Anointed Cartel: Play takes on unholy union of clergy and politicians

‘The Anointed Cartel’ play daringly takes on the unholy union between politicians and religious leaders. Staged by the Igiza Arts this past weekend at the Kenya National Theatre, it tackles the present-day nightmare of abductions, spiritual abuse, and corruption.

Bishop Mwakazi (played by Rexie Ndoria) runs a church in what he terms a “divine partnership” with a politician, Honourable Charles Kalalu (played by Sammy Kimani). The bishop is assisted by Pastor Judy (played by Faith Karimi), Deacon Felix (played by Jeff Obonyo), Prophetess Charity (played by Lisa Odhiambo), and Joseph (played by Lucarelli Onyango).

They meet at the church to discuss religious fraud. They allocate a big chunk of the church’s budget to building an office and personal allowances, among other wasteful spending, and little to missionary work and staff salaries.  

With tithing as their main priority, they tactfully devise manipulative ways to swindle money from the congregation through use of scriptures with the promise of divine blessings.

They disregard the underprivileged congregants from whom they squeeze their last coin and a resolute adoration for the politicians for their bountiful tithes. Church is a business to them, and attending a forthcoming prayer breakfast is a strategy to network with tenderpreneurs.

The play examines the psychological impact of their financially exploitative slogans like “no tithe, no testimony”, “give until it hurts”, and “your seed, your speed. Big blessings with a big tithe, and if they don’t happen, it is their faith that’s not strong.”

One character, Elder Margaret (played by Milkah Wangui), listens in utter disapproval, challenging them in their commodification of divine blessings and exploitation of the poor.

“Politics and faith go hand in hand. The politicians need votes, and pastors need money. We are about to gain profits during the upcoming elections,” they say.  

At the peak of their plans, Naomi Mwakazi (played by Ann Kiveli) leads a protest outside the church. They surged inside with records of their financial crimes and a demand for the release of an activist, Daniel.

Naomi and Daniel are siblings with their father as Bishop Mwakazi. Naomi learns of his brother’s abduction and murder and that his lover and activist Janet (played by Linda Kamuri) betrayed him and enabled Bishop Mwakazi to abduct him and hand him to Hon. Kalalu’s torturers for unravelling their crimes. In an emotional moment, Naomi pays tribute to him and real murdered activists in the last year.

In many ways, the play creatively and pensively mirrors current events in the country, from forced disappearances and murders to betrayal from activists who sided with politicians in the aftermath of the anti-Finance Bill last year.

As protestors demand justice, restitution, and financial transparency, Bishop Mwakazi and Hon Kalalu swing between a public apology and creating a task force to investigate the apparent claims of the activists and bribing them for their silence. When cornered, some church leaders deny their involvement.

‘The Anointed Cartel’ is one of Igiza Arts’ plays that touch on topical issues. Last year, they presented ‘Severed Justice’ about police brutality; ‘Waiting Room’ about the crises in Kenya’s medical sector; and a political satire, ‘Flight 1963’, that earned its playwright Martin Abuya a Kenya Theatre Awards 2025 for Best Playwright – Original Script.  

Martin, who also directed this play, says he had to script ‘The Anointed Cartel’ to tackle a crucial sector that has been complicit and silent about governance.

“Religion holds a lot of power, yet it has been misused. Sloganeering is a thing in politics, and, unknown to people, even churches do it. Certain messages to manipulate people to give their last coin don’t miss,” he says.  

Martin acknowledges the growing threat to creative expressions that challenge government, but that doesn’t stop him from using his pen. He, however, has received worrying remarks from his audience about the risky nature of his work, considering the abductions and arrests of those who dare to call out injustices in this present regime.

“Igiza Arts hasn’t gone viral yet, and I think it is either that the political class is not paying attention to theatre or they are following intently and waiting for an opportune time to act. All in all, many theatre productions, including comedies, are speaking truth to power these days,” he says.