NAIROBI — The stage lights dim. A phone screen lights up. A familiar scene unfolds — likes pouring in, DMs buzzing, brand deals dangling like bait. But behind the filters and followers, something darker simmers.
This was the world of Life After Likes, a sharp, witty, and painfully honest stage production that opened last weekend at the Kenya National Theatre. Directed and produced by Iryn Mungai under her production banner Doqflix, the play marked the company’s first anniversary with a powerful commentary on digital fame and the fine print that comes with it.
“This wasn’t just a performance. It was blood, sweat, and soul,” Mungai told me behind the scenes, her eyes still lit with adrenaline. “We wanted to show what influencers go through when the spotlight fades. It’s not all glitz.”
Set in Nairobi’s fast-paced influencer economy, Life After Likes follows the highs and heartbreaks of young content creators lured by brand partnerships, only to be short-changed by shady contracts and exploitative marketing agencies.
The show’s lead, Mwende King’óri, brought star power and emotional depth to her role as a struggling fashion influencer. A familiar face in TV commercials, Mwende said stage work comes naturally.
“Stage acting is raw — you breathe with the audience,” she said, still in costume. “Film taught me precision. Ads taught me to sell. But theatre? Theatre taught me truth.”
That truth was not lost on the audience. I spoke to several theatre-goers outside the hall after curtain call.
“Refreshing,” said Anita Wambua, a digital marketer in her twenties. “It felt like my own story — the pressure to post, to stay relevant, to look happy even when you’re not.”
Another guest, university student Tony Mburu, nodded in agreement. “You don’t think about the contracts, the legal stuff. This play made me realise how easy it is to be taken advantage of.”
Mungai, who’s been building Doqflix from the ground up, said the play was also a celebration of resilience — not just for the characters, but for the creatives who made it happen. “Many of us have been burned by this system. But we’ve also learned how to fight back. This play is part of that fight.”
The script struck a delicate balance between humour and heartbreak, drawing the audience into the highs of viral fame and the gut-punch of betrayal. From the sharp choreography of the cast’s scrolling fingers to the backdrop of branded hashtags and push notifications, the production never let the audience forget what was at stake.
But it wasn’t all bleak. The final scene offered hope — a message about reclaiming one’s voice, reading the fine print, and knowing your worth beyond the numbers on a screen.
As theatre in Kenya continues to evolve, Life After Likes stands out not just for its timely subject but for how it connects with a generation raised online. And if this play is anything to go by, Doqflix is a name to watch.
