Recap of the hilarious Boomerang play showcased at Nakuru players' theatre
Awinja slaps Otongolo for trying to defy her plans of making him chief and insisting of wanting to pursue music during the Boomerang play.
The Nakuru Players Theatre was abuzz over the weekend, packed with both children and adults who were treated to a one-of-a-kind theatrical experience.
The show, inspired by Luo folklore, captivated the audience with its engaging and humorous narrative, leaving the crowd in stitches and ending with an unexpected twist.
Titled Boomerang, the play follows the journey of an ambitious and vengeful queen who is determined to oust her husband, the chief- Denis Maina, to secure the chiefdom of Hera for her son.
She plans to see her son, Otongolo, take the throne instead of the chief's firstborn son, Aluko played by Kevin Barasa, who is the son of the chief's first late wife.
Sylvia Wanja delivers a powerful performance as Awinja, the second wife, the evil queen who will stop at nothing to see her son succeed.
Her character is a master manipulator, using deceit and seduction to further her agenda.
In her quest to remove Aluko, she enlists the help of Nyatingilu, an assistant elder played by Michael Kamunya, convincing him that she will marry him in exchange for his assistance in killing the chief.
When he tries to refuse this, she accuses him of defiling her son’s wife-to-be, and soon women in the whole community come out to add to the allegations.
The cast of Boomerang play pose after the show in Nakuru Players theatre on November 17, 2024.
With this fabricated charge, the queen secures a punishment for Nyatingilu, which the chief, under her influence, allows. The verdict is brutal and Nyatingilu’s eyes are to be plucked out, his hands cut off, his osimbo (genitalia) chopped off, and he is to be buried alive.
Behind the scenes, the queen is also stirring up conflict within the chiefdom, pitting people against each other in a bid to create a loyal faction that would support her and her son’s rise to power.
However, she remains unaware that the entire chiefdom is quietly conspiring against her.
As the chief falls ill, Awinja fails to administer the proper medication and care. Meanwhile, she continues to push for her son Otongolo to be crowned the next chief.
Otongolo, however, shows no interest in the throne, declaring that his dreams are bigger than ruling the chiefdom—he wants to pursue a music career instead.
On the other hand, Awinja dismisses Aluko, the chief’s firstborn from his first wife, as unfit to rule. She criticizes him for having left the chiefdom to live abroad, but the chief counters that Aluko’s time abroad has brought significant change and progress to the chiefdom.
The Chief fakes his death and Aluko his disappearance which Awinja takes as a sign to coronate Otongolo.
As the ceremony unfolds, and just as everyone expects Otongolo to be crowned, Aluko, who has been hiding in plain sight, suddenly appears. He takes his place just before the senior elder, ready to receive the blessings to become the next chief.
A moment that leaves the queen stunned and furious, as she had expected her son to take the throne.
In a further twist of events, the chief makes a dramatic return and reveals himself in front of the gathered crowd, who is in disbelief. In the end, the chief, with the support of the people and the senior elders, banishes the queen for her treachery, ending her plot to seize power.
In a nutshell, the play explores themes of power, betrayal, and the lengths to which people will go to secure their interests.
It landed exceptionally well with the audience particularly the change of scenes which was seamless and the tension built throughout the performance was something to look out for.