In there, business deals are brokered, marriages are broken, old lovers meet, strangers go on blind dates, politicians make empty promises, child brides are whisked into forced marriages, husbands are coerced by their wives to vasectomy appointments, children run away from broken homes, and so much more.
Kinyua admits it can be overwhelming for his character, and for him, to be in every scene, from the first to the last scene of the day, and to confront all these stories.
“It’s taxing having to live through all the emotional and light moments, and also having to carry people’s stories and the weight that these stories have,” he says.
But these moments and these stories are what set Njoro wa Uba apart, as it leans more and more into social commentary, something fans have come to appreciate.
“When you see people’s reactions, and how they appreciate what we’re doing to highlight these issues, then you feel this burden is, to some extent, lifted,” Kinyua admits.
Njoro wa Uba started out as “a portrait of life in Nairobi” but is now set in Mombasa, proving it’s “exportable” beyond the confines of the capital.
It’s a change that its loyal fanbase has embraced, according to Kinyua.
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