Cleophas Malala’s play Echoes of War has stirred national debate, particularly after Butere Girls High School was set to perform it at this year’s national drama festivals. The play is set in the fictional Royal Velvet Emirates, a Middle Eastern-style kingdom plagued by social unrest and tension. It explores powerful themes of repression, digital revolution, state control, and the stark contrast between the ambitions of the youth and the conservatism of the ruling class.
At the heart of the play is Mustafa, a university student and self-taught tech developer. Mustafa becomes a symbol of youthful resistance as his creation—a telemedicine application designed to connect doctors and patients remotely—faces rejection from the authorities. Rather than being celebrated for his innovation, Mustafa is accused of using digital tools to incite rebellion. His transformation from an aspiring innovator to a prisoner on death row resonates deeply with young people, particularly those in Kenya, who feel stifled by bureaucracy and traditionalism.
In one intense scene, Mustafa is forced to defend himself before the Sultan, having been labeled a terrorist. “I am not the problem. My generation is not the problem. We are just not understood,” he pleads, capturing the frustration of a generation misunderstood by the powers that be.
Another central character is Anifa Imana, portrayed as a visionary who represents Artificial Intelligence. Anifa adds a futuristic, sci-fi element to the narrative with her analytical mind and digital mastery. In one of the most memorable moments, she activates a hologram to reveal a symbolic pregnancy—not of a child, but of the hopes and dreams of a generation. “This womb pulses with the hopes of a generation,” she declares, offering a powerful metaphor for the unfulfilled potential of youth.
Anifa’s mother, Mama Anifa, creates an additional layer of tension in the play. Deeply religious and traditional, she is torn between her beliefs and her daughter’s radical ideas. Her emotional struggle is evident as she cries out, “You have no idea how hard it is to raise a daughter in this time and age,” reflecting the generational and ideological divide at the heart of the play.
The Sultan, the ruler of the Velvet Emirates, embodies absolute power and control. Initially, he views the youth as a threat to the nation’s unity. After Mustafa’s social media influence sparks mass protests, the Sultan demands that Mustafa be executed, declaring, “This boy must be executed. He has ruined our nation.” His lavish palace becomes the site of judgment, betrayal, and, eventually, redemption.
In a surprising twist, Mustafa’s telemedicine application ends up saving a life, prompting the Sultan to reassess his stance. Recognizing the potential of youth-driven technology, the Sultan shifts his position, granting Mustafa and Anifa recognition and support. “Let the rebuilding begin,” he announces, adding, “Never again shall we dance to the echoes of war.”
However, the play does not offer a simple resolution. Before reconciliation can occur, the youth, fueled by years of suppression, storm and burn down a police station and emergency hub. The imagery of fire consuming the stage is striking, and Anifa’s declaration, “We burn down this station to the ground,” encapsulates the tension between justice and chaos. The line between right and wrong becomes increasingly blurred, forcing the audience to question the price of being heard.
Echoes of War has generated mixed reactions across Kenya. While some applaud the play for its bold themes and timely critique of society, others find it too politically charged, with potential risks for a school stage. One thing is certain: Echoes of War is not a play that will fade into the background—it is a story that will resonate, sparking conversations long after the final curtain falls.
