The Kenyan art and theatre scene is raising a glass—and perhaps a paintbrush—to celebrate Margaretta wa Gacheru’s life and work. Margaretta’s name is synonymous with the evolution of Kenya’s art narrative.
As a writer, her pen had as much impact on the art world as any artist’s brush.
Known for her witty and insightful art critiques, Margaretta was more than a journalist; she was a cherished figure who turned the often-intimidating world of art criticism into an engaging and accessible narrative.
Ababu Namwamba with arts writer Margaretta wa Gacheru during the announcement of the 2023 Kenya Theatre Awards nominees at Talanta Plaza in Nairobi on January 23, 2024.
Photo credit: Evans Habil | Nation Media Group
Margaretta’s writing journey began in the late 1980s, a time when the Kenyan art scene was still finding its footing.
As an art writer, she devoted her life to documenting seasoned and upcoming artists.
Throughout her career, Margaretta was a powerful advocate for artists. She used her platform to ensure that their voices were heard, and their works recognised. Her articles and reviews often served as a launch pad for artists.
Stuart Nash, a theatre and TV producer and director, told the BDLife that his friendship with the late Margaretta was both profound and transformative. Their connection began in 2018, during the production of the movie Jesus Christ Superstar.
“Margaretta was more than just a critic. She was a friend, a mentor, and an invaluable archive of the theatre world.
“She meticulously documented countless productions, ensuring that many performances, which might have otherwise slipped into obscurity, were preserved for future generations,” he said.
Margaretta’s remarkable memory set her apart. Despite witnessing over 300 productions, she had an extraordinary ability to recall intricate details from performances years past.
“Her capacity to remember and discuss performances from years ago was nothing short of extraordinary,” Nash remarked.
Nash fondly recalled their afternoons together, sharing tea and dark chocolate—Margaretta’s favourite treat.
“She was like a second mother to me. Her memory will continue to inspire and guide future generations in the world of performing arts,” he said.
Her influence was also evident in Nash’s work. Her suggestion to produce Ngungi Wa Thiongo’ became a pivotal project for him.
Many of Kenya’s prominent artistes credit her with giving them the visibility needed to advance their careers.
“My first encounter with Margaretta’s work was in 2021, during that year’s Kenya International Theatre Festival, when I presented a production, I had written and directed for the first time.
“Her positive response significantly influenced my journey as a writer. Her appreciation inspired me to start writing my own reviews,” said Olwale Dickens, an artist, writer, actor, and director.
Margaretta’s influence extended beyond personal encouragement. Her reviews were known to be both a blessing and a challenge.
“Receiving feedback from her could be a source of comfort or sleepless nights, as she was renowned for her honest and blunt critiques.
“Her reviews were highly regarded and often shaped the trajectory of theatre productions and artistes’ careers,” said Mr Olwale.
Reflecting on her legacy, Mr Olwale lamented the loss of what he described as “50 years of archive” with her passing.
Margaretta had been writing about the arts in Kenya for many decades, starting at Hilary Ng’weno’s the Weekly Review and the Nairobi Times.
She held a PhD in Sociology from Loyola University Chicago in the US and master’s degrees from the University of Nairobi in Literature and Northwestern University in Journalism, as well as from Loyola and National Louis University in Education, Chicago.
Author of The Transformation of Contemporary Kenyan Art (1960–2010), she has been writing for the BDLife magazine since early 2012.
Peter Tosh, a well-known figure in the world of theatre as a writer, director, and actor, shared his deep appreciation for the late Margaretta. For him, she was not just a fan but a devoted advocate of his work.
“She never missed our shows, she was always in my inbox, asking when the next performance was,” he said.
She regularly published stories about his plays and remained an enthusiastic audience member, even during the challenging times of the Covid-19 pandemic.
“During Covid, when we were doing online theatre, she would always ask for the online link and tune in. She never missed a play. She was very dear to my heart,” he said.
Their friendship began unexpectedly during a car ride from Westlands to town. Tosh and Margaretta struck up a conversation about theatre, leading to a lasting connection.
“I didn’t know she would become such a humble supporter of my work, especially as an upcoming artiste, her encouragement meant so much to me. I will miss her dearly,” he said.
“Thank you so much, Margaretta. Your presence will be deeply missed in the theatre community,” he added.
Clare Wahome, CEO of Millaz Productions, expressed profound grief and deep admiration for Margaretta.
Ms Wahome who heads Millaz Productions—reflected on Margaretta’s unwavering advocacy for the arts. Their initial meeting in 2018 left a lasting impression on Ms Wahome.
Her admiration grew especially after having an impactful review of the play Backstreet in May 2022.
“Margaretta called Backstreet a crucial conversation starter that brought to light the often-hidden struggles of anger, trauma, and depression.”
Margaretta’s commitment to theatre extended beyond her critiques. Ms Wahome shared a poignant memory from June, recalling a personal moment with Margaretta after a poetry performance in Thika.
“After the show, she offered to drop me and a friend home. On the way, she spontaneously stopped for vanilla ice cream. Her face lit up with such joy—it was a beautiful, warm moment that I cherish as a last memory of her,” she said.
Ms Wahome also noted that Margaretta had been looking forward to attending Clare’s performance the following Saturday.
“It’s heartbreaking that she passed away before she could see. Her enthusiasm for local talent was boundless, and she meticulously balanced her schedule to attend as many performances as possible,” she said.
Margaretta’s absence is deeply felt within the art and theatre communities, but her legacy endures. She brought to light African contemporary art, which has been enjoying a surge in interest globally, highlighting artists exhibiting in leading galleries and museums.
“Her contributions to the theatre world are remembered with immense respect and gratitude. Her passion as a critic and supporter will continue to inspire and uplift the arts community for years to come,” said Ms Wahome.
