disciplined stage management underscored its maturity. Yet, as with any growing artistic institution, it faced uneven performances.
While standout productions such as The Trial of Dedan Kimathi by Nairobi Performing Arts drew acclaim, others suffered from weak scripting or direction.
From South Africa’s Inkapa Creative Art House came Don’t Shoot, a gripping reimagining of escape and betrayal during slavery. The troupe’s use of Kenyan street slang delighted audiences and showcased cross-cultural fluency.
In contrast, Botswana’s Dikgang Tsa Bagolo: Ngwana Mme struggled to match its ambition, despite an intriguing premise rooted in the Gaborone Raids.
Kenyan productions, many drawn from the County Theatre Fiesta (CTF) circuit, reflected a new generational voice. Nakuru’s A Bunch of Idiots staged What If, a witty, self-aware critique of artistic struggle in modern Kenya, resonating strongly with young audiences.
Kitfest’s broader ecosystem now comprises four interlinked pillars: the main festival, the Kenya Theatre Awards (KTA), the CTF, and plans for a permanent performance space in Nairobi.
The CTF, supported by the Kenya Cultural Centre, has become a talent incubator feeding into Kitfest’s national stage, ensuring a sustainable creative pipeline.
For Kevin, the festival’s founder, the journey has been both personal and pioneering. His passion for theatre dates back to childhood, inspired by Redykyulass comedy sketches and honed through formal training in Theatre and Film at Kenyatta University.
Despite early doubts from insiders, he has steered Kitfest from a fledgling idea into a Sh50million enterprise that commands international attention, mostly without external funding.
Still, challenges persist. Audience composition remains narrow, with theatres often filled by students and practitioners rather than the broader public or corporate patrons.
Opening night attendance was thin, highlighting the need for deeper audience development and strategic marketing to bridge theatre’s gap with mainstream culture.
Yet, Kitfest’s trajectory is unmistakable. In a decade, it has transformed from a bold experiment into a continental hub where artistic exchange and institutional growth intersect.
As the curtains close on its tenth edition, one truth stands out: Kenyan theatre has found its global footing — and its future now depends on how firmly it can hold that stage.
