From accounting studies at Strathmore University to award-winning theatre, Sam Ouma shares his creative journey, acting philosophy, campus memories and hopes for Kenya’s industry.
You are known primarily as a theatre and stage actor. Beyond the stage, who is Sam Ouma?
Outside the stage, I’m still very much the Certified Public Accountant (CPA) and Diploma in Business Information Technology (DBIT) student underneath it all, someone who takes discipline and preparation seriously, whether I’m MCing a corporate event, working in film production, mixing colours to produce a specific automotive refinishing paint, or working on a script. Numbers taught me structure; theatre taught me how to use it.
Where and what did you study at university or college?
I studied Certified Public Accountant (CPA) alongside Diploma in Business Information Technology (DBIT) at Strathmore University.
What was your favourite unit on campus, and which one did you like least?
For CPA, Financial Accounting was my favourite, while Public Taxation was my least favourite. For DBIT, I preferred Accounting and Financial Basics to Software Engineering and Application Programming, coding units never quite loved me back.
Who was your best lecturer, and was there one you liked least?
My best was Mr Kimemia, who taught Financial Accounting and kept the class alive. No clear ‘worst’ comes to mind.
What was campus life generally?
Strict, but a lot of fun. The university valued extracurricular activities in the same way it valued academics, rather than treating them as an afterthought.
How did you make money while on campus?
Honestly, I didn’t need to. I used what I was given properly instead of chasing a side hustle I didn’t have time for. The one real pay-out came through Strathmore’s Drama Society (DRAMSOC): Kasendi, Trevor and I represented Strathmore at the SPA Fest, hosted by International Christian Church, Nairobi, and won decent prize money against Daystar and Riara.
What was the dating scene like?
Dust is constant, campus doesn’t discriminate on that front.
What do you think of campus relationships?
They are part of growing up. You meet people from completely different backgrounds, and they shape who you become, romantically or otherwise. Most of those connections don’t last, but they still shape you.
Where did you spend your weekends?
Mostly in theatre or involved in other creative work. I also went to church on Saturdays when I wasn’t rehearsing.
What did you do with your free time?
The student centre studying, gaming, rehearsing a classic or simply being around friends. Some evenings, I’d head to the sports complex for volleyball or just to walk.
Which classmates or fellow students do you remember most fondly?
Not classmates so much as fellow thespians: Jeff Obonyo, Martin Abuya, Barbara Nyambura, Mutwiri, Rexie Ndoria, Kamitu, among others. The people I shared a stage with left a bigger mark than those I shared a lecture hall with.
How did you get into acting, what inspired you, and how has the journey been so far?
It wasn’t by accident. DRAMSOC visited one of my Financial Accounting classes promoting skits, a flash mob and other activities, which put theatre on my radar. When they held an open call, I auditioned, and here we are. The university valued extracurricular activities as much as academics, offering students access to facilities, trips and workshops with industry experts.
Why choose stage and theatre rather than screen acting?
It’s not either-or; both exist together. Terrence Mann put it better than I could: film and TV make you famous and rich; theatre makes you good.
How do you prepare for a role, and what challenges do you face during the preparation process?
First, gratitude — every role is another chance to create. I read the full story to understand where my character fits before focusing on the role. Rehearsals then bring the director, cast and character together. The main challenges are limited rehearsal space, making choices and ensuring the character feels believable rather than performed.
In your opinion, what role does theatre play in educating, entertaining and influencing audiences?
It does all three at once by pursuing one thing, truthful human behaviour on stage. In a country where formal channels, police training, legal education, public health messaging and governance, can be slow or difficult to reach, theatre becomes a faster way in. It can land with a parliamentary committee and a market-square audience on the same afternoon, and hit both with the same weight.
You were named Best Breakthrough Male Performer at the fourth edition of the Kenya Theatre Awards. Tell us about it.
I played the title role in an adaptation of Molière’s The Miser, produced by Igiza Arts Productions in 2024, directed by Martin Abuya and produced by Wreiner Mandu. That run earned my first nomination, and win. The production picked up nominations across the board that year: Best Playwright, Best Theatre Company, Best Producer, and both lead and supporting actress categories.
What advice would you give young Kenyans who dream of becoming professional actors?
Acting isn’t abstract, it’s real events, real emotion and real personality playing out in front of people. The work, and the hireability, comes down to one thing: how truthful you’re willing to be while you’re doing it.
What policies or regulations would you like to see enforced in Kenya’s creative industry?
We don’t have a body that represents theatre specifically. Film has the Kenya Film Classification Board (KFCB). Theatre doesn’t have an equivalent. Right now, it’s every man for himself.
You recently performed LICH at the Kenya National Theatre. Tell us about the production.
LICH is a play about grief, legacy and what it costs to hold on to tradition in a country that’s still developing.
Finally, what would you tell your campus self today?
It all pays off in the end.