Regional and International Projects



TTC is actively involved with:

  • Rooftop Theatre (Zimbabwe)
  • The Great African Caravan (2018/19)
  • Zomba University
  • Alternatives to Violence in Papua New Guinea

Support events

Our work is not just about building performers and productions.

We are also involved in the skills that help to develop performance work. To do this we organise the following:

  • Directors Symposium (August 2018)
  • Writers workshop (with Afsaneh Grey - 2019, dates tbc)
  • Master Class with Sid Livingstone (UK) October 2018
  • The Business of Performance (with Steve Maria dates tbc)

Projects 2019

Asante Kwach Rading - our Nyanza Representative for 2019.


2019 Performance   Laboratory 


Great African  Caravan


Give a Man a Bible (1st Stage Complete)


Afsaneh’s Writers   Workshop (1st Stage Complete)

Bitcoin Foundation for Performance Work


Commedia Project (Muthiaga   Club)


The Police Project


Terre Solidali Special Needs Project


Holiday Programmes


Fire By Ten 2019  Touring Show


Papua New Guinea - practitioners visit


Malawi Exchange   (Dr. Chisiza)


 Tracking the Scent   of My Mother


JaJa Speak to Me


German Human  Rights Project (Attack of the Shidas)


Opening of Kisumu Regional Office

We are delighted to announce that Asante Kwach Rading is our Nyanza Representative for 2019.
As part of our ongoing commitment to developing a national connectivity for performers, Asante will run events, training programmes and productions in the Nyanza area.
 Asante has been an important of our work since 2010, and recently  appeared in our much-admired adaptation of Tracking the Scent of My  Mother (by Muthoni Garland).

If you would like to know more about him and his work, please contact Asante through The Theatre Company of Kenya.
 We look forward to the first event of his programme, the WRITING AND  PERFORMANCE WORKSHOP (Feb 4th-16th), which is part of our ongoing  Performance Laboratory Programme. 

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Projects in 2018


All of these productions were in our repertoire in 2018. It is possible to re-introduce them.

We welcome invitations to festivals, communities and private functions. Please contact the management to arrange performances.

Bwana Chikungunya

Take the strange, haunting and moving images of Peterson Kamwathi, the soulful tunes and rhythms of Rapasa Nyatrapasa, introduce them to seven members of The Theatre Company Performance Laboratory, and what do you get? The latest show in our “Fire By Ten” Touring Series: Bwana Chikungunya has been devised by the cast members and is told through dialogue, music and movement in our famously innovative style. Dealing with the challenges of contemporary urban life in Mombasa City, the production is intriguing, shocking and original. It can be performed in English and Swahili, or both. The Cast: Michael Ndunda as Mwatela,  Catherine Enane as the Facilitator, Shelly Gitonga as Michelle, Mary Kamanthe as Charity,  Vitalis Waweru as Brian,  Ann Awuor as Mwanaisha, Nelson Gituku as Julius.

Directed by Squich Musau & Catherine Enane


Notes from the Director - Pamela Acaye

The Title: Kikomando draws metaphoric symbolism from the urban Kampala language reference to streetwise culture. It is also the name given to a class nuetral street food available almost every 50 metres along main streets and inner roads, available 24hrs. 

This less than fifty dollar cent food at 1000Uganda shillings minimum consists of two chapatis and a serving spoonful of beanstew, sometimes served with cabbage or avocado when in season.

Within the theater piece it draws symbolism to the classless race for survival and access.

Four dancers stand back to back on stage while a fifth dancer skirts amongst them; trying to fit in. This conflict and struggle for  visibility and approval forms the core of the production plot. 

While ,motifs in  dance duets, group routines draw structural movement from Buganda, kinyankore and kinyanrwanda dance.There is also Nyatiti  and Duwo variation from Kenya in celebration, laced with Larakaka and Gurzey from Northern Uganda and Westnile.These motifs , based in community celebration connect the disparate points in the dance of conflict, betrayal and  anger. There are also movement inspirations from ballet in carricature.

Two solo response songs within and three poetic narratives in Luganda,Lutoro, Kinyanrwanda, Runyankore and English emphasize contextual meaning . These are  laced with cultural percussion and musical undertones to inform the mood and tone of the scenes. They speak to the anger, gratitude , ambition and hope which propel the plot development within. 

This forty minute piece ends in a hysterical three minutes of laughter aimed at engaging the subjective journey of each audience member to query their personal conflicts and phobia in the face of humanity. 

Kikomando thus traverses cultural motifs and querries gendered movement through five dancers who engage masculine and feminine movement structure in equal measure.Their costumes are also gender nuetral. All through the dance, the audience will struggle to differentiate the male from the female from face value and body language.

 Rendering the production gender neutral. Must dance have a gender bias : will be the intended query that the audience leaves with.

Girl Touch Your Waist

Based on original research by Ann Awuor and Catherine Enane. Text by Sylvia Namussassi, Fred Mbogo and the cast.

Girl Touch Your Waist is a theatrical performance about the communities of Lake Nyanza.
 Based on the research by TTC Performance Laboratory member Ann Awuor  Amoth, it features newcomers Christopher Thuita, Roy Otieno,Xavier  Ywaya, Martina Ayoro, Martha Belinda and Ann herself.
Direction is by TTC Managing Director Catherine Enane.

Running Time 90 minutes

Salim. Kwani Hana Damu? (in Kiswahili)


Salim is the story of a young man born 23 years ago with Albinism. his mother was forced to give him up to a children’s home a few months after his birth after his father rejected him due to his condition. Forced to live without knowing his family because of a situation that wasn’t of his making, only a strong will and a talent for music kept him from falling apart. His mother however has kept constantly in touch and it is through her that he learns of his true parentage. At the age of 23, he decides to go home and claim his inheritance as the son of Kaneno. Thus he puts himself in the line of fire from his elder brother Sunday who is after the same piece of land after having sold his own. father and son gang up to chase away Salim to the mother’s chagrin. Homeless and twice rejected, he is forced to move to town to hustle to make ends meet in a society ridden with superstition, backward beliefs and unhidden bias towards people living with albinism. it is the story of love, rejection and betrayal, broken promises and resilience even when the odds are stacked high against an innocent soul. One man against the world and how the truth, no matter how far we run or how fast, eventually catches up with us.

Production information

Salim is performed by a group Kenyan Coast performers; 

# Name

1 Fredrick Jumapili

2 Mwanarusi Mwacharo

3 Ann Awuor

4 Mesalim Hamisi 

5 Nelson Githuku

6 Kaneno Hussein

7 Suleiman Madraka

Salim is directed by Nelson Githuku and Produced by Wakili Mwotondo in conjunction with Kwale Arts.

JaJa Speak to Me

A Dance production featuring Catherine Enane, Neema Bagamuhunda and Joyce Maina.