By
Margaretta wa Gacheru (posted 19 April 2019)
You didn’t
have to see ‘Necessary Madness’ by Hearts of Art late last year to appreciate
the sequel when it premiered this past weekend at Kenya National Theatre.
‘Necessary
Madness 2-Deliberate Contempt’ can stand on its own although it might have
enhanced one’s appreciation to know that NM1 was a social satire on corruption
and its trickle-down effect on an entire population.
In the
Kenyan case, it doesn’t just trickle-down. It infects everyone from political
elites to lowly traffic cops to reckless matatu drivers prepared to risk their
lives and those of others rather than keep their mat’s in good repair while
also obeying traffic laws.
There are a
few individuals who still value integrity, honesty and justice in NM1, like
Nessa’s lawyer mother Lesedi (Veronica Waceke) and the talented techie teen
herself (Frazier Chilande) who puts up a website meant to chart corruption
cases, including video footage of eye-witness accounts of wrong-doing.
What they
don’t expect, however, is to receive footage of Nessa’s traffic cop father
Dakarai (Peter Kawa) soliciting a bribe from a woman driver (Jacky Vidzo) who’s
rushing to get her pregnant sister to hospital. The delay leads to
complications and the sister dies.
What’s worse
is that Dakarai also releases a faulty matatu at the instruction of County
Governor Zuri (Benson Amare) who also owns the matatu. It’s that very matatu
that subsequently crashes and kills the Governor’s daughter Ziki (Azziad
Nasenya) who is also Nessa’s best friend.
NM1 ends
tragically and abruptly with the demise of Ziki, the collapse of her dad and
confusion as to what is to be done with Nessa’s corrupt cop dad. We are left
with a teetering cliff hanger that members of the public wished could be
resolved.
Fortunately,
NM playwright Walter Sitati came up with a response to those unresolved issues,
producing a sequel that is as good, if not better than NM1. He also brought on
board several well-seasoned new cast members, including Gilbert Lukalia,
Veronica Waceke, Sam Psenjen and Melissa Kiplagat, all of whom fit right in
with HoA regulars, like Peter Kawa, Pauline Kyalo and others. What’s more, they
all worked well under Caroline Odongo’s direction.
Gilbert
introduced a whole new character in the form of the Governor’s no-nonsense
father who embodies the fiery wisdom of the elders. Gilbert also brought his
formidable set designing skills to the production, enabling set changes to move
swiftly and seamlessly.
Meanwhile,
Veronica Waceke took on the role Nessa’s mother and estranged wife of Dakaria
in a wise, decisive and comforting style. What’s more, she’s prepared to use
her legal skills to seek justice for Ziki through the court, suing both the
Governor and her spouse as well.
Ziki herself
makes a comeback in NM2. She reappears as an angelic apparition to speak
reassuring to Nessa as she dreams. Her ghostly arrival adds an otherworldly
touch that comforts her friend and lifts the fatal shroud that had fallen as
the first NM came to an end.
Meanwhile,
Sam Psenjen is outstanding, playing the pitch - perfect parody of Police Chief
Shabaka who, like Dakarai’s wife, has little sympathy for his tragically
compromised traffic cop. Indeed, the only one who has a spec of sympathic feeling
for Dakarai is Officer Tamela (Pauline Kyalo) who plays tough in the midst of
Nairobi traffic but has a soft spot for her former colleague.
Melissa
Kiplagat as the no-nonsense Judge who gets shipped out of her seat by backdoor
means, gets replaced by one who’s sure to side with the powers that be, for a
price of course.
But the
crooks in NM2 don’t get the last word. Instead, it’s the Poet Mufasa whose
powerful slam poetry sums up Sitati’s overriding message: that the courts won’t
crack the corruption conundrum. The change required has to first come from
within ourselves. Only then can we, with clean hearts, witness an end to the
corruption at large.
Kenya’s
former Chief Justice, Willy Mutunga, speaking as a post-production guest of
honor, had a slightly different take on winning the war on corruption. He
appreciated Sitati’s powerful suggestion that the solution doesn’t reside with
the courts. He also liked the way Sitati satirized lawyers and judges. But he
advised artists of the need for a deeper class analysis and understanding that
corruption is global. Those who indulge in it locally are merely puppets in an
international game.
“So next
time, you might want to include a Chinese [in your play],” he said partly in jest and essentially for real.
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