An expose on cults
Apr 24, 2003
AFRI Talent’s latest release, Akavavangalo- is a hustle and bustle-ridden play. This is a different story idea by the trio John Segawa, Abbey Mukiibi and Mariam Ndagire. They have shifted from the usual social love-life that has become the cornerstone of most theatre themes
Play : Akavavangalo
Group: Afri Talent
Music: Mariam Ndagire
Showing at: Bat Valley Theatre, Kampala
Date: Throughout the weekend
Reviewed by: Norman Katende
AFRI Talent’s latest release, Akavavangalo- is a hustle and bustle-ridden play.
This is a different story idea by the trio John Segawa, Abbey Mukiibi and Mariam Ndagire. They have shifted from the usual social love-life that has become the cornerstone of most theatre themes. They have instead addressed the religious aspect of society and how exploitative the various mushrooming cults can be.
Kavavangalo (John Segawa), the cult leader who highlights society’s weakness and suffering by those hypnotised by religion, is the main character.
Having experienced hard life, Kavavangalo and Tondo (Khamad Mwanja) decide to settle on the mountain and form their own religion with an aim of fleecing people of their money.
They convince passers-by that the place where they are (on the mountain) is a stop over on their journey to heaven. They succeed in winning many followers who are ready to offer them land titles, buildings and cars among others in order to join the religion.
Kavavangalo deceives his followers that he has performed a miracle by making Namere (Abbey Kakande) a lame person walk, yet in actual sense he has given her artificial limbs. His followers applaud him on a ‘miracle well performed.’
His lies are, however, discovered when he fails to cure Sirimuzaawo (Annet Namakula) of barrenness. Sirimuzaawo had gone to the mountain after hearing about Kavavangalo’s healing powers.’
Kavavangalo prays for her to no avail. He then decides to seduce her to save his name from being tarnished.
She conceives and even gives birth –– which is against the norm of the mountain where people are not allowed to get involved in love affairs. The incident sets a precedence on the mountain. The love birds begin playing hide and seek while trying to save Kavavangalo’s reputation.
The play is a great artistic piece of work. The lowly-lit stage gives the temple all the necessary hallmarks of a truly holy place.
The play uses symbolism in dress code. For instance, the believers in their uniform attire –– dresses for women and grey tops and trousers for the men and open sandals to make the followers believe that ‘all are equal in God’s eyes.’
Kavavangalo, in a red gown that covers his black and white suit and a big wooden stick succeeds in his quest to appear like a prophet. Little wonder that when he starts speaking, all his subjects praise and adore him.
The sirens that welcome him on stage plus his vestry complete with a pulpit, make strong impressions about his purported holiness. This way, he disguises his true self –– cold-blooded, remorseless murderer, ready to kill anyone who bars his way to affluence and fame.
With the support of the Matron (Mariam Ndagire), Nyende (Abbey Mukiibi) and Kinywa (Charles Bwanika) a defenceless bodyguard, Kavavangalo succeeds in portraying an image of an honourable man.
Gloria (Ruth Kalibala) is another defining ingredient in the eventual flow of the story. She falls in love with a choirmaster and despite all the threats, she is ready to risk her life to marry him. Her childish behaviour is the story’s inspiration
However, though the piece keeps the audience on tension, there is a laxity in the different roles played by the individuals and calls for some more input. Generally, it is a well written and well produced play but like most plays, fails to tell us what should be done to save the world from crooked prophets.
Group: Afri Talent
Music: Mariam Ndagire
Showing at: Bat Valley Theatre, Kampala
Date: Throughout the weekend
Reviewed by: Norman Katende
AFRI Talent’s latest release, Akavavangalo- is a hustle and bustle-ridden play.
This is a different story idea by the trio John Segawa, Abbey Mukiibi and Mariam Ndagire. They have shifted from the usual social love-life that has become the cornerstone of most theatre themes. They have instead addressed the religious aspect of society and how exploitative the various mushrooming cults can be.
Kavavangalo (John Segawa), the cult leader who highlights society’s weakness and suffering by those hypnotised by religion, is the main character.
Having experienced hard life, Kavavangalo and Tondo (Khamad Mwanja) decide to settle on the mountain and form their own religion with an aim of fleecing people of their money.
They convince passers-by that the place where they are (on the mountain) is a stop over on their journey to heaven. They succeed in winning many followers who are ready to offer them land titles, buildings and cars among others in order to join the religion.
Kavavangalo deceives his followers that he has performed a miracle by making Namere (Abbey Kakande) a lame person walk, yet in actual sense he has given her artificial limbs. His followers applaud him on a ‘miracle well performed.’
His lies are, however, discovered when he fails to cure Sirimuzaawo (Annet Namakula) of barrenness. Sirimuzaawo had gone to the mountain after hearing about Kavavangalo’s healing powers.’
Kavavangalo prays for her to no avail. He then decides to seduce her to save his name from being tarnished.
She conceives and even gives birth –– which is against the norm of the mountain where people are not allowed to get involved in love affairs. The incident sets a precedence on the mountain. The love birds begin playing hide and seek while trying to save Kavavangalo’s reputation.
The play is a great artistic piece of work. The lowly-lit stage gives the temple all the necessary hallmarks of a truly holy place.
The play uses symbolism in dress code. For instance, the believers in their uniform attire –– dresses for women and grey tops and trousers for the men and open sandals to make the followers believe that ‘all are equal in God’s eyes.’
Kavavangalo, in a red gown that covers his black and white suit and a big wooden stick succeeds in his quest to appear like a prophet. Little wonder that when he starts speaking, all his subjects praise and adore him.
The sirens that welcome him on stage plus his vestry complete with a pulpit, make strong impressions about his purported holiness. This way, he disguises his true self –– cold-blooded, remorseless murderer, ready to kill anyone who bars his way to affluence and fame.
With the support of the Matron (Mariam Ndagire), Nyende (Abbey Mukiibi) and Kinywa (Charles Bwanika) a defenceless bodyguard, Kavavangalo succeeds in portraying an image of an honourable man.
Gloria (Ruth Kalibala) is another defining ingredient in the eventual flow of the story. She falls in love with a choirmaster and despite all the threats, she is ready to risk her life to marry him. Her childish behaviour is the story’s inspiration
However, though the piece keeps the audience on tension, there is a laxity in the different roles played by the individuals and calls for some more input. Generally, it is a well written and well produced play but like most plays, fails to tell us what should be done to save the world from crooked prophets.