Echoes of the Past: Reflecting on Tom Mboya’s Legacy and Its Relevance Today

A comprehensive review of Tom Mboya, a play by Too Early for Birds - August 2024

Tom Mboya, a towering figure among Kenya's founding fathers, was tragically assassinated at the age of 38, just a few years after Kenya gained independence.
Too Early for Birds brought his remarkable story to life in a gripping narrative that honoured his legacy. This rerun of the production explored not only Mboya’s life and his immense contributions but also the unresolved mystery surrounding his death. By blending history with a sharp reflection on present-day Kenya, the play became more than a retelling—it was a powerful commentary on how colonial racism, dirty politics, and societal issues from Mboya’s era still echo today. With biting humour and a renewed call for patriotism, the production was deeply relevant to the pressing challenges the nation continues to face.

A Deep Dive into the Play’s Cast, Engagement, Setup, and Venue

The cast: They oozed with talent and each actor brought something unique to the performance. Doanna’s impeccable enunciation commanded attention, while Elsaphan's flair for dramatizing even the smallest moments brought an extra layer of intensity to his role. Ywaya’s, Shivske’s and Martin’s portrayals radiated gravitas, capturing the depth and seriousness of the issues at hand. Mercy’s, Ngartia’s and Abubakar’s goofy yet endearing styles added a lightness that balanced the heavy themes of the play, while Chandni’s and Anubhav’s reporting-style delivery was sharp and engaging, offering a different pace to the performance. Nyokabi’s beautiful voice and humour injected diversity into the scenes, making their characters especially memorable. I believe Abubakar, Elsaphan, and Nyokabi stood out for their strong stage presence and unforgettable performances. 

The engagement: From the start, the audience was involved, with interactive short-answer questions about their knowledge of the historical events. The humour was rated 18+ and highly relevant to current politics, with clever references to Kenyan influencers like Ombachi and Georgie. Socially relevant songs like Anguka Nayo and Who Can Mbogo Me were used creatively as props, adding a modern touch to the storytelling. The production even included some dancing, with the talented director, Mugambi, stepping onto the stage to join in, and beautiful singing by a choir group that emphasized the sombre nature of the events depicted. This blend of interactive elements and poignant performances enriched the overall experience, making the play both compelling and resonant.

The setup: The stage was lit primarily in white, red, and green against a black backdrop to symbolize the Kenyan flag. While the symbolism was clear, the overall aesthetic fell short. The actors were audible, but each word had an unfortunate echo, which was quite disappointing. The costumes were spot-on, with a hippie-like style to represent the 1950s and 60s, festive outfits during celebratory moments, and sombre black attire for more serious scenes. However, the background set was underwhelming— it was a simple wired structure displaying Tom Mboya’s old newsletters. It lacked symmetry, was barely visible to the audience, and wasn’t interacted with.

The location: The play was held at the Jain Bhavan Auditorium, a well-maintained venue, but the free seating system led to a chaotic rush to get in. In an era of digital seat booking, it’s baffling why such a system still exists. Java House had set up a pop-up for food and drinks, which we could not take into the auditorium, had long lines and they were understaffed; which was unfathomably worse during the intermission. was convenient.

Now, let’s get into the meat of the play!

The play had strong themes of legacy, injustice, and the fight for Kenya’s Future

1. The Impact of Tom Mboya Himself:
   Tom Mboya’s brilliance in organizing and his deep understanding of the masses were powerfully portrayed. His youthful urgency and effectiveness in driving grassroots change drew a strong parallel to Alexander Hamilton, one of America’s founding fathers. The director emphasized this comparison by incorporating the iconic opening song from Hamilton: The Musical, which was performed by one of the actors, connecting Mboya’s legacy with that of other revolutionary leaders.

2. Colonial Whites, Their Unfairness, and the Role They Played:
   The play vividly depicted the economic and social injustices endured by Africans under colonial rule. White settlers were paid significantly more while Africans were forced to accept the lowest wages. A striking scene highlighted Tom Mboya’s personal experiences with racial discrimination, including an instance where Africans were deemed “unsanitary,” and the outrageous frisking by 40 police officers at the airport.

3. Decades Later: How We're Still Operating with the Same Type of Government:
   The play cleverly drew parallels between past and present, highlighting how, even today, we continue to see under-the-table deals and political maneuvering. For example, during Mboya’s time, the government abruptly altered the list of students sent to Bulgaria for studies. In today’s Kenya, the government’s sudden decision to have the airport managed by a foreign company echoed these same backroom deals. Despite over 60 years having passed since the Bulgaria incident, the play underscored how little has changed in terms of transparency and governance.

4. The Kenyan Revolution of Today:
   The play also tackled current issues head-on, calling out Gen-Z and addressing ongoing struggles like the cost of living crisis and rampant corruption. The familiar chant of “He must go” echoed throughout, urging the audience to reflect on how these issues still plague the nation. There was a strong call for voter registration ahead of 2027, with chants of "Viva Kenya" resonating in the theatre, reminding us of the power we hold.

5. How We Have the Power to Change It All:
   The play’s message was clear—our voices matter, and we have the power to bring about change. It was inspiring to see the young team behind this production rally for change, even incorporating a rare moment in Kenya by openly advocating for Free Palestine and Free Congo. The most powerful moment, however, was when the actors solemnly announced the names of all those who fell on June 25, 2024, during the Finance Bill protest, a poignant reminder of the impact of our collective voice and the enduring call for justice.
   
   As the curtains closed, you were left in awe of the country Kenya is and could become. The play left a lasting impression of the struggles and triumphs of a nation still growing, reminding us of the challenges we’ve overcome and the work still ahead.

   

The unanswered questions you left with:

1. Who killed Tom Mboya? 
   The second half of the play explored the deep mystery surrounding Mboya’s assassination. It presented various potential culprits, from the first family under Kenyatta’s leadership to then-Vice President Oginga Odinga, and of course, the West, whose interference in African politics was well-documented. The portrayal of each suspect was masterfully nuanced, emphasizing the motives while leaving room for doubt due to the lack of concrete evidence. Just when you’re fully immersed in piecing together the puzzle, an actor cheekily breaks the fourth wall with, “Did you think we’d give you the answer for just KSH 2,500 you paid for this ticket?”—a perfectly timed punchline that brought humour to the gravity of the moment.

2. What if Tom Mboya had done something to avoid his death that day? This section of the play was one of the most thought-provoking. Each actor offered a different theory about how Mboya might have escaped his tragic fate, suggesting that his choices—such as not entering politics or not visiting the chemist without his bodyguard—could have altered the course of history. It evoked a sense of “what if,” drawing intriguing parallels to the multiverse theory. What if there’s an alternate reality where Tom Mboya survived, Kenya’s history unfolded differently and Mboya’s leadership continued to shape the nation?

3. Why are we ALL not taught this?
   One of the most frustrating revelations from the play was how little attention this crucial chapter in Kenyan history receives in schools—particularly in international institutions like British and American curriculum schools. Instead of learning about local history, students are taught about world wars and the supposed successes of the UN in “maintaining peace.” The absence of mandatory Kenyan history education only widens the cultural divide, keeping important national stories from being widely known and appreciated.

4. What were the Indians in Kenya doing at that time, and what impact did they have on the revolution?
   A lingering question was sparked by the setting of Mboya’s assassination—at a chemist owned by a Singh family, post-independence. The play touched on the presence of Indians in Kenya, but it left me curious about their specific role in the revolution. How did the Indian community navigate the turbulent political landscape of the time, and what impact did they have on the country’s struggle for independence?

5. Why can’t this brilliant play be aired on platforms like Showmax or other streaming services?
   This play deserves a wider audience. In the same way that Hamilton reached millions through Disney+, this production should be made accessible to everyone. The brilliance of this storytelling, the historical relevance, and the performances deserve to be shared beyond the stage. Why shouldn’t Kenyans, and the world, be able to stream such an important piece of art?

6. Why isn’t there a PG version of this play for younger audiences, especially in schools?
   The youth are the future, and exposing them to plays like this could inspire a new generation of civic-minded individuals. A shortened, PG-rated version could be paired with civic education in schools, along with instructions on how to get voter cards and IDs. If young people are empowered with knowledge and a sense of responsibility, they could make a significant difference in Kenya’s future—especially in the upcoming 2027 elections.

I hope I’ve convinced you to watch this play!

The beauty of this play cannot be captured fully in this review. Its depth, its humour, its reflection on Kenya’s past and present—there’s so much more to say. The play leaves you not just entertained but moved, questioning, and hopeful about the future. It’s a piece of theatre that exudes passion for Kenya’s story, and it deserves to be experienced in all its richness.

If you’ve gotten this far into the review, you MUST buy tickets for the November 2024 show NOWWWWW!!!!

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My suggestions for improvements to the play:

1. Adjust the timing of the shows or allow food inside the venue.
   While the play was captivating, the timing posed a significant challenge. We arrived at 6:30 pm, were seated by 7:30 pm, and the play finally began around 8 pm. The intermission didn’t come until 10:15 pm, and the show wrapped up at 12:30 am. By then, I was uncomfortably hungry, having missed dinner. The Java Coffee House pop-up at the venue was overwhelmed before the play and during intermission, leaving many attendees, including myself, without food. Unfortunately, the AC was also switched off during intermission, adding to the discomfort as we were left hungry and sweating. If future performances are scheduled in the evening, better access to food and drink inside the theatre, or shorter playtimes, should be considered to accommodate the audience's needs.

2. Updating the sound and stage design would enhance the overall experience.
   As mentioned earlier, the sound system left much to be desired. The echo that followed every line distracted from the actors' performances, taking away from the immersion. Additionally, the stage design felt underwhelming—it lacked interactivity and depth, and the set’s asymmetry made it visually unappealing. The sparse design, coupled with small details that weren’t visible to the audience, left the stage feeling plain. A more dynamic and engaging stage setup could make a significant difference in drawing the audience further into the world of the play.

3. Reconsider the casting of Indian actors in this particular play.
   This suggestion may be controversial, but I feel it’s worth mentioning. While theatre is an inclusive space that allows actors of any race to portray characters, it felt somewhat out of place in a play centred on Kenya’s history, especially given the complex role of Indians during that period. The casting choices raised questions for me, as it’s a sensitive subject that is still relevant today. Additionally, the actors’ occasional mispronunciation of Mboya’s name as “Boya,” along with noticeable accents when speaking Kiswahili, unintentionally detracted from the authenticity of the production. These details, while minor, could have been handled with more care to preserve the gravity of the story.