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The East African : Aug 11th 2014
The EastAfrican MAGAZINE AUGUST 9-15,2014 theat≥e Playw≥ight netwo≥k is finally back A platfo≥m will be c≥eated th≥ough which theat≥e sc≥ipts a≥e ≥eviewed by p≥ofessionals befo≥e they a≥e staged, w≥ites BAMUTURAKI MUSINGUZI V Kansiime b≥ings the house down in Da≥ show By CAROLINE ULIWA Special Correspondent I nside a hotel in Da≥ es Salaam whose lobby sports a photo mural of a conversation between founding father of the nation Julius Nyerere and former Cuban leader Fidel Castro; we are invited to enter and watch a comedy show being staged by some of the finest comedians in East Africa. The sta≥ of the night is Ugandan queen of comedy Anne Kansiime, ushe≥ed in by Emmanuel Mathias aka MC Pilipili f≥om Tanzania and F≥ed Omondi f≥om Kenya. The August 2 event, which was slated fo≥ between 7pm and 11pm cost Tsh90,000 ($54.3) pe≥ pe≥son and Tsh700,000 ($422) pe≥ table of about seven people. Kansiime has become a legend has partnered with the Uganda National Culture Centre to revive the New Playwrights Network through which theatre scripts are reviewed by fellow professionals before they are staged. “With the support of Fourth T Bin New York in the US, we are trying to grow a culture of creating new theatrical work. To this end, Theatre Factory offers to fully produce interesting and provocative theatre pieces for exposure and testing by a select audience,” Theatre Factory team leader, Philip Luswata-Kafuluma told The EastAfrican. “This offers writers the rare opportunity to have their works in progress reviewed heatre Factory, an independent media, theatre and film company based in Kampala, by their peers and industry professionals. They can then choose to develop them further or simply reject the advice. We also hope that through this, we are able to expose new competitive works to interested theatre producers in Uganda as the writers are free to write in whatever language they fancy,” Luswata-Kafuluma added. The EastAfrican attended the reading of a work in progress titled The Marriage Chronicles by Tebandeke Samuel Anthony Lutaaya at the National Theatre on July 23, The performance, with minimum action and movement, was by Esther Tebandeke and Tonny Muwangala. The play, to be published next year, tackles the issue of male infertility and its effects on marriage. The Marriage Chronicles directed by the award winning Above: Tebandeke (left) and Tonny Muwangala at the reading of “The marriage chronicles” at the National Theatre in Kampala. Below: Scriptwriter Philip LuswataKafuluma. Pictures: Morgan Mbabazi suppo≥t The Royal Court, theatre of London first became involved with artistes in Uganda in 1992. Many Royal Court playwrights and directors ran workshops in Uganda through the British Council in Kampala. In 2001, six Ugandan writers developed their plays at the Royal Court in London at an international residency. A number of Ugandan playwrights have attended the international residency, including Luswata-Kafuluma playwright, Deborah Asiimwe is a domestic drama that focuses on the lives of Maggie and John who have been married for 10 years but are childless as a result of John’s infertility. It was the second play to be read by the network. The first was Quite And We Hear by Luswata-Kafuluma, read in May. The Royal Court with the facilitation of the British Council first became involved with artistes in Uganda in 1992 theatre of London and many Royal Court playwrights and directors ran workshops in Uganda through the British Council in Kampala. It was through this initiative that the National Playwright Network (NPN) was created ‘‘ in Kampala to organise writing workshops. In 2001, six Ugandan writers developed their plays at the Royal Court in London at an international residency. A number of Ugandan playwrights have attended the international residency, including Luswata-Kafuluma, whose short plays were presented at two international seasons at the Royal Court in London. For over 50 years, the Royal Court has premiered new plays and helped to launch the careers of playwrights. It runs the Royal Court International Residency and travels throughout the world to work with emerging writers. Theatre Factory says the Royal Court’s support of NPN ended with a change of directors at the British Council in Kampala in the mid-2000. As to the importance of With the support of Fourth Bin New York in the US, we are trying to grow a culture of creating new theatrical work. To this end, Theatre Factory offers to fully produce interesting and provocative theatre pieces for exposure and testing by a select audience.” Philip Luswata-Kafuluma, Theatre Factory team leader the revived New Playwrights Network projects, Luswata-Kafuluma noted: “This revival is following the same idea as the original NPN. This offers an opportunity for us to see new theatre pieces from playwrights who may not have the resources to produce themselves. We get to see new work, and win back our lost audiences by provoking them with fresh conversations.” of so≥ts in comedy indust≥y. He≥ style, which featu≥es sata≥ical take o≠ of a Ugandan accent, has helped he≥ make a name fo≥ he≥self in the indust≥y. The event was sponso≥ed by Radio 5, TV1, Mwananchi Communications, 365 Konnect, Kenya Ai≥ways, Jamii Fo≥ums, Resolution Insu≥ance & LowMus P≥ope≥ty Management. The fi≥st comedian on stage was Dogo Pepe, pa≥t of Tanzanian comedian Evans Bukuku’s comedy club. Despite getting the audience to laugh, he has to wo≥k ha≥de≥ on his ≥epe≥toi≥e. F≥ed Omondi came on stage a≥ound 10:30pm with so much pomp that even those who we≥e showing signs of bo≥edom we≥e jolted back into ≥eality. Omondi walked onto the stage, looked a≥ound and ≥ealised the audience was not fully attentive and told the MC he was ≥etu≥ning to backstage and would not ≥etu≥n until he got a p≥ope≥ int≥oduction and applause f≥om the audience, befit a handsome man like him. When Kansiime (pictu≥ed below) came on stage, the audience was ti≥ed, but she gave a g≥eat show. F≥om the sta≥t, she was full of ene≥gy. He≥ kind of humou≥ is intelligent in that she doesn’t cajole you to laugh ≥athe≥ like an Af≥ican woman; gives you pu≥e sass. She came on stage and took o≠ he≥ high heels and told us boldly she cannot believe we left home and paid money to attend an event just to laugh.He≥ jokes a≥e clean and family o≥iented with Af≥ican humuo≥. So I will say ka≥ibu tena Kansiime, it was a night of laughte≥ indeed.
Aug 4th 2014
Aug 18th 2014