For filmmaker Reuben Odanga, storytelling isn’t just a career — it has been a calling. Through Multan Productions, Odanga has spent nearly two decades shaping Kenya’s television and film landscape with high-quality local dramas, particularly telenovelas that have captured audiences across East Africa.
From Saida, their first major hit and Kalasha Award winner in 2014, to fan-favourites like Nira, Nuru, the record-breaking Selina, Netflix’s Mofaya and recently MTV Shuga Season 1, Odanga’s work has continually raised the bar for local storytelling.
In an exclusive, he speaks on his latest project, Lazizi:
What inspired Lazizi?
I was heavily inspired by the flora and fauna of our country, especially the breathtaking landscapes of Muhoroni, framed perfectly by the rolling Nandi Hills. There’s something magical about that place — the people, the rhythm of life, the stories waiting to be told. And I thought to myself, why haven’t we told a story from here yet?
I wanted to give our fans, especially those from that region, something that feels like home — a show that reflects their world, their language, their heartbeat.
This project is different from anything we’ve done before. We have fused two powerful genres — a telenovela with a deep, emotional drama. So yes, it’s a telenovela, but it’s also grounded in realism — raw, relatable, and beautifully human.
And then there is the setting — western Kenya, right in the heart of the sugar belt. That’s an area with such a rich backdrop — nearly 17 sugar factories and thousands of lives intertwined with them.
We are also embracing the language of the land. The show is mostly in Swahili — about 85% — with a sprinkle of English and a touch of Luo. It’s a mix that feels authentic and real, just like the people it represents.
The show is set in the Sugar Belt region. Are you shooting in Western Region?
Yes, we are shooting in Luo Nyanza particularly in Muhoroni and Kisumu.
Like your previous projects, Lazizi features quite a lot of new faces. What are you always looking out for during auditions?
My background is in acting. That’s where I started, that’s where my heart still is. I understand what it means to be new, to walk into an audition room full of hope, nerves, and dreams. That’s why I’m a huge believer in raw talent — spotting it, nurturing it, and helping it grow.
For me, it is all about balance — mixing the old and the new, the seasoned and the fresh. But ultimately, it always comes down to talent.
In Selina, for example, we held open auditions for several days looking for titular character Selina. When Celestine walked into that room and she read the script, there was no doubt — that was our girl.
For Mofaya, we did another open audition. Nearly 700 people showed up. Lazizi? That one almost turned chaotic — close to a thousand people turned up.
When we were casting Sophie in Lazizi, we couldn’t find anyone to fit the role. I remember that evening so clearly — I had been invited to watch a play, and as I sat there, that’s how I met Vivian Nyawira on stage. Instantly, I thought, that’s her. The next day, we called her in to audition — and she got the role.
So yes, I work with professional, established actors. But I will always have a soft spot for the new ones — the ones hungry to learn, to grow, to shine. Because discovering and shaping new talent doesn’t just build careers; it adds something raw, fresh, and magical to every production.
The past one year has been very busy year for you and Lazizi is your third project. How do you keep going?
Over the years, we have set up systems that are functional. We have been very intentional with up scaling, building, and skilling the people who are coming to work with us. We have been very intentional to create a brand and a company that is able to sort of like handle that work.
We are diligent. We work hard and deliver on time. And all these things have been able to work for our favor in the sense that then we have built a brand that is trusted over time.
So yes, there’s luck, but also there’s a track record that shows that we deliver. And I think that’s what attracts people to want to work with us.
As you are aware, your recent projects, especially MTV Shuga, have received a lot of fan criticism. How do you deal with criticism?
I have learned not to take criticism personally — honestly, I don’t see it as hate. I have just come to accept that Kenyans have a very interesting way of saying “I love you.”
Take Selina, for example. Back then, whenever we would post on social media, we’d get flooded with hundreds of comments — sometimes 300 or 400. At first, everyone was full of praise, all smiles and heart emojis. Then, almost overnight, the tone shifted — suddenly it was criticism, harsh opinions, endless debates. But funny enough, when we stopped posting, the same people started complaining why we aren’t posting anymore.
That’s when it really hit me — as Kenyans, we sometimes struggle to appreciate our own, but deep down, there’s love behind that noise.
And if you look at the real data, you’ll see something interesting — only a small percentage of Kenyans on X have the loudest microphones. They don’t necessarily represent the whole country. So while I read, listen, and even interrogate some of the feedback, I also take it all with perspective.
What really surprises me is when people do a full “review” of a show after watching just one episode. That alone tells you it’s not going to be objective.
So no, I’m not bothered. I appreciate the chatter, both good and bad. Because at the end of the day, if people are talking, it means they are watching.
What do you hope the audience gets from Lazizi?
What I really hope Kenyans take away from this story is the importance of our culture — who we are, where we come from, and how rich that is. For me, it is such a proud moment to see us starting to tell our own stories, rooted in our own regions, our languages, and our traditions. Including the Dholuo dialect in this project wasn’t just a creative choice — it was personal. It was about authenticity and honoring the people whose stories we’re telling.
And then there is the sugar belt story. On the surface, it might sound simple — a sugar cane farmer. But when you really dig into it, you realize it’s layered, complex, and deeply human. You learn about the people, the struggles, the dreams, and the entire ecosystem that keeps that world alive.
Most of all, I hope this story opens up the conversation about where our stories come from. Because once you live in the city, it’s easy to think Kenya is Nairobi — but it’s not. There’s a whole world beyond the highways and skyscrapers, full of stories waiting to be told.
This year has seen the revival of our legacy stories on the theatre stage from Wangu wa Makeri to The Trial of Dedan Kimathi. Which is that story you would like adapted on the small screen?
If I could choose one story to adapt for the small screen, it would be Nabongo Wanga. There’s something about that story that has always stayed with me — it’s deeply rooted in our heritage, in leadership, in identity.
I would also love to tackle the story of the 1982 coup. It’s one of those moments in our history that shaped a nation — raw, emotional, and filled with tension and humanity.
What is next for you?
I’m working on a feature film, and we are already trying to think about the distribution process.
Catch Lazizi every Monday to Friday at 20:00 exclusively on Maisha Magic Plus (DStv Channel 163 / GOtv Channel 3.
