Our lives, whether we know it or not, follow the structure of Freytag’s Pyramid: exposition, inciting incident, rising action, climax, falling action, resolution, and denouement. In this episode of the Footprints Podcast, Alex Mukulu, a renowned Ugandan playwright, shares fresh, unfiltered insights drawn from his life as a leader and maestro of theater in Uganda.
Born and raised in Namutamba village, Mityana, Mr. Mukulu recalls being inspired by the vibrant Rwandese neighbors who sang and danced with joy. His artistic spark may also run in the family—his aunt played violin in the Kabaka’s palace. By the time he joined Namilyango College School, Mukulu had already written plays and won awards. Later, at Makerere University, where he studied film and drama, he founded the African Professional Troupe of the Absurd.
With four decades of experience, Mr. Mukulu’s work draws deeply from personal and national history, government overthrows, social upheaval, and cultural evolution. Inspired by African writers like Ngugi wa Thiong'o and Chinua Achebe, he tells stories through metaphor and character, avoiding emotional bias. His plays are not just performances; they’re provocations for thought and conversation.
He’s honed his ability to express themes like parenthood or grief through what he calls "illusive theatre." For example, Springs of Tears (1979) was born from personal heartbreak. Other acclaimed works include 30 Years of Bananas (1991), I Killed the Archbishop (1984), and The Guest of Honor (1994), all rooted in the complexities of Ugandan society.
Yet, despite his success, Mukulu views himself not as a leader but as a “victim of his talent.” His craft has come with sacrifices, particularly isolation. Writing, thinking, and plotting consumed most of his time. But his unwavering commitment, self-awareness, and humility have kept him grounded. “Pride,” he warns, “makes artists lose sight of their identity, purpose, and vision.”
Today, Uganda’s theater faces a decline. Mukulu attributes this to complacency and resistance to change. In an era of globalization and rapid technology, he says the arts must evolve or be left behind. Relevance, he insists, is everything. Even in his senior years, he remains open to learning and reinvention.
His next act? Reviving Ugandan theater. His upcoming play, Kulunkalu ne Kulumbisi (Yellow City versus Red Ghetto), inspired by Romeo and Juliet, delves into social and political unity. With the question, “Do you know what you want to die for?” Mukulu challenges us to live and create with conviction.
His story is filled with lessons for artists, leaders, and dreamers alike. It teaches us to seek purpose, embrace humility, and stay relevant in the face of change. As with every story arc, the journey is not just about the climax but about staying true to oneself through the resolution and into the final scene.
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© Blurb written by Divine Karungi
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