Theatre actors and creatives in Mombasa have risen in anger and defiance following reports that Kenya Railways Corporation plans to take over the historic Little Theatre Club and convert it into a TVET institution.
In a letter signed by General Manager Business and Commercial Services Stanely Cheruiyot, Kenya Railways has denied any authorisation for the use of its land and properties, despite the club being on the location and paying land rates since 1972.
The move has sent shockwaves through the arts community, sparking outrage, protests, and a groundswell of online activism. What many considered a safe haven for creativity is now faced with an uncertain and possibly final curtain call.
For decades, the Little Theatre Club has stood as the heartbeat of coastal performing arts. It is where children spoke their first lines, actors discovered their voices, and Mombasa’s rich multicultural stories came alive on stage. To many, the space is not just bricks and mortar — it is a living symbol of artistic freedom and cultural identity. Losing it, artists say, would mean erasing a vital chapter of Mombasa’s soul.
Actors, directors, playwrights, and technical crews say they feel betrayed and ignored. Many have spent years building their careers within the walls of the Little Theatre and now fear being left homeless in an industry already struggling for support. Producers warn that without the space, plays, workshops, and community programs may come to a grinding halt, leaving young talent with nowhere to grow.
The response from the creative community has been swift and ferocious. Social media has been flooded with campaigns demanding the protection of the Little Theatre, while public protests and petitions continue to gain momentum across Mombasa and beyond. Some artists have allegedly blocked early attempts to interfere with the venue, sending a clear message that the fight for the theatre is far from over.
Heritage versus development — A national debate
Critics argue that turning a heritage arts venue into a training facility disregards its historical and cultural significance.
While acknowledging the importance of technical education, they insist development should not come at the cost of destroying rare creative spaces. The controversy has ignited a broader debate about whether Kenya truly values its artists and cultural legacy.
For many, the threat to the Little Theatre revives dark memories of past government actions that led to the closure of community theatres and the silencing of creative expression. Artists fear history is repeating itself — this time in Mombasa. They warn that losing the Little Theatre would weaken the city’s status as a cultural powerhouse and rob future generations of a platform to tell their stories.
Despite the uncertainty, the arts community remains defiant. Benefit shows, press briefings, and engagement with local leaders are being organized in a last-ditch effort to save the venue. Many believe this moment will define the future of Kenyan theatre — a test of whether artists will be pushed aside or stand their ground and be heard.
