Why Kenyan Actors Are Struggling Financially: Case Studies of Omosh, Ras, and Others

Kenya’s film and television industry has produced some of East Africa’s most celebrated stars. From timeless shows like Mother-in-Law to youth-centered productions such as Machachari, many actors have entertained households for years. Yet behind the screen glamor, a darker reality persists: most Kenyan actors are struggling financially. Several high-profile cases have brought this crisis to light, exposing the fragile state of the creative economy.

Low Pay and Infrequent Gigs

Unlike their counterparts in Hollywood or Nollywood, Kenyan actors often earn shockingly low wages. A Daily Nation report revealed that actors earn between KSh 5,000 and 10,000 per show, with most only securing a handful of gigs each month.

This inconsistency makes it nearly impossible to sustain a comfortable lifestyle. For instance, Ted Kitana, popularly known as Kilunda from Mother-in-Law, admitted leaving the industry after realizing the pay simply could not sustain him.

Royalty and Institutional Failures

Royalties are supposed to provide long-term income for creatives, yet Kenyan actors rarely benefit. The Music Copyright Society of Kenya (MCSK) has come under sharp criticism for paying peanuts to artists, sometimes as low as KSh 2,530 in a year.

This leaves veteran actors with no safety net once the shows end. Former Tahidi High actor Omosh became a national conversation when he admitted to being broke despite years of stardom.

His plight highlighted how poorly structured Kenya’s royalty system is.

Exploitation by Production Houses

Exploitation is another thorn. A HapaKenya exposé detailed how many creatives are underpaid, overworked, or left unpaid altogether, with producers often citing “exposure” as compensation.

For actors like Mzee Kobe of Machachari, this has meant struggling to maintain even a modest lifestyle despite years in the industry.

The Burden of Celebrity Image

The public often assumes that being on TV equals wealth. This perception puts actors under pressure to live beyond their means to maintain the celebrity image. 

Tuko featured Ras from Mother-in-Law, who revealed that even though some actors earn as little as KSh 20,000 a month, society expects them to appear rich and successful.

This creates mental health struggles, pushing some into depression and alcoholism.

Lack of Career Longevity and Typecasting

Many Kenyan actors are typecast into single roles that define their careers. When shows end, finding new opportunities becomes difficult.

Actors like Lolani Kalu, a once-familiar face on NTV’s Malimwengu, publicly admitted to financial struggles after leaving mainstream media.

The industry rarely invests in retraining or diversifying roles, leaving actors stranded once their characters fade.

Conclusion

The financial struggles of Kenyan actors are not isolated cases—they are symptoms of a broken system. Low wages, poor royalty structures, exploitation, unrealistic public expectations, and lack of career support have left even beloved stars like Omosh, Mzee Kobe, and Ras vulnerable.

If Kenya’s creative economy is to thrive, urgent reforms are needed: transparent royalty systems, stronger unions, and fair pay for talent. Until then, fame will remain a fragile illusion for many of Kenya’s actors—loud on screen but silent in their pockets.