‘We’re just trying to survive’: Theatre groups struggle after Nakuru Players Theatre shutdown

The closure of the Nakuru Players Theatre earlier this year left a significant void in the region's performing arts scene. It disrupted the operations of travelling theatre groups and denied thousands of students access to live literary experiences.

Collins Matheri, the director of Skynet Theatre Productions and a Nakuru-based filmmaker, says that the theatre had long served as their creative home, not only as a performance venue, but also as a rehearsal space.

“We used to be based at the theatre because that is where we rehearsed and hosted students. When the disputes began, we had to move to new locations and steer clear of the theatre. We’d host five to six performances per term and pay for the space, despite its capacity being only 200," he says.

As uncertainty around the theatre’s operations grew, Matheri decided to relocate. He moved his shows to the larger but significantly more expensive Lohana and YMCA halls.

"Although it is costly, the new venue can accommodate over 1,000 students at a time, which enables me to bring all of the schools together for one performance instead of spreading them across multiple shows," he explains.

However, this shift came with steep financial challenges, and his expenses, which previously accounted for 20 to 30 percent of his budget, have now risen to almost 60 percent, primarily due to the cost of the hall.

“As challenging as it is, we are looking at it positively and are already considering how we can upscale and not look back,” he says.

Although the transition to a single-term hosting model was intended to streamline operations, the novelty of the idea and the need to accommodate more schools meant that Matheri had to hold two sessions this term. Despite the increased costs, he has deliberately chosen not to increase charges for schools.

"If I increase my charges, I risk losing customers because students and most schools don’t always have big budgets, and I have to work around that," he says.

"I’m thinking like a businessman to figure out how to keep going. The idea is to make it sustainable while continuing to deliver value to schools and support my artists,’ he explains.

“Now that we’ve moved further east, access has become a challenge for some students. But, thanks to the relationships we’ve built up over time, they’re still showing up, even if it’s harder,” he says.

“We are currently in a period of reinvention. But first, we must survive. We’re dealing with the situation as it comes. As we move forward, we’re trying to forge a sustainable model for us, the artists and the schools.”