For most of much career, audiences have known Lizz Njagah as the iconic actress from Makutano Junction and Jane and Abel to films likeVeve.
Together with her husband, Alex Konstantaras, she co-founded Historia Films; through which she has written, produced, and starred in projects like the award-winning risqué comedy House of Lungula and the much-loved Fundi-Mentals.
Now, she serves as the Executive Producer in Showmax’s bold gender-flip comedy Adam to Eve which stars Blessing Lung’aho and Ellah Miana.
In this exclusive, the Kalasha winner tells all about her 13-year wait to flip the script on Kenya’s men in hit Adam to Eve:
You have been a lead actress in both Kenyan films and TV, and now a producer of 10 feature films. How does your experience in front of the camera shape how you manage projects behind it?
My years in front of the camera have been my greatest training ground as a producer. I understand what it feels like to be on set for long hours, to need direction that inspires, and to crave an environment where creativity feels safe. That empathy helps me manage productions with balance — I know what actors need to give their best and what a crew needs to stay motivated. I try to run sets that are both disciplined and deeply collaborative.
One of my earlier shows, News Just In, showed me that Kenyan audiences are incredibly smart and emotionally tuned in — they love authenticity, humour rooted in truth, and stories that reflect the world around them. With Adam to Eve, I wanted to carry that forward — to tell a story that feels fresh and bold but still grounded in the everyday Kenyan experience.
What stood out to you when this project was pitched? Why did you believe in it?
What stood out most was the story’s journey itself. Adam to Eve is something we actually came up with over 13 years ago. We even shot a pilot for it back then. But as happens sometimes in this industry, the timing wasn’t right, so we put it on the back burner.
When it resurfaced, the world changed. There’s this global and local movement of women waking up, speaking out, and reclaiming their narratives. Suddenly, the story felt urgent again like it had been waiting for this exact moment. I believed in it because it speaks to where we are right now as a society, and it does so with humour, honesty, and a touch of boldness.
Adam to Eve is bold, funny, and layered. As a producer, how did you strike the right balance between creative risk and audience relatability?
It’s all about trust. Trusting the writers to push boundaries and trusting myself to know when to pull back. We wanted to challenge ideas without alienating our audience. So, we kept asking, “Does this feel true?” As long as the emotional core stayed honest, we allowed the creative risks to flourish around it.
What does it mean to you, personally, to be producing a show that challenges patriarchal norms from the inside out?
It means everything. As a woman in film, I’ve seen firsthand how the industry mirrors society and how often women’s voices are minimized. Producing Adam to Eve felt like reclaiming space. It’s a chance to tell stories that reflect women’s complexity and agency, not just their stereotypes.
What kind of support or environment did you aim to provide for the actors and writers on this project?
I wanted everyone to feel ownership of the story. For the actors, that meant creating a space where they could experiment and bring ideas to the table. For the writers, it was about nurturing boldness — letting them take creative risks knowing they’d be supported, not censored. We kept communication open, respectful, and energizing.
What do you feel is your biggest strength as a producer and what part of that showed up in this production most clearly?
I would say my biggest strength is my ability to see both the creative and logistical sides of filmmaking. I can sense when a scene needs more emotional truth, but also when a schedule or budget needs tightening. In Adam to Eve, that dual focus helped us deliver a visually strong, emotionally resonant show without losing efficiency.
You’ve worn many hats over your career. What drives you to keep building stories in this industry, especially for women in film?
Storytelling is how we define ourselves as a culture. For me, it’s a calling. I want to keep opening doors for women — not just in front of the camera, but behind it. I believe that when women tell their own stories, we shift narratives not just in film, but in society. That’s what keeps me going.
How do you measure success for a series like this?
Of course, I appreciate the numbers and the awards. But for me, true success is when someone watches an episode and says, “I saw myself in that.” When the show sparks conversations, challenges assumptions, or simply makes someone feel seen — that’s when I know we’ve done our job.
If you could produce a spin-off from Adam to Eve, which character or storyline would you want to expand?
There’s a supporting character whose quiet resilience fascinated me — I won’t spoil it, but she embodies the everyday woman who holds everything together while the world overlooks her. I’d love to give her story a full arc — a deep dive into her journey of rediscovery and power.