One woman show: The rise of solo plays

A one-woman play titled ‘My Man, My Choice’ was performed at the Alliance Francaise Nairobi auditorium last weekend. Starring Suki Wanza as the sole performer, the comedic and moving piece explored her grief over losing her mother while also diving into her humorous dating experiences.

Standing on stage for an hour and 20 minutes, Suki took her audience on her journey as a woman whose mother wanted her to get married. As she steers the dating sphere, her mother is diagnosed with a brain tumour, turning her world upside down.

Suki wove her personal story with fiction in the penning of this play. Its producer, Vigilance Atieno, and director, Mercy Koi, nudged her to explore her raw feelings towards her mother’s death in the script. Ultimately, she delivered an emotional and hilarious performance that prompted the audience to express thoughts on the character’s struggles and joys.

“I didn’t expect audience engagement for such a touching subject. I didn’t think they would resonate with a blend of grief and comedy,” she says.

This is a full circle moment for Suki, who was motivated to stage ‘My Man My Choice’ after watching solo plays by industry peers Martin Kigondu, Dr Zippy Okoth, Esther Kahuha, and Martina Ayoro. When the show came to an end, Suki teased another one-woman production slated for June headlined by Dr Zippy Okoth. Dr Zippy is the master of one-handers, or one-person performances, if you may, with previous sold-out shows ‘Mama’s Mirror’, ‘Agatha a Hopeless Romantic’, ‘Strange Voices’, ‘Side Chic Wife’, ‘Zanzi Madness’, and ‘Stranger in my Bed’.

Moreover, Stephanie Maseki is the main star of the show ‘Elements’ by legendary John Sibi-Okumu and directed by Wakio Mzenge, staged at the Little Theatre Club in Mombasa. Last year, four one-person shows were staged, including ‘Mukabira’ written by Dr Fred Mbogo. The theatres are indeed bustling with solo shows.

These performances, featuring a single actor on stage, offer a unique and intimate experience for the audience and give room for them to be part of it. Performers directly engage with the audience in deliberate scenarios while remaining true to character and story. They also wear different production hats, such as scripting personal and original stories with versatile characters that one actor embodies.

Solo plays can easily be staged in any space for their simple technicalities. Performing artist Martina Ayoro staged ‘Know Your Scent’ at Jukwaa Arts Production and Mikayi Restaurant, both in Mombasa. In the latter, diners received a treat through the theatrical piece.

“I had to gradually win the trust of the audience that we can put up a good show regardless of where we do it,” explains Martina.

‘Know Your Scent’ is Martina’s account that details her relationship with her mother when it comes to the ‘taboo’ talk of men. Her mother, with a deep obsession with perfumes, gifts her different perfumes every random chance she gets. Martina, who has never picked a perfume for herself, ponders whether her mother’s heartfelt habit possibly affects her self-identity and self-expression.

“I have had diverse encounters with men that I can’t tell my mother. Every new scent came with a new experience with a man. The perfumes know my secrets. In some way, my mother and I have conversations about men through perfumes,” she says.

The play featured a supporting role of a perfume played by Mary Favour and performances by three poets. Martina intends to take it on stage again this year with herself as the only actor.

The idea to write this one-hander sprang to her mind when she was marketing Martin Kigondu’s ‘Supernova’ during its Mombasa tour. ‘Supernova’ is Martin’s first solo play about postpartum depression in men. It was initially envisioned to be a superficial exploration of the theme, but the passion of his friend, Kui Wamithi, gave it a deeper meaning of grief.

One actor carrying an entire show is not an easy feat. What makes a captivating one-hander? For Stephanie, accompanying a well-fleshed script is good breath work and stamina to be on stage for two hours that she gets from practising yoga.

“I can’t say they might increase, but people are discovering that a one-hander or a two-hander is the way to go, especially if you don’t have a lot of time or money. For example, we can meet anywhere for rehearsals,” says Suki.

Martin, who bagged Best Actor in a Solo Production and Best Playwright at the 2023 Kenya Theatre Awards for ‘Supernova’, points out that even as these performances are growing in popularity, not all actors can pull them off.

“Not to gatekeep, but not anyone can or should do a one-hander, and that is fine. We have actors who work best in an ensemble and feed off the other players. It is different when you are on stage alone,” he notes.

‘Elements’ was first performed by French actor Nathalie Vairac in 2013 and by Kenyan actor Hellen Keli in 2024. Stephanie hopes to see more acting renditions of the same play.

“I would like to see this show being performed by many actors and see its other interpretations. I would like to see more one-woman shows or monologues and for more public support,” says Stephanie.

Challenges

No good thing is without its hurdles. Martin and Martina both agree that it is a challenge for the only performer to convince people to attend the show, in contrast with plays that have an ensemble to spread the word. They suggest a strong marketing team to push the word out there.

The production had seven characters played by Martin, which he wrote, directed and produced as well. While many of these shows have a very small team with the actor taking up many roles, it can be overwhelming for them. Finances, which then dictate the consistency of these productions, are what will grow this genre to new heights.

Way forward

Martina observes endless opportunities for morphing stories to fit niched audiences and international grants and collaborations.

On the other hand, Martin wants to suggest a blueprint for one-hander in addition to gifting the next generation of actors with ‘Supernova’ to play the character too.

“Through writing, directing and acting in the coming one-person plays, I want to build an example of credible storytelling. I hope it opens doors for similar choices in film, radio and books,” he says.