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For more than two decades, Mitchel Sommers used community theatre in Greensboro to connect children from different neighborhoods and backgrounds. Now, he is carrying that same philosophy to Nairobi, where a chance visit has grown into a youth theatre program for children from Kibera.
About a year and a half ago, Sommers was preparing for his third trip to Kenya, and on a whim, sent his résumé and an unsolicited message to the Kenya National Theatre after realizing he would have several free days in Nairobi before a safari. He offered to volunteer his experience in theater management, fundraising and facility development at no cost.
“If there’s anything I can help you with for free, it’s a gift,” Sommers recalled telling the theatre’s leadership.
His offer arrived at an opportune time. The theatre invited him to speak at a festival. During the same trip, Sommers signed up for a tour of Kibera, which is described as the largest informal settlement (residential areas that lack basic infrastructure such as clean water and sanitation) in Nairobi and one of the largest in Africa.
The experience stayed with him after he returned to the United States. Sommers began thinking about how his professional background could be used to create a positive outlet for Kibera’s children. He contacted the Kenya National Theatre and asked its leadership to help him identify two qualified drama teachers.
“What if I started a theatre program for young people in Kibera so they have something creative, something positive?” he asked.
The program began in August 2025 at the Hope and Shine Kibera Centre, where about 35 children aged 8 to 18 attended weekly acting, singing and dancing lessons. Sommers said the program is designed to help the students develop confidence, communication skills, discipline and self-esteem.
As the weekly program took shape, Sommers and his Kenyan partners began discussing a larger project. They decided to stage a youth production of “The Lion King Jr.,” a story set in Africa. A few months later, approximately 250 children were auditioned, and 100 were selected.
Drawing on 27 years leading The Community Theatre of Greensboro, Sommers said he wanted to recreate the kind of environment in which children from affluent communities and those facing economic hardship could work together toward a common goal.
Although Sommers did not interfere with decisions about the principal roles, he made one request of the production team: The children from Kibera had to be included.
“I’m not going to tell you who to cast,” he said he told the producer. “But I do want the kids from Kibera to have this experience.”
The Kibera students became the dancing ensemble and made up about one-third of the cast. Many had never attended a theatrical performance, much less appeared onstage.
The production was staged at the C.U. Shah Jain Bhavan Auditorium in Nairobi and was performed in English. Kenya’s history under British rule means English is widely spoken, although residents have varying levels of fluency, and Swahili is also spoken.
For some of the children, simply entering the theatre exposed them to conveniences they had never experienced.
Sommers said he repeatedly noticed some of the boys gathering excitedly inside the theatre’s restroom. At first, he did not understand what captured their attention. He later realized they were fascinated by the running water and flushing toilets.
“They were amazed that they were able to stand there, and this water keeps coming out of this faucet,” he said. “That is something that we, in America, don’t even think about. And far too often, take for granted.”
Before rehearsals could begin, Sommers also had to gain the trust and permission of the children’s parents. Many of the parents had never attended a play and were unfamiliar with rehearsals or the time commitment required to prepare for a production.
Sommers and a Kenyan colleague named Lucas organized a meeting so he could introduce himself, explain the project and answer questions. Following a discussion in Swahili, a mother representing the group told him that the parents believed the production could benefit their children but wanted something in return.
Sommers initially thought they might ask for money. Instead, the families requested basic household necessities: cooking oil, several bars of soap and maize. The items cost about $10 per family.
“They just wanted food. Simple as that. So that they could take care of their families,” Sommers said.
The production ultimately attracted large audiences. The first four performances were presented for young people, with about 800 children at each show, including families from Kibera and other underserved communities.
For Kibera parents, the performances offered the chance to see their children dressed in costumes and appearing onstage in a major production.
“To sit in the audience and watch their child up there on the stage like that—it was really something,” Sommers said.
The positive response continued after the curtain closed. Sommers’ noted that parents later told him their children had become more confident, responsible and thoughtful. He also noted that the experience showed how theatre can be both an escape and a practical tool for growth.
“It just really opens up everyone’s eyes to what’s possible,” he said. “It’s an escape, but it’s also offering life-building skills.”
What began as a single production is now moving toward becoming a permanent organization. Sommers plans to return to Nairobi in December to help launch a community theatre, by first establishing The Stage and Beyond Trust, a nonprofit-style organization that could offer camps, workshops, acting classes and school-based programs.
“It’s not only giving people an experience on the stage, but where it can lead them and what it will do for them once the curtain comes down,” he said.
Funding remains the main challenge, though Sommers said Kenyan officials and potential supporters have expressed interest.
“The possibilities are limitless,” he said. “Everything else is there. The passion—my passion—is there.”
Although he has long since retired from The Community Theatre of Greensboro, Sommers continues to hold several professional and community roles. He serves as a cantorial soloist at Temple Emanuel and works as a communications specialist at Elon University School of Law.
Sommers has also taught theatre at Elon University for 19 years. In addition, he continues to direct the annual production of “The Wizard of Oz,” with the Community Theatre of Greensboro, a Greensboro tradition he has led for three decades. The upcoming production will mark his 31st year directing the show. He will also be receiving the National Conference for Community and Justice Citation Award in November acknowledging his longtime commitment to community service.
The project has also deepened Sommers’ connection to the Jewish principle of tikkun olam, which translates to “repairing the world.”
“What is your tikkun olam?” he asked. “What do you do and what are you going to do to repair the world, to make the world a better place? So, I guess for me, it’s become my tikkun olam.”
He said he hopes others will recognize that service does not require a large organization or major donation.
“You can’t let a feeling of helplessness, or a feeling of ‘Who am I to make a difference?’ deter you. You can’t approach life that way,” he said.
Sommers’ reiterated that message on July 10 when he spoke at Temple Emanuel’s Friday evening Shabbat service. He encouraged each person to identify the cause or act of service through which they can help repair the world.
“Each person finds their own tikkun olam,” Sommers said. “And there is no such thing as a small act because, like I said, you save one life, you save the world.”
For Sommers, the work began with an unsolicited résumé sent across the world. It has since given children a stage, parents new reasons for hope and two communities separated by thousands of miles a reminder of how much they share.
