A Play, A Politician, and a Payout: Breaking Down Malala’s Potential Millions From Echoes of War
The school drama scene in Kenya has recently come under the spotlight following the uproar sparked by the play Echoes of War, originally set for performance by Butere Girls' High School. At the heart of this cultural and political firestorm is its author, former Kakamega Senator Cleophas Malala, whose script has ignited not just debate—but also curiosity about the monetary value behind school playwriting in Kenya.
Playwriting Profits: The 'Echoes' of a Lucrative Career
In an exclusive conversation with veteran scriptwriter and comedian Kevin Aswani, deeper insights emerged into what Malala might have pocketed from his foray into educational theatre. Aswani, who has navigated Kenya’s performance arts industry for years, noted that the cost of scripts varies based on complexity and the level at which they are performed.
“For competitive school plays, a single script can fetch anywhere from KSh 60,000 to KSh 100,000,” Aswani explained. “Scripts aimed at national festivals, like Echoes of War, typically fall on the higher end of that spectrum.”
According to Aswani, Malala has authored over 80 plays in his career. If each script sold for KSh 60,000, that totals a whopping KSh 5.1 million. On the upper end, that number jumps to KSh 8.5 million—a significant return for a creative venture.
The 'M' Factor: Malala’s Market in Kenyan Drama
Aside from selling the scripts, Aswani pointed out that additional revenue often stems from training packages offered by playwrights post-sale. These sessions occur at various levels of the drama festivals—zonal, county, and national.
“If a scriptwriter stays involved to coach students, they can earn an extra KSh 30,000 per script just through facilitation,” he added. Cumulatively, this coaching could have earned Malala over KSh 2.5 million if applied across all his works.
But the pathway to such gains isn’t as effortless as it appears. Aswani emphasized the need for consistency, cultural awareness, and thematic relevance to remain relevant as a playwright. “You can't afford to be disconnected from societal issues. Your stories need to evolve with changing norms,” he said.
Education Meets Politics: When Creativity Crosses Lines
The drama over Echoes of War hasn’t just revolved around money or performance. It’s also raised questions about artistic freedom in Kenya’s education sector. The Education CS Julius Ogamba criticized Malala for breaching drama festival regulations by writing a script as a non-teacher and allegedly modifying its content.
Despite the government’s disapproval, many in the creative field, including Aswani, defend Malala’s involvement. “If you have the skill and the vision, it shouldn’t matter whether you're a teacher or not,” he noted.
The controversy has amplified conversations about censorship, intellectual property, and the role of students in civic storytelling. Malala, meanwhile, is pushing forward. He’s announced plans for a nationwide audition of Echoes of War, promising a portion of the play’s profits will support the Butere Girls’ drama team—highlighting his belief in the political and social relevance of student narratives.
Cleophas Malala’s journey from senator to scriptwriter offers a rare glimpse into the underexplored economic potential of Kenyan school theatre. Whether praised or condemned, Echoes of War has stirred not just national dialogue but also illuminated the value of storytelling as both art and enterprise in modern Kenya.
