The prolonged closure of the Nakuru Players Theatre for much of 2025 has had a significant impact on the creative ecosystem, forcing production groups to reconsider not only where they stage performances, but also how they can remain financially and artistically sustainable.

For years, the theatre served as a central hub for creatives, offering lighting, sound and rehearsal spaces, as well as a ready-made audience familiar with the venue.

However, with its doors shut, production companies have been forced to seek alternative spaces, which are often much more expensive and have far less visibility.

According to Tony Aswani, a producer at A Bunch of Idiots Production, this has been financially draining. “It’s been tough, of course,” Aswani explains. "Players Theatre used to offer everything as a package: lighting, sound, rehearsal spaces. But now, when you go to a new place, you have to pay extra to hire all these things, and they are not cheap."

Aswani adds that the financial strain has become almost unbearable. "All the shows we have done this year have made losses," he says.

“At Players Theatre, as members, we would pay around Sh7,500 to Sh8,000. That included lights and sound, so we could focus on our set, which could cost up to Sh20,000,” he says.

Outside the theatre, however, the expenses have multiplied. "Now you have your set at Sh20,000, plus lights at around Sh8,000 to Sh9,000 and sound at about Sh7,000. It becomes very strenuous," he notes, adding that unfamiliar venues also struggle to attract audiences. "When you told someone a show was at Players Theatre, people knew where it was. People knew it was a theatre."

The ripple effect has been a sharp reduction in production. "We had scheduled eight plays this year, but unfortunately, we only managed two," says Aswani, noting that the situation is similar across most groups that previously relied on the Players Theatre.

Collins Matheri, founder of Skynet Theatres, which stages set-book plays, echoes these concerns. He says that the closure has tripled operational costs.

“Since we were members, even booking a hall wasn't that expensive. It’s centrally located and offers rehearsal spaces, which really helps artistes,” Matheri explains.

Now, however, costs have surged. “The difference is almost 300 percent, if not more,” he says. “At the theatre, you’d pay between Sh5,000 and Sh7,500 per day. But now, depending on where you go, halls range from Sh10,000 to Sh20,000.”

This increase has forced production companies to scale down. "If I’m paying Sh20,000 for a hall, I can’t book it for just any day," Matheri explains. "You need a big enough audience just to break even, so the number of performances reduces."

He contrasts this with last year: "I did 16 performances at the theatre. This year, I’ve only managed three."

Beyond productions, the closure has affected livelihoods. "Those 16 days were days when artistes would have been paid," he says. “Now they’ve been drastically reduced. The financial impact is not just on productions, but also on the artistes who depend on these performances.”

Looking ahead to 2026, Matheri is not optimistic. "At this point, I think that ship has sailed," he says bluntly. "The trustees said renovations would be completed by January 1st, but there’s no plan and no activity. To me, it feels like a plot to kick artists out.” He adds: "Even if it reopens, I won't go back. We’ve already established ourselves elsewhere.”

As the once-vibrant space continues to deteriorate, creatives in Nakuru are questioning whether the closure was truly in their best interests. "That place is falling apart," Matheri concludes. “Who will convince me that this was for the good of the artists? It’s not.”

A silent stage: How the closure of Nakuru Players Theatre reshaped the arts in 2025

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Muthoni Wanjiku