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Cleophas Malala’s play Echoes of War, which was set to be performed by Butere Girls High School during this year’s national drama festivals, has ignited a nationwide debate.
The play is set in the Royal Velvet Emirates, a fictional Middle Eastern-style kingdom grappling with unrest.
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It explores themes of repression, digital revolution, state control, and the widening gap between the youth's ambitions and the ruling class's conservatism.
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At the centre of the play is Mustafa, a university student and self-taught tech developer, who becomes the symbol of youthful resistance.
His invention—a telemedicine application meant to connect doctors and patients across distances—is initially dismissed by the authorities.
Instead of being celebrated for innovation, Mustafa finds himself accused of inciting rebellion using digital tools.
From a hopeful innovator to a prisoner on death row, his story resonates with many young people in Kenya today who feel stifled by bureaucracy and tradition.
In one emotionally charged scene, Mustafa is forced to defend himself before the Sultan after being labelled a terrorist: “I am not the problem. My generation is not the problem. We are just not understood.”
Another standout character is Anifa Imana, portrayed as a futuristic visionary and symbolic representation of Artificial Intelligence.
She brings a sci-fi twist to the play with her analytical mind and digital prowess.
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At one point, she activates a hologram to reveal a pregnancy—not of a child, but of expectations and dreams.
“This womb pulses with the hopes of a generation,” she declares, creating one of the play’s most striking moments.
Her mother, Mama Anifa, adds another layer of tension. Deeply religious and traditional, she is torn between her beliefs and her daughter’s radical ways.
Her pain is evident as she cries out, “You have no idea how hard it is to raise a daughter in this time and age.”
The play also features the imposing Sultan, ruler of the Velvet Emirates, who represents absolute power.
Initially blinded by fear and control, he views the youth as a threat to national unity. “This boy must be executed. He has ruined our nation,” he proclaims after Mustafa’s social media influence sparks mass protests.
His palace, a symbol of lavish tradition, becomes the setting for judgment, betrayal, and, ultimately, redemption.
In a stunning twist, Mustafa’s invention ends up saving a life. This forces the Sultan to reconsider.
Moved by the potential of youth-driven technology, he reverses his position and grants Mustafa and Anifa recognition and support. “Let the rebuilding begin,” he says. “Never again shall we dance to the echoes of war.”
But the play doesn’t offer a neatly wrapped ending. Before reconciliation, the youth, enraged by years of suppression, storm and burn the police station and emergency hub.
The visuals are haunting. “We burn down this station to the ground,” Anifa yells as the stage erupts into symbolic fire. The line between justice and chaos blurs, raising questions about the price of being heard.
Many Kenyans are divided about the play. Some praise it, while others say it’s too political, too close to home, and potentially dangerous for a school festival stage.
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For now, one thing is clear: this play is not fading quietly. The echoes are just beginning.