Kemiyondo Coutinho

Kemiyondo Coutinho is a multi-hyphenated writer, director and actor hailing from Uganda but who self identifies as an African nomad. Her theatrical debut, Jabulile!, offered a heartfelt portrayal of Swazi women and transcended borders, captivating audiences worldwide in Swaziland, South Africa, Uganda, Canada, New York, Chicago, Los Angeles, San Francisco, and Portland. Kemiyondo's poignant play, Kawuna...You’re It, shed light on the lives of HIV-positive women in Uganda, earning recognition with a reading in New York by Hybrid Theater Works. It was further celebrated at the National Arts Festival in South Africa and headlined the 2015 Gates Foundation World AIDS Day Celebration. Notably, Kemiyondo is a recipient of Forbes Africa's esteemed 30 under 30 award, and remains grounded in her commitment to storytelling that bridges hard-hitting themes with witty comedic commentary, all aimed at making audiences feel seen. She is also the inaugural recipient of John Singleton's Filmmaker's Fellowship, Kevin Hart's Laugh Out Loud Filmmaking Fellowship, and the proud recipient of the Shadow & Act Rising Star Award. Furthermore, she has earned a place among OKAYAfrica's 100 Women of Africa To Watch. Currently, Kemiyondo contributes her creative talents as a writer and Co-Executive Producer on Season 3 of Starz's acclaimed series, P-Valley.

Did you always know you were going to become a writer? When you were young, how did you envision yourself as an adult? How did your early life influence your creativity, and when did you begin writing?

I always say I'm an accidental writer. Growing up, I never envisioned myself hunched over a laptop, turning thoughts into words on a screen. My younger self was more entranced by the allure of the stage, the visceral thrill of embodying different characters, and the connection that comes from a live performance. I saw myself as an actor, a conduit of emotion and narrative, rather than a creator of it.

The idea of becoming a writer was not born out of an intrinsic desire to write, but rather a need to see myself and people like me represented in the world of acting. While searching for plays and roles that would accommodate my voice and identity, I found a glaring absence. So, out of necessity, I wrote my own script. It was a pragmatic choice; I needed a play that would fit me, and when I didn’t find it, I created it.

Fast forward a couple of years, and the same pattern emerged in the realm of TV and film. It seemed as if the stories being told had no room for someone like me. So once again, necessity drove me to the keyboard. I began writing roles and narratives that I wanted to see, effectively writing myself into existence on the screen.

My early life taught me the importance of representation and the power of storytelling, not just as a form of art, but as a tool for change. In the end, writing chose me as much as I chose it. My initial creative impulses were channeled through acting, but they found their true form in writing. Now, even though my primary focus isn't on acting anymore, I consider myself a writer for those actors who, like me, can't find themselves on stage or screen. In stumbling upon writing, I believe I've found my true calling. I write not just for myself, but for all those who feel unrepresented, unheard, and unseen.

I am a huge P Valley (Starz) fan, and it's so exciting you are contributing as a writer and co-EP for Season 3! How has your work and experience as a playwright informed your writing for the screen? Do you feel there is an advantage to having a theater background, when it comes to storytelling for TV?

It's truly an honor to be a part of the team for Season 3 of P-Valley, especially working under the guidance of the Pulitzer-winning playwright Katori Hall. Working for Katori has been an enlightening experience and an absolute dream come true. She has significantly influenced my approach to screenwriting, given her own roots in theater.

The world of theater, particularly as shaped by Katori's vision, teaches you that the stage is a canvas where anything is possible. This philosophy has had a profound impact on how I approach writing for TV. In theater, you're not restricted by budget constraints, specific shooting locations, or the other logistical limitations you might find in television and film. That sort of boundless creativity informs how I approach the screen; it encourages me to push boundaries, to think freely, and to be more innovative.

Furthermore, my background in one-woman shows has given me a particular advantage when it comes to character development, especially for smaller roles. When you're the one playing every single character on stage, you quickly learn that each one, no matter how minor they might appear, has their own story, motivations, and quirks. This experience has given me a knack for crafting compelling smaller characters that resonate with audiences, adding layers of depth and texture to the overall narrative. I feel this is what sets my work apart and makes it pop.

So yes, I firmly believe that having a theater background offers a unique advantage when it comes to storytelling for TV. It not only shapes your understanding of narrative and character but also broadens your imagination, inspiring you to challenge the conventional limits of the medium.

Your play Cinderellas of America is about to go up at the Atwater Village Theatre with IAMA Theatre Company, with a sold-out house (congrats!) How did you meet your director Kimberly Hébert, and what has it been like working together? How have you collaborated in the development process?

I met Kimberly on my screen! Ha! But I first met her for real because she had been directing pieces through First Fifteen, an incredible platform started by my friend Jamila Webb. One of the first things that drew me to Kimberly is her as an "actor's director," which I felt would be crucial for Cinderellas of America, especially given how personal the material is and how closely the actors relate to it.

But more than just her approach to direction, Kimberly adds an important layer of cultural insight to the project. Cinderellas of America delves into the complex dynamics between Africans and African Americans, and it was important to me to have an African-American presence on the creative team. Kimberly and I have had numerous valuable discussions on this topic, and I knew her perspective would be an invaluable addition to shaping the story.

Working with Kimberly has been both a joy and an enlightening experience. After our first conversation and initial discussion, I found myself going back to rewrite the script. She's a wellspring of knowledge and insight, always reminding me that her role is to serve the playwright—to bring out the voice and message in the writing. This approach has been incredibly helpful during the workshop phase, allowing me to really hear what's coming across in the script. It's clarified what I'm happy I wrote and pointed out elements where I felt, "Hmm, that's not quite the message I intended," prompting revisions.

The journey of collaborating with Kimberly has been enriching in ways I couldn't have anticipated, and I'm thrilled to see how our collective vision will unfold thanks to this amazing opportunity given to us by IAMA Theatre Company.

How did your writing process for Cinderellas of America begin? What was the idea that started it all? How do you hope for the audience to feel, after seeing the play?

The genesis of Cinderellas of America came during a particularly challenging period in my life when I was navigating the complexities of the U.S. immigration system. I spent close to five years and a significant amount of money applying for a green card. During that time, someone offered to connect me with a green card marriage matchmaker. While I immediately thought, "Oh, hell no," the offer did spark an idea: Why not explore this through the lens of storytelling?

I have a penchant for tackling heavy, often uncomfortable topics, but I also believe that humor is an essential tool for engagement. My philosophy is that you can't truly cry with a character until you've laughed with them. So Cinderellas of America employs comedy as a vehicle to bring audiences into a deeper, more nuanced conversation. I use humor to create a safe space for the audience, only to disrupt that comfort with moments that force them to confront reality.

After seeing the play, I hope audiences leave the theater both entertained and unsettled. The goal is to challenge perceptions, to provoke thought, and to ignite conversations long after the “curtain” closes.

Are there any upcoming performances, events, plays or shows that you are looking forward to seeing? Anything you and your peers or colleagues are currently working on, that we should check out?

I'm incredibly excited about several upcoming performances and events, both from friends and colleagues in the industry. First off, IAMA's New Work Fest , OF COURSE!, I am excited to see the other plays that have been workshopped!

I have three friends who are starring in Raisin in the Sun at South Coast Rep, and I can't wait to see their performances. I'm also eagerly anticipating Covenant, a play by my best friend York Walker, which is opening next month at Roundabout Theatre Company.

Then there's Jajja's Braiding Shop on Broadway—a show I'm thrilled to see when I'm in New York next month. It’s amazing to see African storytelling taking place on The Broadway darliiiin.

As for what I'm currently working on, I'm taking the time to diversify my creative outlets. I've been immersing myself in painting and photography, and I'm also in the process of writing a children's book. Given the ongoing strike, it's a period that has allowed me to focus on being present and grateful, reminding me of the various forms that storytelling and art can take.