From left: Angel Waruinge, Abel Mutua, Nini Wacera and Ted Kitana.
A familiar narrative continues to shadow Kenya’s film and television industry: actors are underpaid while producers appear to walk away with the lion’s share of production budgets.
For years, many actors have described their careers as hand-to-mouth survival, even as production houses are perceived to thrive. While a handful of top-tier actors in big-budget productions earn comfortably, the reality for most remains far less glamorous.
According to “Mother-in-Law” actor John Githui, popularly known as Ras, even leading actors are “paid like extras”.
“I left “Mother-in-Law” not because I was fired, but because I couldn’t see financial growth,” he says. “I ventured into other businesses, including running a car wash and engaging in environmental projects I’m passionate about.”
Ras recalls a conversation with a South African line producer that crystallised his frustration.
“I told her the best-paid actors here earn Sh40,000. She laughed and said she could set up a production house in Kenya and pay the main actors what she pays extras in South Africa.”
Former Tahidi High actor Ted Kitana, alias Kilunda, eventually abandoned acting and returned to the village to focus on farming with his mother.
Former Tahidi High actor Ted Kitana, alias Kilunda.
“Acting is not as lucrative as people assume. We were paid peanuts while the public believed we were earning good money,” he says. “Now we do poultry farming and grow vegetables for profit.”
Another former Tahidi High star, Angel Waruinge (Miss Morgan), revealed that the show generated millions of shillings weekly during its run, yet her pay remained Sh25,000 per episode, with only one episode airing per week.
Former Tahidi High star, Angel Waruinge (Miss Morgan).
In March of 2025, actor Dedan Juma publicly appealed for financial support to feed his children. Paul Ogola, who rose to prominence in Nairobi Half Life — Kenya’s first Oscar submission — left the industry altogether and now serves in the US Navy. Meanwhile, Charles Matathia, the scriptwriter behind Nairobi Half Life, was captured in a viral video last year, reportedly living on the streets.
Paul Ogola.
Such stories have fuelled public perception that actors struggle while producers prosper.
Producers, however, insist the situation is more complex.
Cost of production
Film director Brian Munene estimates that producing an independent Kenyan feature film costs around Sh10 million on average.
Script writer Brian Munene.
“If your budget is around Sh10 million, you have a chance of making a profit when you sell the film,” he says. “But production costs are high : equipment, locations, logistics, crew.”
Veteran producer Rueben Odanga previously described his hit telenovela “Selina” as one of his most expensive ventures. Although the show reportedly generated Sh300 million over five years on Maisha Magic, Odanga says it left him in debt.
“Props alone cost Sh4 million,” he explained. “The client wanted Selina not to look rich, but to be rich.”
Lead actors earned Sh120,000 per month initially, rising to Sh280,000 by the end of the show. “There were three actors earning more than I was from Selina,” Odanga noted.
Film-maker Phillip Karanja and his ex-wife Catherine Kamau, an actress.
Phillip Karanja of Phil-It admits that producing the comedy series “Sue na Jonnie” left the company Sh3 million in debt, partly because they paid cast and crew above market rates.
Still, actors argue that some producers hide behind production costs while allocating themselves generous margins.
Actress Nini Wacera maintains that wages have stagnated for decades.
“When I did 'Wingu La Moto”, I earned Sh170,000 per season, rising to Sh190,000. That was years ago. Today, many actors earn between Sh50,000 and Sh80,000 per month, maybe Sh200,000 if you’re a big star. There hasn’t been meaningful growth since 2002.”
Ras adds: “I once earned Sh70,000 at the start of my career. Years later, I was earning Sh20,000 — with children to support.”
Top actress and cast director Nini Wacera during a past event.
Wacera attributes part of the problem to the entry of major service providers such as M-Net and MultiChoice into the Kenyan market.
“They came in with substantial budgets,” she says. “Some producers misused the funds, buying expensive cars and living large. When budgets were later cut, actors suffered.”
Phillip, however, argues that actors cannot place all the blame on producers.
Filmmaker and entertainer Abel Mutua.
“Yes, some producers aren’t honest. But actors must diversify. Producers do. I run a podcast and other projects. Abel Mutua writes, produces and runs a successful YouTube channel. You must generate income beyond acting.”
He suggests actors negotiate equity rather than accept one-off salaries.
“If a producer approaches you, ask for equity in the intellectual property. That way, whenever the content is sold, you earn something. I’m open to such conversations — provided the actor can prove their added value.”
Brian agrees that shrinking budgets are reshaping the industry. In 2023, he pitched a show to a local broadcaster who offered Sh130,000 per episode.
“From that, you’re expected to pay actors, crew and produce a full episode. It’s impossible,” he says.
Lower-tier broadcasters may offer between Sh500,000 and Sh1 million per episode, but even that must cover extensive production costs.
Grace Kahaki, Nairobi-based film producer and director.
Producer Grace Kahaki of Insignia Productions says diversification is essential.
“We ensure our actors are paid well, but we don’t rely solely on TV revenue,” she says. “We’ve pivoted into commercials. Sometimes a 13-second TV advert pays more than a 13-episode show filmed over three months.”
Jennifer Ochieng, founder of SinemaFocus, believes weak industry structures also contribute.
“There aren’t strong actors’ unions or guilds pushing for welfare standards. Without regulation, production houses operate at their own discretion,” she says.
As audiences increasingly shift towards free platforms such as YouTube, revenue streams for traditional broadcasters continue to decline — a global trend affecting Kenya as well.
The divide between struggling actors and seemingly thriving producers may not be as simple as it appears. Rising production costs, shrinking broadcaster budgets, weak unions and limited monetisation models have created an ecosystem where risk is high and margins are tight.
Yet for many actors living paycheque to paycheque, the disparity remains stark.
Until industry structures evolve — whether through stronger unions, equity negotiations or new digital revenue models — Kenya’s film industry will likely continue grappling with the tension between creative passion and financial survival.
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