The great diversity does not appear to represent the culture of the country at all and yet ostensibly it is the Kenyan audience in the long run you want to build and build and build. The remainder was divided equally between Asians and Caucasians. In light of this, Falkland s careful selection of plays makes more sense. The theatre is determined by the theatrical community rather than the reverse. One reason is simply that going to the theatre in Nairobi is a high risk activity.
Locals are scared to move about the city at night because of the high crime rate.
Furthermore, comparatively affluent theatre-goers represent attractive prey to muggers, especially if taxis are an unaffordable luxury. More significantly, the Kenyan economy as a whole is not in a position to support theatrical activity. There is no Government subsidy or allowance from the Nairobi City Council so ticket prices, whilst being a bargain on an international scale, are relatively expensive locally. It seems that to save this fabulous Arabian Phoenix from burning in its pyre it must rely upon the attendance of the large ex-patriot community with their personal drivers and relative abundance of foreign exchange. This patronage is in a way the last bastion of colonialism.