The weddings
The reminisces of Kĩgũũnda and Wangeci's wedding, along with the Christian one they imagine for themselves, are both very important pieces of imagery because they contrast the different cultures of traditional Kenya and Western-influenced Kenya.
The climax of the play
The climax of the play, in which Kĩgũũnda threatens a cowering Kĩoi and then, in turn, is menaced and shot with a gun by Jezebel, is a vivid scene and one that takes the theme of the oppression of the poor by the rich to an extreme degree.
The hut
Kĩgũũnda and Wangeci's hut is described in detail in the stage design notes, and almost all of the action takes place within it. The walls and their various adornments of title-deed or Christian platitude, along with the type of furniture that is in it, signify much about the mindset of the two main characters. Its closeness is indicative of their poverty, but also of their intimacy and their valuing of what they have as opposed to avariciousness.
The songs and dances
All of the songs and dances are memorable images because they move the narrative beyond the temporal and spatial events of the play. The presence of dancers, soloists, and choruses on stage is unlikely to be something that the audience forgets.
