By Isaac Dan Bw’Onyancha
Thespian turned politician Cleophas Malala’s repeated use of school theatre as a platform for his personal and political battles is both irresponsible and detrimental to the learners involved.
His past play Shackles of Doom , performed by Butere Girls in 2013, was banned due to its overt political messaging on tribalism and resource allocation, drawing unnecessary controversy to the school and its students.
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Similarly, this year’s Echoes of War suffered the same fate, being pulled from the Western Regional Drama Festival, once again exposing young learners to political disputes beyond their understanding.
Malala’s insistence on using school theatre for his own political agenda disregards the very essence of drama in education, which is to nurture artistic expression and critical thinking without dragging students into adult conflicts.
By prioritizing his personal vendetta over the educational purpose of theatre, Malala places students at risk of censorship, psychological stress, and public backlash.
School drama festivals are meant to encourage creative storytelling and learning, not to be used as battlegrounds for politicians seeking revenge against the government they once served.
When playwrights like Malala inject their grievances into school productions, they distort the purpose of theatre and turn innocent students into unwilling participants in political wars they neither initiated nor comprehend.
This selfish act shifts focus from the students’ artistic development to the playwright’s personal fight, reducing theatre to a tool for political agitation rather than a medium for meaningful education.
“School theatre should remain a space for constructive storytelling, fostering growth, and inspiring young minds to think critically about society without burdening them with adult political feuds.”
–Isaac Dan Bw’Onyancha
While drama has the power to challenge and expose social injustices, it must be done with responsibility and care, ensuring that students are not exploited for personal gain.
Malala’s approach not only jeopardizes the credibility of school drama festivals but also risks alienating young learners from theatre by associating it with unnecessary controversy.
True artistic expression should uplift and educate, not serve as a weapon for personal revenge, and Malala must recognize that his selfishness does more harm than good to the very students he claims to inspire.
Dan Onyancha is a Leadership and Governance expert and commentator as well as Veteran Thespian.
