Theatre’s big man taking the world by storm

Feted more abroad than at home, he is arguably Kenya’s biggest export in the arts industry and a celebrity figure loved by many across continents. But at home, Charles Bukeko is simply ‘Papa Shirandula’, a humble star who has risen in the theatre world, writes MSANII.

Charles Bukeko is an internationally acclaimed actor, having been cast in films such as The Constant Gardener that received worldwide acclaim.

In South Africa, Bukeko is an instant celebrity, thanks to his appearance as a dictator in an advert for Vodacom this year. The ad features a dictator who subjects his aides to menial chores to make a point. And no one can forget his "Brrrrrr" contribution to the Coca Cola advert, which was voted best creative advert in the world.

As an actor, Bukeko has trod where many only go in their wildest dreams. His huge frame is a great attraction for many directors seeking a dictatorial African figure. In fact, many have told him on record that he would have made a better Idi Amin than Forest Whitaker did in last year’s movie The Last King of Scotland.

Recognised

Like the proverbial prophet who is never recognised in his hometown, Bukeko’s popularity may not be as great here, but in Johannesburg, he is treated like a celebrity. He recalls a moment at Oliver Tambo International Airport when a customs officer was frisking his suitcase. When Bukeko turned to ask him why he was tampering with his bags, the officer looked at him and immediately recognised him from the mobile phone advert. Bukeko was immediately whisked to the VIP lounge and almost missed a connecting flight to Cape Town because everyone wanted to meet him.

Bukeko has a lot to boast about but he likes keeping it simple and his humility is charming.

The man who credits his best production as being the role of Major Lejoka Brown in Our Husband has Gone Mad Again many years ago, will easily still be holding top spot in many shows for a long time to come.

Lifeline

By creating the show Papa Shirandula, in which he plays an archetypal watchman, Bukeko gave local productions the lifeline they had been looking for. Today, he has popularised what is known as the ‘Papa Shirandula phenomenon’ a term used to describe the myriad local productions springing up on local channels.

"There is pride in the fact that everyone is going local and this is a great thing for the industry," Bukeko told the Sunday Magazine.

He, however, cautions that scripts should have a storyline that works for viewers.

"Bring it home for the viewers you want to target,’’ he says.

Cramming lines

Sitting at the Wasanii restaurant at the Kenya National Theatre (KNT), he gestures at the trees in the parking lot, remembering the days he would be cramming scenes at that very spot. On this day, hardly 10 minutes pass by without someone wanting to greet ‘Papa’, as he is fondly called, or seeking audience with him.

Bukeko remembers the days when directors would give details of a show, a script with lines to cram and a date when the production would be held.

"Those were the days when we were called undisciplined for attempting to ask the director about pay," he recalls with nostalgia. "There was no commitment from the producer in those days. When we staged a play, the cast was usually bigger than the audience, which might be composed of other actors," he says.

Theatre in the early 1990s was about the fame and not the money. Often, he had no money to pay the Sh5 bus fare from Eastlands.

Tricks of the trade

"We would go for auditions, having heard a rumour that Film Studios was hiring and confidently present ourselves. When asked about previous roles one had played, I would shout about being an extra in a movie that some local guy had shot," he recalls, chuckling.

His resilience and love for theatre kept him going. His big break came when he got a role in a play that Phoenix Players was staging.

To this day, he credits Phoenix and the late James Falkland for teaching him everything he knows about acting.

"People who moved from KNT to Phoenix were considered serious actors. When I got my first role with Falkland, I gave my best in every show. One thing I recall about Falkland was that he gave everyone space to grow until we outshone ourselves,’’ he states.

Being at Phoenix was the first glimpse Bukeko got that theatre could pay one’s bills.

This was the period that Bukeko learnt to script his own plays, stage management, lighting and creating sets. For two years he sat with James Falkland every afternoon, learning the tricks of the trade.

Theatre circles

"It was Falkland who affirmed and critiqued actors. He was a hero to us."

The lessons paid off and his only regret is that Falkland passed on before he saw the fruit of his work. Bukeko went on to form Pambazuka Players with a few of his friends, changing the way things were done in theatre circles.

"We were among the first to agree on contracts with our actors and we took them as raw as they came. In the end, we staged major shows and have a list of great people we trained, including Mwalimu Mbeki, one of Kenya’s finest actresses today."

Today, Bukeko’s focus is scripting Papa Shirandula, the character he created after a brainstorming session.

"Papa Shirandula was an unexpected hit. We were surprised at the response we got after the first show was produced," he reveals.

Another surprise was the audience that has come to love this show. Papa Shirandula is billed as a family drama but children are today the biggest fans of the show.

Bukeko recalls attending a neighbourhood birthday party a few days after his TV alter ego had been fired from the company.

A little girl walked up to him and told him "Pole (Sorry)" that he had been fired and said her mother was willing to give him a job at their home. He had to meet her parents and politely decline the offer, as she was too young to understand that the show is about make-believe.

Like the little girl, many adults also think Bukeko is simply a watchman and enjoy his roles on television. In the corporate world, however, Bukeko is a much sought after actor.

He is reluctant to speak about money because it is not his motivation, he says. After high school, Bukeko’s mother sought employment for him at a relative’s firm and he made his first salary at an early age. However, the money never went directly to him but was used to pay school fees for his siblings.

Today, Bukeko lives a simple lifestyle and drives an ordinary car, although he could easily afford a brand new state-of-the-art car. He is also a teetotaller and does not go out at night unless it is a work assignment.

Having built a brand around Papa Shirandula, he knows his worth and carries himself like a businessman. Contracts are scrutinised by his manager and a legal advisor before he signs them.

Production house

He says Papa Shirandula is in a class of its own and refutes allegations that the show has recently suffered reduced viewership after another TV station started airing a popular show at the same time. Bukeko believes the two programmes have nothing to do with each other and statistics show Papa Shirandula still has a faithful following.

He hopes to retire in three years to go back to theatre, his first love. Although adverts and films may easily bring in the bulk of his income, he hopes to concentrate on a production house he is currently setting up.

"There is so much raw talent out there. High school students are at their best at the music and drama festivals but they leave that platform with nowhere to perform,’’ says Bukeko.

It is this group that he would like to capitalise on and create an opportunity for them to showcase their skills.

He also hopes to hold theatre classes for children in his neighbourhood.

"Parents suppress their children’s gifts by pushing them to be doctors and engineers while all a child wants is to be a footballer or actor," he says.

For Bukeko, giving back to society as it has given to him is the true mark of celebrity.