Kenyan Actors Speak Out on Being Famous but Financially Struggling

Actors in Kenya’s film and television sector continue to report low pay, even as production houses are perceived to prosper.

John Githui, widely recognised for his role as Ras in Mother-in-Law, said he left the show because the wages offered little chance of growth. He recalled being told by a South African producer that Kenyan lead actors earn less than extras in her country.

Former Tahidi High stars Ted Kitana and Angel Waruinge shared similar experiences, revealing that their salaries were far below public expectations despite the programme’s commercial success. Kitana has since returned to farming, while Waruinge disclosed she earned Sh25,000 per episode while the show generated millions of shillings weekly.

Financial struggles have also affected younger performers. In 2025, Dedan Juma made a public appeal for support, while Paul Ogola, once acclaimed for his role in Nairobi Half Life, left acting and joined the US Navy. The film’s scriptwriter, Charles Matathia, was later filmed living on the streets, highlighting the instability of creative work.

Producers argue that the perception of exploitation does not reflect the realities of production costs. Director Brian Munene estimated that an independent feature film requires about Sh10 million, with equipment, logistics and crew consuming most of the budget. Rueben Odanga, producer of Selina, said that although the show generated Sh300 million over five years, he was left in debt.

Lead actors earned up to Sh280,000 per month, with some surpassing his own income. Phillip Karanja also admitted his company incurred losses while deliberately paying cast and crew above standard rates.

Actors maintain that wages have stagnated for decades. Nini Wacera, an actress and casting director, recalled earning Sh170,000 per season in the early 2000s, only to see her pay fall to Sh20,000 years later. She partly attributed the decline to the entry of major broadcasters such as M-Net and MultiChoice, whose large budgets were sometimes misused by producers. When those budgets contracted, performers were the most affected.

Industry observers point to structural weaknesses. Jennifer Ochieng of SinemaFocus noted the absence of strong unions or guilds, leaving actors without collective bargaining power. Producer Grace Kahaki highlighted diversification as a survival strategy, explaining that short television adverts often generate more revenue than drama series.

Abel Mutua has urged actors to negotiate equity stakes in productions, arguing that intellectual property offers longer-term benefits than salaries alone.