Creative Feel June 2016

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2 / Creative Feel / June 2016

‘Telling stories within those hallowed halls’

L

ast month I was talking about ‘40 Years of

Deep and Barney Simon and Mannie Manim had seen its

Storytelling’, the banner under which The Market

potential as a theatre and managed to make a dream come

Theatre in Johannesburg celebrates its 40-year

true. In fact, the young architect who was in charge of

anniversary. It is now a month later, and we have

the conversion has now retired, sharing memories of the

just about finished collecting our ‘Stories’ and the hardcover

building site and fundraising efforts with us. Memories are

book is well on its way to being published. We thought we

made of this.

would share some of these wonderful stories in Creative Feel

Today, the Market Theatre is celebrating the past, but

and so we have produced this special ‘MT40’ issue for the

it is also confidently looking forward to playing a major

month of June.

cultural role in the 21st century for South Africa, and the

What fun, sharing the precious memories of Mannie

African continent.

Manim, John Kani while Vanessa Cooke remembers the very

To achieve this, the Market’s artistic policy for a post-

first opening night at the theatre. Seeing Michelle Constant

apartheid South Africa centres on encouraging new dramatic

from BASA as a young actress in her wonderful ‘70s gear.

writing. These new works will offer ways to help South

Looking at iconic plays like Sizwe Banzi is Dead and The

Africans understand, interpret and thrive in the second

Island that brought such success to Athol Fugard, John Kani

decade of the country’s new democratic life.

and Winston Ntshona. So many of these early plays have

As one young writer, Standard Bank Young Artist

withstood the test of time and are as relevant today to a

Neil Coppen, told us: ‘My proudest moment was opening

new, younger audience as they were to the ‘old’ audience.

Animal Farm (2015) in the John Kani Theatre. The piece

In fact, these plays are still performed regularly somewhere

itself was a contemporary homage to the sort of protest

in the world in multiple languages – political prisoners and

theatre that was synonymous with the venue during

oppression of people are still evident in many countries today.

the apartheid years, and a style that went onto inspire

The Market Theatre audience today is as mixed as it

generations of theatre makers, including myself. I suppose

always has been and some current performances of the

what I’m trying to say is that when telling stories within

‘struggle’ plays are either full of great personal memories, or

those hallowed halls, one has a prodigious and profound

full of awe for the great writers, directors and actors who have

legacy to live up to, and that pressure alone tends to

been part of this place. A theatre that opened on June 22nd

invigorate the work one makes. No one wants to piss off

1976, a mere six days after the Soweto uprising, at a time of

Barney and the greats that have gone before, we want to

great tumult in the country, was described as a ‘Beacon of

make them proud.’

Hope’ during the dark days of our country, more than once.

The old Indian Fruit Market that had been operating in the building since 1913, was being relocated to City

With works like this, the Market Theatre is in good hands for the next 40 years. Congratulations and thank you for the wonderful memories.

Lore

The National Arts Council would like to congratulate the Market Theatre on an amazing 40 years. Over the last four decades the Market Theatre has been a trail blazer for South African theatre actively supporting and showcasing South Africa’s vibrant and talented performers as they engage and delight local and international audiences.

T

We loved this!

E

A

M

PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za INTERNS Abigail Phiri Francesca Matthys ADDITIONAL EDITORIAL CONTENT: Natalie Watermeyer Nondumiso Msimanga Ismail Mahomed Michelle Constant Indra Wussow SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za FINANCIAL DIRECTOR Debbi Smith; debbi@desklink.co.za DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION Debbi Smith; debbi@desklink.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.

The Market Theatre in Johannesburg: 40 years of memories, 40 years to come.

8 / Creative Feel / June 2016

The foyer of the Barney Simon Theatre, upstairs at the Market

38

BARNEY SIMON: ‘ONE OF THE TWELVE WISE MEN’

Theatre. Photograph by Chris Watterson

‘Knowing and working with Barney Simon was one

of the greatest gifts and blessings that I have

received in my life,’ Mannie Manim said in a

speech at a seminar in honour of Barney Simon,

cover story

held at the University of Cape Town in 2015.

34 ONE NIGHT ON A VERANDAH IN LENASIA...

42

‘WE DREW NICE DRAWINGS AND MADE MODELS’

For Mannie Manim, the Market Theatre’s story

Rodney Grosskopff, of Grosskopff Lombart

began one night on a verandah in Lenasia.

Huyberechts (GLH) and Associates Architects,

the well-known architectural design firm based

in Johannesburg, shares his love for theatre and

how the Market Theatre building came to be.

48

IN THE COMPANY

Cover image:

contents arts and culture 24

WHEN THE RHYTHMS OF THE SOWETO RIOTS MEET THE REALITIES OF HISTORY

To commemorate the 40th anniversary of the June 16 student uprising in Soweto, Vuyani Dance Theatre (VDT) is partnering with the Apartheid Museum to bring history to vivid life by evoking the sights and sounds of this traumatic turning point in South Africa’s past.

26

MAKE THIS THE YEAR

The 2016 National Arts Festival programme offers an exciting line-up looking at important topics such as ‘conflict and resolution’, ‘legends and legacies’, ‘politics of identity’, with a special focus on celebrating women, re-imagining classics and art for art’s sake.

Vanessa Cooke is an acclaimed actress, playwright and one of the founder members of The Company.

50

JOHN KANI

The iconic Main Theatre of the newly renovated Market Theatre was officially renamed the John Kani Theatre in 2014, Chief Executive Officer of the Market Theatre Foundation, Annabell Lebethe noted ‘John Kani is part of the fabric of the Market Theatre. The Council saw fit to honour this doyen of South African theatre at the institution that he has played such a crucial role in.’

54

OTHELLO: REFLECTING THE STORY OF A NATION IN DESPAIR

68

THE NEWSPAPER OF OUR TIME

Paul Slabolepszy is a prolific playwright and actor,

Dame Janet Suzman, DBE made history when she

having amassed numerous awards in his decades-

long career.

staged Othello with a multiracial cast at the Market

Theatre in 1987.

58

ON THROWING DOWN (AND PICKING UP) THE GAUNTLET

Zakes Mda’s involvement with the Market Theatre

began almost 40 years ago in the late 1970s when

the theatre first produced a number of his plays.

lifestyle and entertainment 70 71

CD REVIEWS BOOK REVIEWS

contents contributors

60

A PROUD COLLABORATION

Mentioning the Standard Bank Young Artist

18

ARTLOOKS & ARTLINES

Awards (SBYAA) and the National Arts Festival

Artlooks & Artlines is a monthly column

(NAF) in Grahamstown without referring to the

by Ismail Mahomed, Artistic Director of the

Market Theatre is simply not possible.

National Arts Festival.

64

SINGING THE AGES

20

LITERARY LANDSCAPES

Throughout her long career, Gcina Mhlophe has

Literary Landscapes is a monthly column written

established herself as an important (and one of

by Indra Wussow, a writer, translator and director of

the few) female storytellers in a country dominated

the Sylt Foundation.

by male voices.

66

LIBERATION OF THE MIND

22

BUSINESS & ARTS

Business & Arts is a monthly column by

One of the most in-demand actors and voice actors

Michelle Constant, CEO of Business and Arts

of his generation, Sello Maake kaNcube has

South Africa (BASA).

performed in theatre, film and television in various

award-winning roles around the globe.

Creative Feel / June 2016 / 11

A PURE DELIGHT The beautiful and serene Casta Diva Boutique Hotel, nestled on the northern slopes of the Magaliesberg in Pretoria, is a place to escape the madness of the everyday, busy world.

If you are searching for a place to relax and enjoy some of the natural beauty South Africa has to offer, book a room at this four-star boutique hotel and spoil yourself with some affordable luxury. In the past two months, Casta Diva was rated by travellers within the top ten on TripAdvisor. Not only do they offer accommodation, but there is a restaurant as well, where your taste buds can enjoy a culinary adventure from breakfast to dinner. The á la carte menus offer a selection of dishes sure to satisfy your hunger. The culinary team has just finished the design of some amazing game dishes.

As they often collaborate with up-and-coming performers, you might be lucky enough to stay when they have a show in the intimate Vissi d’Arte Theatre/Art Gallery.

On the Vissi d’Arte stage in June 2016: June 11 – Phindile, the soul provider June 18 – Nothando Mkhwanazi June 25 – Ncamisa Nqana Tickets cost only R100, shows start at 19:00.

PLANNED FOR JULY 2016: A stage play production entitled She Wept Colour. It is a one-act drama set during the apartheid era in 1990. The story follows four sisters brought together by tragedy – their father’s passing. People’s true colours tend to come out during funerals when emotions are volatile, and this play mirrors what happens in families when there is a communication breakdown. The play further explores the Coloured identity and how the regime managed to indirectly penetrate families and caused irreversible damage.

Casta Diva Boutique Hotel is the perfect place for guests who require a peaceful environment to ‘go home’ to and relax. The tranquillity of the property will soon have you forgetting about the hustle and bustle of day-to-day life and stress, without needing to take a long journey to get there.

Visit their website today, www.castadiva.co.za, and book a room at Casta Diva Boutique Hotel. You could also like the Facebook pages to stay updated on the special events they offer – Casta Diva The Place To; Casta Diva’s Charisma; and Casta Diva’s Vissi d’Arte.

Give yourself something special as winter tightens its grip on our country; visit Casta Diva Boutique Hotel – the one place where you can truly just… be. CF

SHAOLIN:

virtuoso at its best

Six years after their acclaimed Wheel of Life and Kung Fu Masters tours, Shaolin Monks make their great return to South Africa with their recent extravaganza, simply titled SHAOLIN. For a limited two-week season at the Teatro at Montecasino from 28th June to 10th July 2016, SHAOLIN will create a jaw-dropping spectacular that one must experience to believe.

T

he name Shaolin has become synonymous with an

weapons made from farming tools, this art form originally

extreme presentation of discipline, strength and

served as daily exercise and meditation and later became

courage, as well as an increase in the popularity of

a form of defense.

modern martial arts.

This physically vigorous production fuses traditional

These invincible performers showcase the unimaginable, they rise aloft on sharpened spears, break marble slabs with

and precise Shaolin Kung Fu choreography, alongside

their heads, perform handstands on two fingertips, splinter

dynamic lighting and sound that contributes to a

wooden staves with their bodies, break bricks on their heads

breathtaking production.

and fly through the air in a series of incredible back flips.

The dream cast, made up of 20 magnificent monks,

SHAOLIN combines the rich vocabulary of the Chinese

transport the audience to the mystical world of the Shaolin

theatre, the traditional iconography of oriental Buddhism

Temple in the foothills of the Song Shang mountain range in

and the technical sophistication of the contemporary music

China’s Henan province, the origin of this art form, as well as

arena. But at its heart is the awe-inspiring skills of the

its age-old tale. Join them as they merge traditional martial

monks themselves.

arts, such as the intricate Chi Gong and Tai Chi movements with spectacular weapons and combat demonstrations.

Tickets are available at Computicket and range from R285 to R565. CF

These Buddhist soldier monks undergo strenuous martial arts training and Buddhist meditation practices to showcase a flawless display of agility, strength and

WIN! WIN! WIN!

skill that will captivate the eye. Following the founding of

Creative Feel readers stand the chance to win tickets to this

the Shaolin Temple in 495 AD, the initial soldier monks

exciting extravaganza! Visit our Instagram profile:

created a set of 18 different original Kung Fu fighting

@creative_feel for more details ­­­— be sure to enter before

actions that activate the entire body. Combined with

21 June 2016.

14 / Creative Feel / June 2016

Trio of short operas to ‘sing’ proudly SA stories From 16 to 24 June 2016, Gauteng’s most vibrant opera company will present three 20-minute contemporary operas: Out of Time by Peter Louis van Dijk, Tronkvoël by Martin Watt and Hani by Bongani Ndodana-Breen.

The triple bill Cula Mzansi – literally meaning ‘sing South Africa’ – is presented by Gauteng Opera in collaboration with the South African State Theatre.

The three short operas will be conducted by Eddie Clayton and directed by Tshepo Ratona and Marcus Desando, with set and lighting design by the multi-award-winning Wilhelm Disbergen.

Desando, the CEO of Gauteng Opera, will also serve as chorus master.

Performances of Cula Mzansi will open on Youth Day, Wednesday, 16 June with additional performances on Saturday, 18 June; Tuesday, 21 June; Thursday, 23 June and Friday, 24 June at 20:00. There will be a special school performance at 12:00 on Wednesday, 22 June.

Tickets cost R80 throughout and are available at Computicket.

In this third in a four-part series on the Market Theatre, the

National Arts Festival’s Artistic Director, Ismail Mahomed reflects on how the social spaces at the Market Theatre allowed him to

1976

imagine the possibilities of a new South Africa. was an extraordinary

watch performances together with students from public and

year in South Africa.

private schools from the northern suburbs of Johannesburg.

Two-hour nightly television broadcasts

For students from the northern suburbs, productions such as Woza Albert!, Asinamali, Sarafina and Hamba Dompas gave

had begun for the first time. Across the railway line from

them a window into a world that the Group Areas Act tried

Lenasia where I lived, Soweto was up in flames with the

very hard to shield them from. Those of us who lived in the

student uprising. Newtown, a place I had fondly known,

southern suburbs often split our gaze from watching the show

was undergoing transformation. The Indian Fruit and

to watching the responses of the students from the other side

Vegetable Market, of which I had some good memories of

of town. If there was one thing that we discovered when the

accompanying my grandfather, was being converted to

lights went down, it was that the blood that ran through all

become the Market Theatre.

our veins was red. We laughed, cried and responded with the

Trading in the old building was not going to stop. This

same depth to what we saw being played out on the stages.

time round, a band of dynamic people were going to turn the

After the performances, we rarely rushed back to our school

old building into a place where ideas and creativity were to

buses that were waiting in Bree Street. The small foyer at the

be traded. Little did I know at the time, as I watched the old

Market Theatre was abuzz with dialogue. This was the new

building being magically transformed into a theatre, that it

South Africa that was being born in that foyer.

was going to become such an essential part of my personal and professional life.

Over the past four decades, I have watched many shows

In the 1980s, many of us who were in matric in 1976 continued to meet at the Market Theatre. This time round we were old enough to buy a drink from Bob’s Bar – a tiny

at the Market Theatre. Besides being inspired by what I saw

but packed bar in the foyer of the Market Theatre. After

on its stages, the Market Theatre was a social space that had

performances, we would rush to the red, leather couch that

given me hope in the 1970s to imagine the possibilities that

was in the narrow bar. Here, we sat for hours till late in the

a new South Africa would bring.

night discussing the plays that we had seen. An added bonus

The Group Areas Act was still heavily in force in the 1970s. Our communities and schools were racially segregated. For a young South African still in my teens, there

was having the actors, writers and directors often voluntarily joining in our discussions.

When the Market Theatre established a Saturday

were hardly any opportunities to socialise across races. In

morning flea market in the parking grounds, there was a

the 1980s, South Africa was a in a State of Emergency. The

new social impetus that had gone into this vibrant space.

chances of mixed race socialising for young people of my age

Mary Fitzgerald Square became the place to hang out

became even more difficult. The Market Theatre, however,

on a Saturday morning. In many ways, visitors from the

was a place that created endless possibilities of engaging

northern suburbs who were attracted to the trendy vibe of

with ‘the other’.

the Saturday morning flea market now found the courage to

Performances at the Market Theatre were often block-

venture further down into Bree Street to the Oriental Plaza

booked by schools. The audience development teams at

and the number of Indian restaurants that were beginning to

the Market Theatre shared the vision of its founders. They

blossom in Fordsburg. It took a flea market to begin to show

ensured that audiences in its auditoriums were always

its middle finger to the Group Areas Act.

racially integrated. Those of us who came from public schools in Lenasia, Eldorado Park and Soweto were able to

20 / Creative Feel / June 2016

When an old Victorian toilet in the Market Theatre was converted into a jazz bar, Kippies, the precinct’s reputation

MARKET THEATRE | 40 YEARS OF STORYTELLING

Kippies

as South Africa’s place of possibilities grew much bigger. The

who’ of South Africa. Amongst the names in the restaurant’s

small, smoke-filled bar was the closest that the inner-city

guestbook, the two charismatic owners of the restaurant

could get to recreating the vibe that was found in informal

were always proud to highlight that it had been visited by

music venues littered across the southern suburbs. Jazz

politicians, diplomats and royalty.

music is a language that has no racial or cultural boundaries.

The Market Theatre will always be a significant part of

So too, Kippies had an open admission policy to allow

South African history. Its productions are a testimony to

anyone that enjoyed good music and good vibes.

both our past and a manifest of our new visions. The Market

The Yard of Ale in Mary Fitzgerald Square was an off-site

Theatre’s social spaces are equally important. The Market

office for almost everyone who worked in Johannesburg’s

Theatre offered audiences the opportunity to be inspired and

large NGO sector. It was here where activists and thought-

challenged in its auditoriums. Its social spaces offered its

leaders held meetings over good food and lots of drinks. The

audiences the opportunity to engage each other and to find

place was always packed!

common ground and common purpose.

During the daytime, the Periwinkel Café in the Market

Over the last number of years, much transformation and

Theatre precinct was a meeting place for artists. It was here

social regeneration has taken place in Newtown. The old

where one could sit down for a good salad and eavesdrop

social spaces have closed down and new ones have sprung

on discussions about rehearsals and upcoming productions.

up. The ethos of all its new spaces remain the same. They

It was also here, where artists gathered to find ways to

remain social spaces that encourage people to engage with

collaborate with each other and to create new works.

each other. They help to break down social barriers and to

Then of course, for those high-brow meetings with

challenge stereotypes. Like the auditoriums in the Market

funders and diplomats, there was always the classier

Theatre, the social spaces in the Market Theatre precinct

Gramadoelas Restaurant. Its Malay cuisine was well-known.

are a testimony that it will always be a playground that is

The hospitality of its two owners was unmatched anywhere

seriously committed to building a better and more socially

in Newtown. The restaurant’s guest-list included the ‘who is

cohesive South Africa. CF

Creative Feel / June 2016 / 21

Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.

J

ohn Waromi is a soft-spoken man. With his

documentary The Act of Killing) also influenced the process

peaceful looks and dignity, one would hardly think

of occupation in West Papua; a brutal appropriation without

of him as a freedom fighter. Yet, this sensitive and

respect to the indigenous inhabitants.

quiet man is a fierce advocate for the freedom

A measure to silence the local population and their

of his homeland, Papua. The western part is occupied by

dissent was to bring in people from other islands who by-

Indonesia and is far from being the paradise we associate

and-by made the Papuans a minority on their own soil.

with the South Sea. Following a conversation with the 56-year-old poet, it

West Papua is, in fact, Indonesia’s first colony. Worldwide ignorance about the events that led to its colonisation, the

is this very perception of paradise one would abandon and

nature of repression and the degree of resistance has made

acknowledge as the superficial chimera it is. This chimera

it possible for Indonesia to proceed with its destruction

rather, reveals our obsession with exoticism and immature

of Papuan life, largely unhampered by international

concept of faraway places.

condemnation. By their complicity and acquiescence,

Papua has been subject to wicked colonisation in the

Western powers have lent their support to the atrocious

past and its wounds are still so much part of the present:

crimes of the Indonesian Military in West Papua, crimes that

its psychological and physical remnants can be found in

are leading to the obliteration of the Papuan people.

its landscapes and in its people – scars that will not be easily healed.

The indigenous population’s resources are exploited without permission sought or due compensation paid;

Papua became the last frontier of Indonesia and activists risk their life for their fight for independence.

The eastern part of the island comprises the

their traditions are derided; their land alienated in the

independent country of Papua New Guinea, one of

‘national interest’; their political rights subsumed by the

the poorest in the world. This part of the island was

need for republican unity; their human rights abused in an

colonised by the Germans and Australians before gaining

organised manner. Notwithstanding the enormous social

independence in 1975.

and environmental impacts of the Freeport mine, the

Indonesia inherited the western part of the island from

forced labour of the Asmat people in military-run logging

Dutch colonisers and the country considers the island a non-

operations, overfishing by Japanese fishing companies, and

negotiable part of its island nation.

the social exclusion and loss of traditional lands resulting

Indonesia’s way since independence in 1945 has not been

from transmigration.

easy either. Dictatorship and one of the cruellest genocides

On the one hand, there is a strong sense of Papuan

of the so-called communists (depicted in the award winning

identity – as Melanesians who deserve their own nation on

22 / Creative Feel / June 2016

Raks Willie and John Waromi

John Waromi

racial, geographic, historical and cultural grounds. On the

John Waromi studied law and also worked as an actor

other hand, there is the knowledge that the overwhelmingly

in the famous Indonesian theatre group, Bengkel Teater,

powerful state is totally opposed to this concept. And that is

that was founded by Indonesian icon WS Rendra. Wherever

the crux of the dilemma: the price of dissent is high, and the

John Waromi has travelled over the years, he took his fight

chances of achieving anything, particularly an independent

and his dedication with him. Outspoken and fearless, he

West Papuan state, remote.

has used his poetry as a weapon against oppression; as a

Papua became the last frontier of Indonesia and activists risk their life for their fight for independence.

weapon against the oblivion of local traditions, cultures and histories. A long and winding road of a brave and

One could say John Waromi is an unlikely poet – a very

warm-hearted man whose journey also brought him to

politically concerned poet though, who never loses sight of

South Africa this year, where he saw that freedom does

the plight of his people.

not automatically bring reconciliation with it. A country in

His work is both deeply rooted in the mythical

another state of development than his native one, yet full

traditions of his people and an overall humanity

of hope and vigour to overcome separation and hatred. A

while also depicting his political struggle to overcome

new lesson to learn for the unavoidable fight that comes

oppression and being silenced. In his poetry, Waromi

after political equality and freedom.

mourns the struggling individual, cut off from all roots, far away from nature and social security.

John Waromi was writer-in-residence at the Sylt Foundation in Johannesburg in April 2016. CF

Creative Feel / June 2016 / 23

Michelle Constant, the CEO of Business and Arts South Africa looks back at her early stage debut at the Market Theatre, which prompted her love for Johannesburg.

A

fter finishing my studies at UCT, graduating

seeing Barney Simon wander past, deep in conversation

ostensibly as an actress, I travelled and worked,

with an actor I recognised, but oh who was he, and hearing

amongst other things, as a flower seller in the

the rehearsal sounds leak through theatre doors. Without a

Netherlands, an egg collector in a chicken hatchery

doubt, it was a religious experience; we had arrived at the

in the UK, and an English teacher in Cairo, Egypt. The tugging

holy cathedral of South African theatre – meaningful South

strings of my return was the invitation to perform in a

African theatre. This was a space that argued cogently

production called Thina Bantu (1988) at the Market Theatre

through innovation and creativity, for human rights and a

in Johannesburg. The production had been an improvisational

transformed country. This was the original well of sacred

process in my final year at university and for a young, fresh

storytelling. (This was, of course, at a time when words

thespian like myself the invite was potentially the most

like ‘innovation’ and ‘creativity’ were not the catch-alls

exciting thing to happen in my newly minted adult career.

hammered out by the likes of myself and other hacks.)

It was only the second time I had been to Joburg. I had

“

The Market Theatre, to this day, even after the

journeyed as far afield as Cairo, but never to what I now

magnificent renovations, still has a wonderful atmosphere,

consider to be home, my nest and my nurture. The decision

which reeks of activity and activism, history and heritage;

to move to Johannesburg seemed appropriate; the city then,

a building in which every corner is filled with a moment,

The first day I entered those great doors of the Market

Theatre, as a novice actress, I was in awe of the photos on the walls of some of our country’s greatest performers

”

as now, was a complicated but exciting and heaving animal

an experience. It is Joburg’s inheritance, an aunt or uncle

– one that we all wanted to ride.

who has fantastic stories to tell, someone whose age

That my move to Johannesburg had brought me directly into the world of Adrian and Basil of the Handspring Puppet

acknowledges the greatness of experience.

My small experience as an actor, my many, many

Company (they had kindly offered my partner and I their

experiences as an audience member, my engagement with

home while they travelled) simply added to the magic of

the icons of the theatre - Barney Simon, Mannie Manim,

this new experience. The Handspring home was filled with

John Kani and now the fabulous James Ngcobo, our

puppets: living, breathing characters hanging from walls and

experience of hosting our BASA Awards in the theatre two

windows. Every day I felt that I was sharing my breakfast

years ago – all of them have left a definitive mark on my

with an aging woman, a hyena and many more.

own life experience. Johannesburg would not be the city

The first day I entered those great doors of the Market

she is without a space like the Market Theatre, and if you

Theatre, as a novice actress, I was in awe of the photos on

haven’t walked through those doors yet, there is no better

the walls of some of our country’s greatest performers, of

time than now. CF

24 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

Irit Noble (not pictured), Lesley Rochat and Michelle Constant are The Pervettes in The Soft Corn Show.

SOURCE The National Arts Festival

Creative Feel / June 2016 / 25

Rhythm Colour. PHOTO John Hogg

WHEN THE rhythms of the Soweto riots

MEET THE REALITIES OF HISTORY To commemorate the 40th anniversary of the June 16 Soweto student uprising, Vuyani Dance Theatre is partnering with Joburg City Theatres and the Apartheid Museum to bring history to vivid life by evoking the sights and sounds of this turning point in South Africa’s past.

O

n Youth Day, Thursday June 16 2016, Vuyani

and the disconnect between idealism and reality during

dancers will perform Gregory Maqoma’s landmark

Freedom Month.

work Rhythm Colour at the Apartheid Museum, and at the Soweto Theatre from June 15 to 19.

This dynamic collaboration with the museum continues

Vuyani’s practice of bringing dance into unconventional

The Youth Day afternoon forum is titled ‘Let’s Talk!’ and offers a platform for frank debate for the youth, by the youth.

Wayde Davy, deputy director of the Apartheid Museum

spaces to spark discourse using the arts as a conduit. The

(which turns 15 this year) comments, ‘The youth is the

performances at the Soweto Theatre will take the story of

most important demographic of our society. They are future

the student protests right back to the heart of their origin,

leaders, future consumers, future entrepreneurs, future

and promise to be a deeply moving experience.

parents, future writers, future academics, future sporting

The Apartheid Museum recently began hosting debates and forums around important dates in the country’s history: discussing South African identity during Heritage Month,

26 / Creative Feel / June 2016

stars … and more.

‘Yet the youth are often excluded from public debate that directly affects their present and future lives. This why, during

Rhythm Colour, which was created in 2002 for the National Arts Festival as Maqoma’s Standard Bank Young Artist commission, poignantly conjures the mood surrounding the iconic image of that fateful day: Sam Nzima’s photo of a dying Hector Pieterson, being carried through the streets of Soweto by Mbuyisa Makhubu.

Says Maqoma, Vuyani’s executive creative director: ‘The retaliation, the chaos, the confusion, the lack of trust in the system, the finger-pointing, the fires erupting… all of these elements are part of Rhythm Colour, and the museumcurated political content will give context to the ideas and allow the dancers to interpret them and bring them to life.

‘And to have a season at Soweto Theatre, marking such an important event in our history, is about restoring the dignity of those who lost their lives fighting for our freedom.’

He believes that juxtaposing the historical reality of the museum’s exhibits with the metaphor-driven nature of the dance performance in a single space will add richness and dimension to the experience, particularly for young people.

‘We hope it will bring us back to today where, 40 years on, we ask: What has changed? Though the legacy of apartheid cannot be erased, we have a responsibility as citizens to reflect on the common vision held by the youth of ‘76: to eradicate all injustice.’

Over the 14 years since Rhythm Colour premiered in Grahamstown, it has been performed by some 50 dancers and remains an integral part of the Vuyani repertoire and legacy. The work was previously staged at the Apartheid Museum ten years ago ‘and was a major hit,’ says Davy, marking the start of a long-standing and fruitful collaboration between the two cultural entities.

‘The Apartheid Museum has always acknowledged the role of the arts and has looked to this important sector to Rhythm Colour. PHOTO John Hogg

bring the museum story alive – and draw in new audiences who previously may not have been inclined to visit a

this Youth Day forum, we will be placing young people at the heart of social and political debate,’ she explains.

‘We will tackle a range of topics, from bullying, sexual

museum,’ she adds.

The Let’s Talk! Youth Day Forum at the Apartheid Museum will take place on Thursday, June 16 2016,

violence, gangsterism, drugs, leadership, sexuality, cultural

from 12:00 to 14:00. It will be followed by a 45-minute

identity and inter-racial friendships to the world of books

performance of Rhythm Colour by Vuyani Dance Theatre

and music. The world needs to hear their voices now!’

from 14:30. The event is open to the public and the youth

This probing discussion will be followed by a truncated performance of Rhythm Colour by Vuyani Dance Theatre

will get complimentary entrance to the museum.

Visit www.vuyani.co.za or www.apartheidmuseum.org

dancers. Gauteng audiences can also experience this stirring

for more information. To book for the Soweto

work at the Soweto Theatre during the week marking 40

Theatre performances from June 15 to 19, visit

years since the youth uprising.

www.sowetotheatre.com. CF

Creative Feel / June 2016 / 27

Cape Dance Company

One Man, One Light featuring Mpilo Straw Nzimande

The 2016 National Arts Festival programme offers an exciting line-up looking at important topics such as ‘conflict and resolution’, ‘legends and legacies’, ‘politics of identity’, with a special focus on celebrating women, re-imagining classics and art for art’s sake.

MAKE THIS THE YEAR

F

emale artists are taking centre stage at the

women; this contemporary classic recently won two Naledi

National Arts Festival in Grahamstown this year,

Awards and should not be missed.

with almost 80% of the Main Programme either

Unveiled, a one-woman show written by Rohina Malik, is

written, directed, curated or headlined by women.

a response to the anti-Muslim sentiment that infected the

Featured Artist, Lara Foot and 2016’s Standard Bank Young

United States in the wake of September 11, 2001. The work

Artist for Theatre, Jade Bowers lead the pack with their

premiered at Chicago’s 16th Street Theatre in 2009 and has

impeccable creations. Foot collaborates with a variety of

since been performed across the U.S. Another international

artists such as Mncedisi Shabangu, Andrew Buckland and

production not to be missed is Those You Pass on the Street,

Jennifer Steyn, among others, to produce an impressive

directed by Paula McFetridge, which makes its South African

three productions, including The Inconvenience of Wings,

debut at this year’s National Arts Festival.

Karoo Moose, and the heart-breaking yet exquisitely crafted,

‘Key South African anniversaries have been the catalysts

Tshepang. Bowers premiers Scorched, a play about who we

for devising this year’s phenomenal programme, which

are and where we come from, states Bowers.

embraces critical reflection, celebrations, analysis and a

Oomasisulu, directed by Warona Seane and based on

re-imagination of our histories, our contemporary society

a biographical novel by Elinor Sisulu, commemorates

and the kind of society that we wish to endow to future

the life of anti-apartheid movement veteran, Albertina

generation,’ says Festival Artistic Director, Ismail Mahomed.

Sisulu. Women rule the Solo Theatre Season with all

‘As we celebrate the Market Theatre’s 40 years of storytelling,

eight shows performed by women. Ruth First: 117days,

as well as the 100th anniversary of the University of Fort

like Oomasisulu, is based on a novel and observes the life

Hare, we honour one of its great alumni, Can Themba, with

of another legendary South African woman and anti-

two productions based on him.’ Crepuscule, presented by the

apartheid veteran, Ruth First. The creative team of Animal

National Arts Festival, in association with the Market Theatre,

Farm, directed my Neil Coppen, is abundant with talented

written and directed by Khayehilihle Dom Gumede, is an

28 / Creative Feel / June 2016

Lerato Shadi Mosako Wa Nako.

SOURCE The National Arts Festival

adaptation of Can Themba’s short story of the same name.

Orchestra and the Odeion String Quartet. Virtuosic Guy

This piece provides insight into a previous relationship of his

Buttery also performs with the Odeion String Quartet;

with a white woman during the 1950s. The second homage

a sensational collaboration. Other contemporary artists

to Themba is the biographical play, The House of Truth, in

featured this year include AKA, The Muffinz and Prime

which award-winning theatre, television and radio actor and

Circle. The Standard Bank Jazz Festival also offers an

producer, Sello Maake kaNcube performs under the direction

exciting lineup with Standard Bank Young Artist for Jazz

of Vanessa Cooke.

Siya Makuzeni and world renowned Caiphus Semenya as two

The Festival will also turn its gaze to another anniversary, says Mahomed. ‘Reflecting on the 200th anniversary of

of the many performers.

The Performance Art and Visual Art programmes look

Shaka ascending the throne of the Zulu monarchy, ILembe

promising with performance art Pig Headed, by Gavin Krastin

will attempt to open a celebratory, reflective and critical

and LEFA LA NTATE, an exhibition by Standard Bank Young

conversation about King Shaka’s leadership.’

Artist for Visual Art, Mohau Modisakeng. Intriguing public

The 2016 Arena is supported by Business and Arts South Africa (BASA) and invites local and international awardwinning companies to the Festival to showcase their work.

art also features at this year’s Festival while the family fair poses some interesting options.

Don’t forget to explore Think! Fest, which has a daily

Works to expect include, As Ever, Bessie, presented by Denise

schedule of fascinating lectures and discussions, as well as

Newman and Heart’s Hotel, directed by James Cunningham.

the Film Festival, which promises some great films.

This year’s spotlight shines on the Artscape Theatre

This year’s Main Programme overflows with breath-

Centre, which offers a delightful feast of theatre, including

taking art and provides you with a selection that deserves an

Oomasisilu; Warren Nebe directs Morwa the Rising Son while

experience. The 2016 National Arts Festival is the anticipated

Sandra Temmingh directs Lee-Ann van Rooi in Henrietta

art event of the year and artists are carefully preparing their

With Love.

exceptional gifts. Also have a look at the Fringe Festival

Dance thrives this year with shows like Sold by 2016’s

Programme for some more delicious treats. CF

Standard Bank Young Artist Award winner for Dance, Themba Mbuli and a double bill by the Cape Dance Company, directed

by Jose Agudo and Christopher L. Huggins.

ERRATUM: In the May issue we published that Bokani Dyer

Standard Bank Young Artist for Music 2016, Avigail

is the 2012 Standard Bank Young Artist for Jazz but it should

Bushakevitz performs in concert with her brother Ammiel

have read 2011 Standard Bank Young Artist for Jazz; Loyiso

Bushakevitz and again with the Eastern Cape Philharmonic

Cele should have read Lloyd Cele.

Creative Feel / June 2016 / 29

Either Creative Feel print Creative Feel + UK Gramophone Print Bundle Creative Feel Digital subs@creativefeel.co.za 011 787 0252

Imagine a space where only the best of South African and African brands are showcased. From MaXhosa by Laduma, to Pichulik and Black Coffee, local is undoubtedly lekker with over 100 luxurious design and lifestyle brands, both upcoming and established.

All under one roof

WORK SHOP NEW TOWN

W

ORK SHOP NEW TOWN is Johannesburg’s

something exciting, new and relevant. But the trick is to add

newest pioneering brand hub. This unique

to the story and not just retell it,’ explains McGowan

retail dream also incorporates historical reminisce of the property. ‘We wanted

In contemporary Johannesburg, adapting this concept to once again provide a platform for some of today’s leading

to confront visitors with a sophisticated homage to past

entrepreneurs, not only pays tribute to the ambitious

glories and this ground-breaking retail environment is

business people that came before, but also paves the way for

divided into designated areas, shops and booths that pay

those to come. WORK SHOP NEW TOWN strives to recreate

tribute to the goldmines, markets, livestock stalls, cultural

that commercial achievement by offering a dynamic retail

icons, industry and office workers that made Newtown the

space for the country’s leading brands in an energetic,

gateway to the city over 100 years ago,’ says Adri van Zyl

collaborative environment. Many of these businesses have

of Atelier Interiors, who created the architectural concept

similarly grown from young entrepreneurial ventures to

with SOURCE’s Julian McGowan.

become well-known and coveted labels, including Black

The Potato Sheds, constructed in 1911, was an important

Coffee; Kat van Duinen; Kisua; Wolf and Maiden; Pichulik;

location for the inhabitants of Johannesburg, the bustling city.

House of Cinnamon; Live Wire; Amerikana and Unknown

The market served as more than just a trade and exchange,

Union, among many others.

but rather an eminent core for business and success.

‘Working within a heritage space, you’re given the rare opportunity to take something old and familiar and create

32 / Creative Feel / June 2016

Established adjacent to the Newtown Junction shopping mall and as part of an extensive regeneration development from Atterbury and Attacq, WORK SHOP NEW TOWN will

benefit from the vibrant retail atmosphere, secure parking and facilities, soon-to-be finished hotel and regular events.

Newtown is a definite cultural heart of Johannesburg, home to artistic incubators such as the Dance Factory, Bassline, Museum Africa, The Market Theatre Lab and, of course, the Market Theatre. Thus, the former Market Square and new addition only contribute to this culturally rich kaleidoscope.

Attacq is a leading South African capital growth fund in the real estate sector. It has consistently delivered growth in capital to its investors through its strategic property

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Originally working as a taxi and truck driver, he quickly learned the craft of creating with beads and wires. Soon, he was making animals out of wire.

Masangudza can make anything that comes to mind with wire and beads, including working from images for made-to-order pieces.

Email: tmasangudza@yahoo.com | Tel: 078 736 0362

holdings and developments.

Attacq focuses on sustainable capital appreciation through the development and ownership of a balanced portfolio of properties such as Newtown Junction, Mall of

AMERIKANA | Presenting DOPE, Odd Future and DJ Zhinle Watches Amerikana is a premium American street-wear

Africa and major developments in Waterfall and Waterfall

boutique created by US national Tom Bacote. It is

City in Midrand. Attacq’s portfolio also includes various

curated with a focus on bringing labels currently

other properties throughout Africa and the rest of the world.

trending in America to its stores. When you enter

Newtown Junction developer, Atterbury is a leading

Amerikana, you step into the lifestyle lived in Los

name in property, investment and development. To date,

Angeles and New York. When you become an

it has developed more than 1.5 million square metres of

Amerikana customer you’ve bought what’s cool

commercial, retail and residential properties.

and hot in LA and in New York today. Amerikana is

This shopping novelty, designed by Adri van Zyl from

committed to creating space for local street-wear

Atelier Interiors, in collaboration with Julian McGowan from

brands as well. Butan Wear, Carpen Nuit, Spiffy

SOURCE is a modern contribution to what once was the

Clothes, Vapor Street Wear ZA and other local

Potato Sheds of Newtown.

brands are featured on the racks of Amerikana

‘The design of WORK SHOP NEW TOWN, with its

alongside American brands such as Odd Future,

combination of enclosed and open-plan stores and a layered

SSUR, Hall of Fame, Black Scale, Alex & Chloe,

design concept, immediately sets it apart from conventional

Young & Reckless and DOPE.

shopping experiences,’ says Van Zyl. ‘At a fundamental level,

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it’s a lifestyle destination based on Africa’s emerging design

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If shopping isn’t everyone’s cup of tea, WORK SHOP NEW TOWN has just recently launched its weekly family event that happens every Saturday, from 11:00 to 16:00 at the green lane outside WORK SHOP NEW TOWN and the Potato Shed restaurant. This family PIC NIC NEW TOWN event offers PIC NIC blankets and baskets, delicious food, kids’ activities, live music, cocktails and beer.

This retail and design attraction opened in November 2015. WORK SHOP NEW TOWN is situated on the corner of Miriam Makeba and Gwigwi Mrwebi Streets, Newtown, Johannesburg.

HOUSE OF CINNAMON | Fun, empowering, easy to wear

TRADING HOURS

world, Frances Edwards returned to Southern Africa.

Monday to Friday: 10:00-16:00 Saturday: 10:00-19:00 Sunday and Public Holidays: 10:00-15:00

After a few years of living and working in Europe and traveling around the It was her goal to offer the discerning South African woman a product that is internationally on trend, locally made and classically tailored. And so in October 2012, House of Cinnamon was born.

House of Cinnamon is designed for the contemporary woman with a love for design, a discerning eye and a taste for experimenting. All of the pieces are handmade by local artisans driven by an African spirit and a passion for their artistry facebook.com/CinShoes |

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House_of_Cinnamon | www.HouseofCinnamon.com

40 YEARS of talent and revelation

The year was 1976, the month was June, and as the Market Theatre prepared for its eagerly awaited opening on 22 June, the national youth uprising exploded on 16 June. It is forever branded in our minds through Sam Nzima’s image of Hector Pieterson, writes Heather Dugmore.

40/40 Exhibition. From left: Mphikeleni Duma (organiser of the 1976 veteran photojournalists), Lekgetho Makola (Head of the Market Photo Workshop), Len Maseko (Black Ink Arts), Bongani Mnguni (exhibiting veteran photojournalist), Mike Mzileni (exhibiting veteran photojournalist) and Buyaphi Mdledle (40/40 Exhibition curator and trainer at the Market Photo Workshop)

I

n memory of June 1976 and in recognition of 40 years of

Sekwatlapa Winner of the Zwakala Community Theatre Festival in 2009

The Market Theatre, Market Photo Workshop and

the Market Theatre, on 14 June 2016 the Nedbank Arts

Market Theatre Laboratory are part of the same exceptional

Affinity and the Arts & Culture Trust (ACT) is sponsoring

institution, the Market Theatre Foundation, which is

a photographic exhibition at the Market Photo Workshop,

dedicated to the development of the performing and visual

titled 40/40: Political Notions of Photography.

arts in all South African communities. Supporting this

‘The exhibition shares the images of several veteran

development has been a key focus of ACT and the Nedbank

photojournalists who captured the 1976 protests. Their

Arts Affinity, through their sponsorship of various projects

images will appear alongside photographs of current times,

over the years.

captured by students and alumni of the Market Photo

To celebrate the Market Theatre’s 30th anniversary in

Workshop,’ explains Head of the Market Photo Workshop,

2006, the Nedbank Arts Affinity and ACT contributed to the

Lekgetho Makola.

staging of eight productions as part of a season of new South

34 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

African works. These included Coal Yard, Full Circle, Go a

the year, from which the finalists are selected to showcase

Phelwa, Gugu Mzimba, Flipping the Script and Relativity.

their performances on the awards night in October, when

Since 2004 the Nedbank Arts Affinity and ACT have

the winners of 17 scholarships, with a combined value of

contributed to the Market Theatre Laboratory’s Community Theatre Development Programme, fieldwork projects and two of the community theatre festivals.

R800 000, will be announced.

Nedbank’s support of the Market Theatre extends to the hiring of its facilities for banking events throughout the year.

‘Visual and performing arts development programmes

‘We hire the Market Theatre for functions, roadshows and

are critical for South Africa because there is so much talent

the internal staff communication events for our Newtown

in communities throughout the country. Many of our young

Campus, which is situated on top of the Newtown Junction

people do not have the opportunities to develop their talents,

Mall, next to the Market Theatre,’ says Charl de Kock, Head

or the funds or academic qualifications to attend university or a

of Nedbank Group Property Services.

tertiary training institution,’ explains ACT CEO, Pieter Jacobs.

The Market Theatre is the venue this year for the

‘By investing in the growth and life of Newtown, it creates an inner-city environment that people want to visit,

final round of the annual NLC | ACT | DALRO | Nedbank

which indirectly contributes to the sustained patronage

Performing Arts Scholarships Awards. Hundreds of

of the Market Theatre,’ adds Marketing Manager for

auditions are held in all nine provinces in the first part of

Nedbank’s Arts Affinity, Yvonne Verrall. CF

Don’t Shoot We Are Not Fighting. Photo by Bongani Mnguni, 16 June 1976

Thula Thula won the Best of the Best Award at the Zwakala Festival in 2014, an annual event held to encourage and highlight the work of community theatres and give their productions a chance to be staged professionally at the prestigious Market Theatre

“

We congratulate the Market Theatre on 40 years of

extraordinary performances, talent development and cultural revelation

”

In partnership with ACT, the Nedbank Arts Affinity Programme has donated more than R16 million to support over 800 arts, culture and heritage development projects countrywide. If you would like to make a difference to the lives of talented young artists in South Africa, get a Nedbank Arts Affinity credit card or open a current, savings or investment account. Every time you use one of these accounts, Nedbank will donate to these projects, which are managed by ACT, at no cost to you.

Visit any Nedbank branch, call us on 0860 555 111 or go to nedbankarts.co.za.

Creative Feel / June 2016 / 35

One night on a

VERANDAH IN LENASIA… Over the past 50 years, Mannie Manim has left indelible imprints on the arts and entertainment industries in South Africa. He has taken on many roles in various capacities, such as administrative head of the Performing Arts Company of the Transvaal (PACT), cofounder and then managing director of the Market Theatre, and a world-renowned producer and lighting designer. Manim has received a multitude of awards, including the Vita Best Original Lighting Award (ten times), was conferred the Order of Ikhamanga in Silver, and in 1990 he was made Chevalier de Artes et des Lettres by the French government.

For Mannie Manim, the Market Theatre’s story began one night on a verandah in Lenasia.

A

t the time, Mannie Manim was bringing PACT

After his ‘oration’, Manim was sent out to the verandah

productions to the townships, as he did on an

to await the verdict. And it was then, waiting along with Ian

occasional basis (unbeknownst to his superiors,

Bernhardt (one of the original producers of King Kong), that

who were also unaware that their manager

his mind was irrevocably made up. He would leave PACT and

was making dress rehearsals open to all races). This was an

start a new theatre – one that would be open to everybody.

attempt to circumvent apartheid’s restrictions, a particular

‘This was probably in 1971/2,’ he says. ‘But what continued

source of ire to the likes of Manim and Barney Simon, then a

to happen for the next 20 years, was that I got total support,’

freelance director newly returned from New York. They both

beginning with the group in that room, who embraced his

felt very strongly about this; they both ‘had a real burning

statement with absolute enthusiasm.

passion for all the people of South Africa to be able to see the talent of all the people of South Africa,’ recalls Manim.

However, on this particular evening in Lenasia, Manim’s

‘I told Barney, and we got some of the actors that we thought might like this idea, and we had a meeting in Barney’s house,’ says Manim. ‘We all didn’t know what the

clandestine activities had hit a roadblock. His ticket sellers,

blazes we were going to do – but we were going to go off and

a network of local booksellers, teachers and others, had

be independent.’

suddenly refused to support a production of A Macbeth

And so Manim began another ‘clandestine operation’,

by Charles Marowitz, then on its way to Lenasia. A local

visiting everything from ‘garages to synagogues’ in his

politician had announced that no productions would be

search for a theatre venue. Out of the blue, a Johannesburg

staged in the townships unless specifically invited to do so,

City engineer named Maurice Norton phoned Manim to

and Manim’s supporters in the townships promptly refused

say that the Johannesburg market was moving to bigger

point blank to continue.

premises, and he thought The Fruit Market would make a

‘These guys tore into me… [saying that] under these circumstances they didn’t want to have any part of this

fine theatre.

When Manim saw the market, he agreed wholeheartedly.

anymore,’ he recalls. After an hour of fruitless discussion,

In his excitement, he told the engineer ‘that there was a

Manim ‘spilt his guts’: ‘I told them the things I had been

young theatre group [The Company]; a wonderful director,

doing over the years, what my plan was and how I was

Barney Simon; and wonderful people, including Janice

hoping to be able to take all the plays into the townships and

Honeyman, that we were actually just then looking for

really enable everybody to see everything...’

premises... he got as excited as I was!’

36 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

“

We both had a real burning passion for all the people of

South Africa to be able to see the talent of all the people of South Africa

”

Mannie Manim plaque - March 1991 PHOTO Ruphin Coudyzer

Creative Feel / June 2016 / 37

Othello - Joanna Weinberg, Richard Haines and John Kani PHOTO Ruphin Coudyzer 1987

The city, however, wanted to tear the building down.

‘We went through months thinking of reasons to save it,’ says Manim. ‘Then late one night my phone rings, and it’s Maurice Norton saying “I’ve got it!... It’s got the longest three pin arch in the southern hemisphere!”’

This architectural feature convinced the Johannesburg City Council’s managing committee to preserve this ‘wonderful, record-breaking building’, which promptly went out to tender.

“

The Market did very

special work through

those times, and won all sorts of awards in South Africa and overseas

Manim and Simon succeeded in winning this on 1 April 1975, with written support provided by everyone, from

”

Athol Fugard and Nadine Gordimer to Percy Tucker and

and Gary Zulberg helped out, serving as the first chairmen

Leonard Schach, among others. But they didn’t have any

of the fundraising committee. The flea market on Mary

money – despite having stated in the tender that they would

Fitzgerald Square, Wolf Weineck’s brainwave to fund the

spend ‘R100 000 or something silly,’ recalls Manim. One of

Market Art Gallery, became one of the most successful

The Company actors, David Eppel, introduced the group to

fundraising projects for the whole Market. The entire

financial advisor Ben Trisk, who in turn introduced them to

operation was very much a communal effort.

Murray McLean.

McLean determined that they needed to start a

The Market finally opened with a production of Anton Chekhov’s The Seagull (1976), and Peter Weiss’s Marat/

nonprofit foundation with a board, and that he himself

Sade (1976). These were followed by Athol Fugard’s Blood

would be the chairman – something of a coup for

Knot (1976) and Benjy Francis’s all-black production of

the theatre. The first board comprised seven staunch

Waiting for Godot (1976), while Janice Honeyman staged The

supporters: McLean; Trisk; Cyril Fisher, ‘the accountant

Crucible (1976) during the day.

who had been doing everybody’s tax’; PPB Breytenbach,

A lot of the plays were political, and some of them

previous director of the PACT organisation; lawyer

attracted controversy, not always for obvious reasons: ‘We

Raymond Tucker; along with Manim and Simon. Manim

got six bans, went to six appeal boards and won every case,’

attributes much of the theatre’s staying power to the

says Manim. However, he rejects the term ‘protest theatre’,

courage and generosity of these individuals, and the early

popularly coined to describe much of the Market’s output.

board members who followed them.

‘It was theatre reflecting the times we were living in, and a

And, of course, to the phenomenally talented actors and

lot of it was speaking against the status quo... but they were

directors that brought the Market to life. ‘The Market did

often outstanding plays, wonderful performances, beautifully

very special work through those times, and won all sorts of

directed and to full houses. The “protest theatre” phrase puts

awards in South Africa and overseas,’ notes Manim.

us in a box.’

Their fundraising activities spanned everything from

This year, the Market Theatre celebrates its 40th

performing poetry by candlelight (the Market’s first ever

anniversary, an accomplishment that delights Manim.

performance) to square dances, fêtes, a cricket match at

‘Some of my best friends, when I said “I’m leaving PACT

Inanda club, and a horse race – the Athol Fugard Ladies

and starting a company,” they’d phone me at all hours of

Handicap, with theatre luminaries such as Richard Haines,

the day or night and say, “Mannie are you mad, what are

Sandra Prinsloo, Marius Weyers, John Kani and Winston

you doing?!”

Ntshona gracing the winner’s enclosure. The Market also

‘But most other people were like that room full of

sold donation cards, allowing people to sponsor a brick, a

men in Lenasia, who immediately jumped up, shook me

light or other necessities; and on Saturdays, schoolteachers

by the hand and said, “if you want to bring your plays

brought their classes to help with unskilled building work.

here, we’ll support them.”’

Even the Market’s architect and builder, Rodney Grosskopff

38 / Creative Feel / June 2016

And they have. CF

MARKET THEATRE | 40 YEARS OF STORYTELLING

Creative Feel / June 2016 / 39

BARNEY SIMON

“

One of the twelve wise men

”

Barney Simon was artistic director of the Market Theatre for much of his professional life, before his death in 1995. He produced his own plays, as well as many others by South African playwrights, international works, and adaptations of others’ stories. One of these is based on the brilliant Sophiatown author, Can Themba’s short story, The Suit, which was turned into a play by Mothobi Mutloatse and Barney Simon. In the last decade of his life, Barney Simon devoted enormous energy to the Market Theatre Laboratory, where aspirant playwrights could develop and stage their plays under his superbly creative guidance. His achievements are, literally, legion and in many ways his name has come to be synonymous with that of the Market Theatre.

‘Knowing and working with Barney Simon was one of the greatest gifts and blessings that I have received in my life,’ Mannie Manim said in a speech at a seminar in honour of Barney Simon, held at the University of Cape Town in 2015.

‘Always Talmudic looking with his ever whitening beard and

Barney was a constant presence throughout the season

balding pate, [Barney Simon] was wise and, as so often is the

at the Alexander Theatre in Johannesburg and the

case with wise people, he was also a playful man with a good

Breytenbach Theatre in Pretoria, also much of the township

and delightful sense of humour.

performances that were to follow.

‘We found each other when I was becoming increasingly

‘We were introduced to each other by another blessing

frustrated while managing the Drama Department of PACT

and gift in my life, Athol Fugard. Later, Athol described

(The Performing Arts Council of the Transvaal) and Barney

Barney to me as one of the twelve wise men God gives to this

had returned home after the death of his father. This was in

planet in each generation.

the late ‘60s, a time when there was little hope of a peaceful resolution to the system of apartheid.

‘PACT produced CAPAB’s (The Cape Performing Arts Board) production of Boesman and Lena and People Are Living There, starring Athol Fugard and Yvonne Bryceland.

‘Nine years older than me, Barney had grown up in Jeppe, Johannesburg in a house that, we discovered, was a stone’s stroll from where I spent my high school years.

‘Jeppe was a kind of twilight zone in those days, with a population that was a liquorice allsorts of our nation’s Barney Simon PHOTO Ruphin Coudyzer

40 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

Creative Feel / June 2016 / 41

Barney Simon and Mannie Manim.

SOURCE Mannie Manim

people. One of Barney’s stories that I loved was that we had a cinema opposite the Jeppe station and then one day as a young boy Barney went there with his black friend only to be told that his friend could not be allowed into the whitesonly cinema. Barney and his friend went home and he had them compare the palms of their hands, where there was no difference in the colour and for the life of them they could not understand the problem. For the rest of his life, Barney could never understand the problem.

‘Barney invited me to see his productions at the nowfabled Dorkay House, where Athol had created some of his early work, such as No Good Friday and Nongogo, at the top end of Eloff Street in Motortown in Joburg City. I would invite him to see our productions at the Alexander Theatre and later at the Arena Theatre in Doornfontein.

‘One of Barney’s great talents was as an editor. He worked in this capacity on Nat Nakasa’s The Classic magazine after Nakasa left for the USA. He also helped Dugmore Boetie write Familiarity is the Kingdom of the

Lost and later, in New York, he was editor of the New American Review.

‘This talent for editing was to give his work in the theatre a signature as I think he was often at his best when editing the writing of his casts in his workshopped productions.

‘He loved extended, long rehearsal periods of four weeks minimum and as long as six to eight weeks and more to help actors “live” in their roles. He was known for sending actors out into the streets around our rehearsal rooms and their homes to explore their characters and find similar characters and interact with them.

‘This could lead to complications… When we did Six

Characters In Search Of An Author, he sent his cast into the nearby rehearsal room in the Alhambra of Shakespeare’s

Troilus And Cressida. They totally disrupted the rehearsal

“

When we did Six Characters In Search Of An Author, he sent his cast into the

nearby rehearsal room in the Alhambra of Shakespeare’s Troilus And Cressida

and I had to deal with complaints for weeks after from John Hussey, the director and the company of that production!

‘Auditions with Barney could sometimes be very extended events. He would often be confronted with someone that was not doing well in the audition at all and

”

own box office at The Box at the Wits University for our hit production of Lysistrata, with each of the company taking turns to run the booking office.

‘But we were soon to find that some tasks were beyond

then instead of dismissing the person and moving on, and

certain company members. Barney as an usher was a non

despite the queues of people still waiting, he would try to

possibility. This was in our early days of The Company

help them to understand the role and try direct them toward

at the Blue Fox which we had converted into a theatre in

giving an improved audition. We still would not cast the

Rosebank. Barney would seat those who arrived first in the

person but Barney felt that he had used the time well by

best seats not understanding that those who had bought

helping the person to a greater understanding of the role

better seats would be coming in later and then we would

and its demands. Of course we had to deal with the growing

have to move those he had placed in the best seats…

impatience in the queue outside the audition room.

‘Because our company had no infrastructure, we all had to turn our hand to all the necessary tasks and so we ran our

42 / Creative Feel / June 2016

‘I could not have had a better person with whom to start the adventurous journey, against all odds, that was the creation of the Market Theatre, than Barney Simon.’ CF

‘We drew nice drawings and made models’ Rodney Grosskopff, of Grosskopff Lombart Huyberechts (GLH) and Associates Architects, the well-known architectural design firm based in Johannesburg, shares his love for theatre and how the Market Theatre building came to be.

During his long successful career, Grosskopff has designed South African landmarks such as Ponte City, the tallest residential building in Johannesburg; the Market Theatre; the Alexander Theatre; Johannesburg Civic Theatre, as well as many well recognised corporate headquarters for South African banks, insurance companies and law firms.

F

or Rodney Grosskopff, now retired and living

at the time but we put together a nice proposal to use

in Plettenberg Bay, it is the conversion of the

everything that was there already and mould that into the

Johannesburg Fresh Produce Market to Barney

theatre that you see today.

Simon and Mannie Manim’s Market Theatre during

‘We drew nice drawings and made models, none of the

the 1970s that occupies a special place in his memory. His

clever stuff we have today, and eventually the counsel quite

role went way beyond being just the architect for the project,

liked what we were doing. We won the proposal, which was

it became an involvement that saw him joining the newly

the first challenge. The next challenge was that nobody had

formed Market Theatre Foundation and becoming responsible

any money. So we had to start raising the money and that

for the fundraising of the Market Theatre.

really became our biggest challenge. We had Murray McLean

‘I was a relatively young architect at the time but my

as our chairman, who was very buoyant about raising the

partner Manfred Hermer was a pretty renowned theatre

money, I became chairman of our fundraising committee

architect, we did the Johannesburg Civic Theatre, the first

and the whole office was sort of eerie. We slept, we drank,

Bloemfontein Theatre – now called the Little Theatre – and

we breathed the Market Theatre, and it was our whole life

the Reps Theatre. So we were theatre people in those days

for a while. We made no money out of it. It was just, for us,

and my partner almost relished the theatre. When Mannie

the most magic thing to do. We felt it was important for our

Manim and Barney Simon approached Manfred, who was

practice to do something for free, for the community – to

the renowned bloke at the time, he and I started to work on

give back, as it were.

it and after a while it became my baby in particular. I quite

‘You know, how The Market Theatre was saved is that

liked the challenge of playing with old stuff. We were also

they wanted to knock the whole market down and somebody

competing against some pretty mogul theatre entrepreneurs

discovered it was the biggest three-pin arch in Africa that

44 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

“

You know, how

The Market Theatre was saved is that they wanted to

knock the whole market down

and somebody

discovered it was

the biggest three-

pin arch in Africa

that was built in a swamp!

”

Sketch of the Main Theatre

by GLH Architects

Creative Feel / June 2016 / 45

Facade of the Market Theatre.

SOURCE GLH Architects

“

was built in a swamp! George Burt Andrews was the city engineer at the time and he designed this thing, those big trusses were like bananas. When we did the little theatre,

We put together a nice

proposal to use everything

that was there already and

mould that into the theatre that you see today

46 / Creative Feel / June 2016

”

Barney was so in love, he made sure that we had little hatches so that we could always open them on the reef and look at the bolts holding up the hinge at the top. I think all of us just had that in mind; it was really what we wanted to do. We actually stole bits from the rest of the market while no one was watching, like that big clock that used to stand right in the middle of the market. No one was looking after the market and we were worried that someone would pinch it, so we rescued it for posterity and we stuck it up in the upstairs lobby of our Market Theatre.

‘The entrance lobby with the pillars down the middle is where they used to sell corn. When we first did it, there was

MARKET THEATRE | 40 YEARS OF STORYTELLING

Construction of the interior underway.

SOURCE GLH Architects

a bar there they used to call the Corn Exchange. It was such a lovely idea if you think about theatre and comedy and the Corn Exchange. That was really wonderful. Really, that was the essence of the whole thing. We wanted to keep as much as it was, we wanted to disturb as little as possible. We had no money so we had to make it work.

‘If you can imagine the fun and the cheek we had! When Janet Suzman came out to South Africa, we got hold of her while it was a building site. We lit it with candles and she came and told us stories and we raised funds. We wrote to Ladysmith Black Mambazo to help us for our theatre and they came out in white “takkies”, no one had even heard of them, and we raised money that way. We instituted the Comedian of the Year competition; at that time there was Biltong & Potroast on the radio. Once a year, we had a competition of the best comedians and just invited anybody we thought would come. Then we really got quite cross appeals from people in Durban and Cape Town saying, “why didn’t you ask us?” so we said, “come! come!”

We raised money wherever we could and had so much fun doing it. I would do it all over again tomorrow if I could.

‘Spike Milligan came to Johannesburg to put on a show, we asked him to come do a show to help us save the theatre.

He arrived and put on a show for us one Sunday night and people just launched into it. It was just such a wonderful thing to do. Like we started that market in Mary Fitzgerald square, that was a great success.’

This love for the theatre is still with Rodney Grosskopff today, just recently he acted in Plettenberg Bay called Annie

1-2-3, ‘a play written by a group in England, a chap called David Summers. It’s written for people like us. I think the youngest person in the cast was 61 or something and the rest were much older because Plett is full of older people.

We couldn’t find younger people to come and act the part.

We performed at St. Peter’s church hall because it’s the only hall with a stage. So yes, I’m still involved. I’m very much involved and I love it!’ CF

Creative Feel / June 2016 / 47

THE OLD

CONVERGING WITH THE NEW In 2015, Artist Proof Studio’s Special Projects was commissioned to produce striking artworks for the new theatre development, which will house The Market Theatre Foundation, The Market Theatre, Market Theatre Photo Workshop and The Market Laboratory.

‘I

t was such a thrill for Artist Proof Studio to be invited

participated in a street arts festival as well as made

to collaborate on the new interior development that

collaborative art works for the new Gauteng Legislature.’

celebrates 40 years of the Market Theatre Foundation,’ says Executive Director and Co-founder of Artist Proof

Studio (APS), Kim Berman.

The commissioned triptych comes together to create one piece of art and tells the 40-year-long story of the Market Theatre Foundation in both a historical and contemporary

‘APS moved into 57 Jeppe Street, known as the COSAC

mural artwork design. The work also acknowledges the many

building, from its first inception in 1990. So our roots run deep

productions, performers, audience members and the various

with the very space that will be occupied by the new Market

support activities that make up the multifaceted organisation.

precinct. APS was registered as a community arts centre in

The artwork depicts how the old theatre surface

1991, Sol Rachilo from COSAC, joined us as a co-tenant, and we

converges with the new surface in a geometric style that

were very active alongside the Market Theatre and others in the

complements the interior structure. The combination of

Johannesburg city’s vision, led by Christopher Till to develop

old and new facets, and geometric shapes are a tribute

Newtown as an arts and cultural precinct – a kind of SOHO

to many performances that have taken place in the old

district of Johannesburg.

theatre; the new symbolises the many performances

‘In the early ‘90s, South Africa was on the verge of

theatre lovers will witness in the new space. The mural

momentous change leading up to the first democratic

artwork design serves as the exterior of the entrance into

elections. Arts and culture took on a vital and energising

the new theatre.

role in engaging the public on imagining possibilities of democratic change in the new South Africa. We all

48 / Creative Feel / June 2016

The colourful shapes in the artwork also represent the diversity of audience members that visit the theatre. The

MARKET THEATRE | 40 YEARS OF STORYTELLING

Artists Proof Studio students at work PHOTOS Artist Proof Studio

40 different shapes commemorate the Market Theatre’s 40 years of storytelling.

Four exceptional Artist Proof Studio students have carved the detailed ‘photographs’ that float across the artwork.

‘The Market Theatre has always been the beacon for change and possibility in SA,’ says Berman. ‘I remember those early conversations that our late co-founder Nhlanhla Xaba and I had with the late Barney Simon.

Barney’s wisdom and experience of the kind of vision we shared for the arts to play an important role in imagining the new democratic South Africa, was an inspiration that influenced our development.

‘It is therefore so meaningful for Artist Proof Studio to retain a visual impression on the very bricks of our origins and influences. We celebrate 25 years in Newtown as the Market Theatre Foundation enters 40 years of its powerful legacy, and we all still hold dear the future of Newtown as a vital cultural hub for South Africa.’ CF

“

We celebrate 25 years in Newtown, as the Market Theatre Foundation

enters 40 years of its powerful legacy

”

Creative Feel / June 2016 / 49

IN THE COMPANY Vanessa Cooke is an acclaimed actress, playwright and one of the founder members of The Company. She performed in both the Seagull and Marat/Sade in 1976, which officially opened the Upstairs Theatre and the Main Theatre respectively. Cooke also played administrative roles at the Market: as director of the Market Theatre Laboratory and as a member of the board of the Market Theatre Foundation.

I

t was in June of 1976 when the first of the Market

Pieter-Dirk Uys’ satires she laughs naughtily; because

Theatre’s stages opened its doors. What is now the

those performances were quite pointed at the white

Barney Simon Theatre opened as the Upstairs Theatre

bourgeoisie. The Company wanted to work with whomever

with The Seagull, just before the official opening of the

they wanted to – irrespective of the racial demarcations of

Main Theatre, which would stage Marat/Sade; both under

the past – they sought to get to know everyone’s stories,

the direction of Market Theatre co-founder Barney Simon.

they wanted something new. ‘Everything was…’ Cooke

The Seagull opened without incident. The opening of the

claps her hands sharply together and then pulls them

Upstairs Theatre was a happy event. ‘The actors had kind of

far away from each other – in the kind of telling gesture

built that. We built the dressing rooms, the store room; even

that would be as evocative on the stage as it is in reality

screwing in the chairs. So when the Upstairs opened it was

– and completes the sentence, ‘apart.’ In the spirit of the

aaah!’ says Vanessa Cooke. The building had been donated by

resistance at the time, they were ‘rebellious’.

the City Council and the council had all arrived for the grand

Something important was happening and they were

opening of the Main Theatre. And in the turbulence of the

part of it. When they workshopped Cincinatti (1979), with

times, they were unimpressed with the choice to launch the

Barney Simon at the helm, she says that the sense of pride

official opening with Marat/Sade, a play about revolution. ‘A

came from knowing that they were making plays that

lot of them walked out, it was all white, mostly male,’ Cooke

people wanted to see. There was a hunger for the truth of

recalls. By Christmas, the play that The Company staged was

South African lives to be reflected on. Cooke says, ‘That

banned. It was The Comedians by Trevor Griffiths. A telegram

was wonderful! People came to see Cincinatti and loved it

arrived from the censor board with a boy on a bicycle and in

because it was about them.’

its first year the Market Theatre, South Africa’s first non-racial theatre space, was in trouble with the apartheid regime.

‘There was always trouble,’ Cooke giggles like a young

‘We had a mission,’ Cooke punctuates. ‘We wanted apartheid to end.’ When they worked on Born in the RSA (1986), a play about state detentions, it was during the State

girl and her eyes sparkle at the memory. She gently leans

of Emergency and the worldwide boycott of South Africa.

forward and in a whispered exclaim says, ‘We didn’t care!

They did extensive research and spoke to people who were

We wanted to do good theatre. We wanted to do South

banned or had been in detention. The multiracial cast

African theatre!’ There was a story with every play in

worked together to workshop the piece. Cooke says, ‘We

those times as The Company tried to break down the

learned so much while doing the theatre work about what

barriers that had them segregated from the rest of their

was going on. I think, because we were actors, people were

nation’s stories. She acknowledges that they had not done

more likely to talk to us because we weren’t threatening, we

anything for reactions, at first. But when she remembers

weren’t scary.’ The play toured the world when the country

50 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

SOURCE Historical Papers, Wits University

was shut down from the rest of the globe and people saw real narratives. ‘We were able to break through barriers of people being too scared to come to the Market,’ she says with an immense joy.

This was a pivotal moment for her, as a member of The Company. ‘We were doing something worthwhile,’ she muses to herself. It was important. It meant they were actually achieving what they set out to do and bringing people together to see each other as human beings. CF

“

We were able to break through barriers of

people being too scared to come to the Market

”

Creative Feel / June 2016 / 51

JOHN KANI Patron and Special Ambassador of the Market Theatre Foundation

The iconic Main Theatre of the newly renovated Market Theatre was officially renamed the John Kani Theatre in 2014 and the then Chief Executive Officer of the Market Theatre Foundation, Annabell Lebethe noted ‘John Kani is part of the fabric of the Market Theatre.

The Council saw fit to honour this doyen of South African theatre at the institution that he has played such a crucial role in.’

A

ffectionately known as the ‘Godfather of South

reciting a poem at the funeral of a nine-year-old girl who

African theatre’, this living theatre legend has

had been killed during riots. It is a story of two brothers; of

demonstrated his passion and commitment to

sibling rivalry; of exile; of memory and reconciliation; and of

the Market Theatre Foundation – and to the

the perplexities of freedom. Sipho Makhaya stayed in South

South African performing arts sector. He serves as Patron and

Africa during apartheid while his brother fled to England.

Special Ambassador of the Market Theatre Foundation, and

Now at the time of his brother’s death, he must face the

acted as its Managing Trustee in the early 2000s.

complex issues of political and social reconciliation with his

John Kani is, of course, primarily known as a multi-award

South African-raised daughter and his English-born niece.

winning actor, director and playwright. He has performed in

When Creative Feel originally spoke to John Kani

countless plays over his 50-year theatrical career, including

about his play he explained, ‘The play began as a small

Sizwe Banzi is Dead (1972) and The Island (1973), both of

letter to my brother and I wanted to say something to him

which he co-wrote with Athol Fugard and Winston Ntshona,

and after 15 pages of writing, it became the most terrible

and for which he and Ntshona won the 1974/75 Tony Award

protest theatre I had ever seen or written, so I threw those

for Best Actor.

15 pages in the garbage. I left it and then I wrote again

He holds honorary doctorates from the University of

but this time the story became a tribute to him rather

Durban Westville, Rhodes University, the University of Cape

than a play about my brother. I told the story about these

Town and the Nelson Mandela Metropolitan University, and

two brothers, one who stayed and the other who went into

in 2005 he received the Order of Ikhamanga – the highest

exile and comes back a hero.

recognition in South African arts and culture – from then president Thabo Mbeki.

Since his debut as sole author, Nothing But the Truth

‘The attitude that those who stayed did nothing and those of us who went to exile suffered, the conflict of the family and the secrets of the family. And in the end I had this

(2002) and Missing (2014), John Kani has added extremely

thing I didn’t know what it was, I was absolutely petrified

successful plays inspired by apartheid exiles to South

by the legacy of Sizwe Banzi is Dead and The Island and the

African theatre.

collaboration with Winston Ntshona, Athol Fugard and

Nothing But the Truth, now a setwork for South African

Mannie Mannim, who was at the Baxter Theatre. Janice

schools, is a tribute to Kani’s younger brother Xolile, a

Honeyman, who had read it and was preparing for the

political poet who was shot dead by the police in 1985,while

production kept telling me, “its okay, its going to work.” The John Kani in Nothing But the Truth, 2002 SOURCE The Market Theatre

52 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

Creative Feel / June 2016 / 53

John Kani in Nothing But the Truth, 2002 SOURCE The Market Theatre

ghost of Sizwe Banzi and The Island on my neck and that day:

when I walked back to my dressing room I said, “thank

4th of July (nothing to do with American independence) we

you my brother”. I had finally confronted myself with the

walked in with Pamela Nomvete and Dambisa Kente, we did

question, “do you forgive?” and my answer was, “Yes, I do.”’

the play and during the play something happened within

When it was first performed at the Market Theatre,

myself, a cathartic experience, therapeutic and at the end of

people came up to John Kani crying and thanking him

it all, it felt like I had come through something to standing

for having told the story of his brother and about Port

there. For a moment, the first five to ten seconds there was

Elizabeth. It was very emotional and a very common

nothing, the audience just stood up and then they applauded.

reaction to this play.

‘They stood up first and then applauded; there were old people, young people, black people and white people, children of all colours, and it was an emotional rollercoaster

Missing (2014), follows the return of an exiled man and his family to South Africa from Sweden.

Robert Khalipa has been living in exile in Stockholm,

for me: the tears just poured out of my body, every drop of

Sweden, for over 30 years, with his wife and their daughter.

fluid I had kept over the years since 1985 and, in the end,

Something that Robert has been waiting for all his life in

54 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

exile has finally happened: Mandela has been released South Africa is on the road to democracy. Going home has become a reality.

Instead of a celebration, this new situation becomes the cancer that breaks the Khalipa family apart. To add insult to injury, Robert is not called by the ANC to come home and be part of the negotiations. What follows is a plot full of intrigue, lies, backstabbing, conspiracy and political in-fighting. How can the release of Nelson Mandela be the reason for this family to break up?

Kani says the story was inspired by his travels. ‘When I used to travel abroad before 1994, it just moved me when I talked to exiles about going home one day. It’s the word “home” and they said it with such passion and such pain and I wanted to tell that story.’

In the same Creative Feel interview, Kani shared his views about theatre post apartheid, ‘Suddenly the world opened up, we became actors and writers, but slowly we had to learn what the truth in our stories is. Whenever we start writing, we censor ourselves by asking is this not too much about the past, should I not recognise the present?

What about the rainbow nation, should we look ahead?

Some people began to write fiction and others opted for physical theatre and some went to open entertainment, doing musicals and having fun. Others are still dealing with this transition of finding what is South African theatre about, the post-apartheid and post-democracy South Africa. So Nothing But the Truth became one of those first voices that said, “this is a story that will use the past as a canvas but focus on where we are and where we are going as a new people and a new nation. That recognises the achievements of our people as a whole and celebrates our humanity; ubuntu in whatever we do.”’

Ten years ago, at the 30-year celebration of the Market Theatre, John Kani commented that coming to the Market Theatre in Johannesburg was the most important decision of his life, and together they have created a legacy during the last 40 years that is one of the most important legacies in South African Theatre. With Kani as Patron and Special Ambassador of the Market Theatre Foundation, this legacy will continue to be the ‘responsibility of nation building, of handing over a legacy of honesty and integrity of family to the upcoming generation … and above all, a legacy to come into the theatre and have a good time.’ CF

Susan Danford and John Kani in Missing, 2014 PHOTO Andrew Brown

Creative Feel / June 2016 / 55

Othello starring John Kani and Joanna Weinberg PHOTO Ruphin Coudyzer

OTHELLO:

Reflecting the story of a nation in despair

Dame Janet Suzman, DBE made history when she staged Othello with a multiracial cast at the Market Theatre in 1987. Regarded as ‘one of Britain’s most distinguished actors’ by The Guardian, South African-born Dame Janet Suzman has led a highly successful career on both the stage and screen. Suzman has received multiple awards for her roles, in particular for roles played while with the Royal Shakespeare Company. As a supporter of the Market Theatre since the very beginning, Suzman looks back at some of her most memorable moments at the Market.

‘Y

ou might sum up the story of Shakespeare’s

people who saw that a free theatre space was vital if any

Othello (1987) as: a black man is humiliated by

semblance of independent thought and creativity was

a white thug; a unique, tragic love story which

to survive in apartheid SA. It succeeded brilliantly, by

mirrored that of a nation in despair. It was a

putting a finger up to the racist laws that prevailed outside

powerfully simple production of a very great play that told

its doors. Both Athol Fugard and Barney Simon (its first

the story of the essence of apartheid just three years before

artistic director), men of vision and originality, saw to that.

Mandela walked free.

Mannie Manim, the executive producer, made great things

‘[Othello] sold out at The Market Theatre during a sixweek run (unprecedented for a Shakespeare play). It was later commissioned by Channel Four TV in Britain and,

happen. I will always be grateful that he gave the nod to the Shakespeare experiment. ‘[The role of the Market Theatre] has not diminished

thanks to the brilliance of the lighting designer/cameraman

in the “new” – but free – SA. The theatre must always

Dewald Aukema, we made it work on a tiny budget. It was

remain vigilant about the political situation in the country,

shown here in the UK, and it is available on DVD.

and it must comment through drama and satire and all

‘It became a seminal production because it chimed

other means at its disposal and, most especially, it must

with the times. John Kani had obtained permission from

commission and encourage young writers to address

the poet Mongane Wally Serote, who headed the Culture

whatever lurks beneath a bland exterior. I have no doubt that

Desk of the ANC-in-exile, to go ahead with the production

the Market Theatre’s present Artistic Director, James Ncgobo

on the basis of being convinced by me that Shakespeare

is putting his immense talent in the service of these things.

should be considered a protest playwright. Thus John felt

‘I am a Patron of the Market Theatre, and friends with

that appearing in the greatest part ever written for a black

all of the people I mention above, from way back. I was

actor, but by a white author, was A-OK. He was wonderful

in love with the Market from the first, because artistic

in the role. As was everybody, most memorably Dorothy

freedom was at the very front of my concerns. I was proud

Ann Gould as a fiery Emilia, the first feminist part in

to appear in The Death of Bessie Smith (1979) by Edward

dramatic literature.

Albee, with John Kani and Winston Ntshona, which was

‘The founding of the Market Theatre was a political act in itself. It was founded by a group of like-minded

56 / Creative Feel / June 2016

one of the theatre’s inaugural productions. I read poetry by candlelight in the shell of the old building while the

MARKET THEATRE | 40 YEARS OF STORYTELLING

“

The founding of the Market Theatre was a political act in itself. It was founded

by a group of like-minded people who saw that a free theatre space was

vital if any semblance of

independent thought and

creativity was to survive in apartheid South Africa

”

Creative Feel / June 2016 / 57

Othello starring John Kani and Joanna Weinberg PHOTO Ruphin Coudyzer

theatre was being constructed. I don’t think I was unique,

Sharkville. Setzuan had to take care of its oriental self and

as all the performers and directors involved in it were

we wanted Africa. This show, a musical, with Sello Maake

of the same mind. The only unique thing about me was

kaNcube and Pamela Nomvete as the leads, also toured

that I lived and worked in the UK. So every ten years I

the UK the following year.

would long to be working at the Market Theatre to be

‘[The Market Theatre is] far too important a place in

once more in touch with the more precarious and, as I saw

the history of South Africa’s journey, as it was the principal

it, more interesting and important life of a theatre in an

means of the British cultural scene keeping up with trends

authoritarian society.

and thoughts in our then stricken country. So many of the

‘In the ‘90s, I saw that Berthold Brecht’s Good Person

Market Theatre’s great productions were exported overseas

of Setzuan could be a wonderful vehicle to explore urban

and kept the world au fait with the talents that made theatre

poverty, and fun too. I was lucky to have had genius

arts an important communicator. Certainly, Barney’s work

designer, the late Johan Engels… who designed a fabulous

inspired the legendary director Peter Brook to this day. That

blue-tinted tin-shacked slum in a fabled place called

is quite a legacy.’ CF

58 / Creative Feel / June 2016

On throwing down (and picking up)

the gauntlet

Zakes Mda’s involvement with the Market Theatre began almost 40 years ago in the late 1970s when the theatre first produced a number of his plays; among them Dark Voices Ring (1979), We Shall Sing for the Fatherland (1979), and The Hill (1980). Mda is a respected and celebrated novelist poet and playwright; he has won numerous South African and British literary awards, has served as a professor at the Ohio University and a visiting professor at Yale and the University of Vermont.

Zakes Mda. Photo by Zwelethu Mazibuko

John Kani became the managing trustee, Mda was officially appointed as dramaturge, with one of his major roles being ‘to fulfill Barney Simon’s challenge: to go out there, discover playwrights, hold workshops, and develop their work.

‘Indeed, we developed a lot of new playwrights who were previously unknown,’ he says. Among them, Xoli Norman and Bongani Linda, both of whom went on to international acclaim.

One of the projects undertaken during Mda’s time was Broken Dreams (1995), a play dealing with HIV/AIDS,

Z

supported by pharmaceutical firm Glaxo. Mda had long been involved with theatre for development, using theatre as a

akes Mda attributes the beginnings of his success as

medium of communication to rally people around various

a playwright (he now has more than 30 plays to his

issues, and HIV/AIDS was still a subject of great fear. The

name) to the Market Theatre. ‘It played a big role

Market Theatre Laboratory thus workshopped Broken Dreams

in my career, because the very first plays that I ever

with actors sent out to talk to people from all walks of life

wrote were performed there (in 1978),’ he says. ‘Of course, in

and gather information. The play ran for many years, and

those days, to have plays performed at the Market Theatre

toured schools around the country. ‘The whole idea was to

was a very prestigious thing. It was precisely that which

warn people, but at the same time to assure them that this

established me as a playwright.’

was not a death sentence, there were ways of dealing with it,’

His involvement was to deepen in the late 1990s. ‘I met Barney Simon in the street across from the theatre

he says.

Today, Mda speaks of the Market Theatre as ‘an iconic

and I pounced on him and said, “I don’t see much work by

cultural institution – not only in South Africa, but around

black, local playwrights at the Market Theatre,”’ recalls

the world.

Mda. ‘He was cool and calm and collected and told me,

‘When people talk of the major theatres of the

“if you think you can do better, go ahead. Go and get me

world, they mention the Market – mostly because it has

those playwrights... and I guarantee that I’ll stage their

produced many wonderful works by great writers… the

work here.”’

Athol Fugards and Barney Simons of this world,’ he says.

As Mda explains, this was Simon’s way of saying that

‘Many great theatre practitioners, whether they are actors,

while the Market was looking for such work, it wasn’t easy

directors or so on… you’ll find that they have roots at the

to find. It needed a more proactive approach. So, when

Market Theatre.’ CF

60 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

Scenes from Zakes Mda’s The Hill, 1980 PHOTO Ruphin Coudyzer

Creative Feel / June 2016 / 61

2011 SBYA for Theatre - Neil Coppen PHOTO Sean Laurenz

A Proud

COLLABORATION Mentioning the Standard Bank Young Artist Awards (SBYAA) and the National Arts Festival (NAF) in Grahamstown without referring to the Market Theatre is simply not possible.

F

rom the early Five Roses Young Artist Awards and

makers, especially the young and upcoming. By producing

SBYAA winners for Drama like Janice Honeyman

shows; providing a platform for shows; mentee and trainee

(1982), Paul Slabolepszy (1983) or Mbongeni

programmes and a holistic approach to the support of

Ngema (1988), or the SBYAA winners for Dance

careers, the theatre has solidified strong relationships

like Robyn Orlin (1990), Gregory Maqoma (2002), Dada

with various young artists. As Mannie Manim, co-founder

Masilo (2008) to the very recent Theatre winners like

of the Market Theatre, said in Standard Bank Young Artist

Princess Mhlongo (2012), Prince Lamla (2013) to Greg

Awards 25 Years, ‘Every young theatre-maker aspires to be

Homann (2014), all the winners of these prestigious awards

given this opportunity, all artists want to work; they want

that have been or are associated with the Market Theatre

an opportunity to ply their craft, to do what they love most

still feel passionate about ‘their theatre’.

and to express themselves in the way that they know best.

Through its collaboration with the NAF and the SBYA

They value and need the exposure offered by this award

Awards (among others), the Market Theatre has contributed

at the festival.’ The Market Theatre provides a further

significantly to the development of South African theatre-

platform for these young artists.

62 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

“Every young theatre-

maker aspires to be given

this opportunity, all artists

want to work; they want an

opportunity to ply their craft”

2008 SBYA for Dance, Dada Masilo’s Swan Lake.

PHOTO John Hogg

The Market Theatre has become the foundation for many

played a significant role in their fundamental development

great South African theatre pioneers. The theatre, founded

as theatre-makers. Lamla went on to win the Market Theatre

in 1976, was itself a pioneer in its ability to confront the

Laboratory’s Zwakala Festival for his play Coal Yard (2006),

apartheid regime that plagued South Africa at the time. It

which he co-directed with the late Ofentse Bodile. This

has flourished into the 21st century with the determination

admired director went on to enjoy further opportunities

to encourage South Africans to attempt an understanding

made available to him by the Market Theatre Foundation and

of themselves, each other and their new democratic nation.

in 2012, Lamla returned to the Market Theatre to direct the

Young and new theatre-makers are continuously sought out

wonderful South African gem, Woza Albert!. Political satire

for their fresh approach to creating theatre. South African

play, Woza Albert! by Percy Mtwa, Mbongeni Ngema (SBYA for

theatre is known for its diverse, layered, amalgamated and

Drama 1988) and Barney Simon has successfully relished the

multidisciplinary nature and thus it is constantly evolving.

accolade for being the play with the longest run at the theatre.

Siva, choreographed by 2015 SBYA for Dance, Luyanda

Multi-award winning theatre-maker Lara Foot (SBYA

Sidiya, was performed by Vuyani Dance Theatre at the Market

for Drama 1996) is part of this illustrious selection of

in 2015. The work was produced by the National Arts Festival

recipients that have certainly contributed immensely to the

as part of Sidiya’s SBYA Award for Dance and has achieved

Market Theatre and South African theatre in general. Foot

international success for its vibrant choreography.

has directed over 40 plays, 29 of which are original South

2013’s SBYA Winner for Theatre, Simthembile Prince

African plays. This acclaimed director was honoured with

Lamla pursued his love for theatre at the Market Theatre

the Golden Globe Award for Best Short Film in 2006. Foot

Laboratory. He was afforded the opportunity to travel

was still fortunate enough to practice under the guidance

to Stockholm Stadsteater to attend a course in text and

of Barney Simon and set up the Barney Simon Young

interpretation. For many like Lamla, the Market Theatre has

Directors and Writers Festivals in his honour. Between 1998

Creative Feel / June 2016 / 63

and 2001, Foot took on the role as associate artistic director

a Naledi Award and she served as a trainee director on the

at the Market Theatre.

Oscar-nominated film Hotel Rwanda (2004).

SBYAA recipient for Theatre in 2012, Princess Zinzi

Zenzi Mbuli’s Gumboots, inspired by the oppressive

Mhlongo has had two successful runs at the Market

gold mines of South Africa, achieved international

Theatre thus far: her adaptation and direction of Zakes

acclaim with its 1999 premier in the UK at the Edinburgh

Mda’s And The Girls in Their Sunday Dresses (2010) that

Festival and a tour across Europe, the USA and Canada.

went on to receive raving reviews at the Edinburgh

Upon Mbuli’s 2000 SBYAA win, he was commissioned to

Festival and the Afrovibes Festival in 2012; and her

create Siyavuma (2000) for the National Arts Festival.

production of Fatima Dike’s So What’s New? was staged at

Mbuli has also become known for Footsteps (2013) and

the Market Theatre in 2011.

Woman in Spirit (2007), both of which he choreographed

SBYAA winner for Drama in 2009, Ntshieng Mokgoro’s involvement with the Market Theatre started as a field

and directed.

Theatre-maker Maishe Maponya has been a regular on

worker for the Market Theatre Laboratory. In 1999, she

the Market Theatre stages since the 80s. As a writer and

wrote and directed a production for the Barney Simon

producer of the well-known play The Hungry Earth (1979),

Young Directors and Writers Festival. Her controversial play

Maponya was the SBYAA recipient for 1985.

Umdlwembe (1999) was performed for a season at the Market

After Neil Coppen won the SBYAA for Theatre in 2011,

Theatre, followed by a run at the National Arts Festival,

the Market Theatre, in association with the Standard Bank

sponsored by Standard Bank. In 2006, Mokgoro’s Market

Think Theatre presented his work Abnormal Loads in 2012.

Theatre Laboratory residence project was nominated for

The work was commissioned as part of Neil Coppen’s SBYAA,

Mncedisi Shabangu, Nonceba Constance Didi in Tshepang, written and directed by Lara Foot.

Woza Albert!,

PHOTO Andrew Brown

Market Theatre Showcase

64 / Creative Feel / June 2016

MARKET THEATRE | 40 YEARS OF STORYTELLING

Siva, choreographed by 2015 SBYA for Dance, Luyanda Sidiya.

PHOTO Niamh Walsh-Vorster from CuePix and achieved great success over the duration of its multiple seasons. Coppen’s award-winning Animal Farm was also showcased at the Market Theatre in 2015 to great acclaim.

Other SBYAs who have collaborated with the Market Theatre include John Moalusi Ledwaba who, alongside Barney Simon and cast members, wrote Black Dog Inj`emnyama, which was performed at the Market Theatre in 2006.

1990’s SBYA for Drama, Jerry Mofokeng worked as a resident director at the Market Theatre, thus creating numerous plays for the platform. Robyn Orlin, an innovative and subversive choreographer, has shown work at the Market Theatre such as Orpheus… I mean Euridice… I mean the Natural History of a Chorus Girl (1999).

It is evident that the Market Theatre’s involvement with young artists has produced phenomenal South African theatre-makers and forerunners. This historic space continues to act as a catalyst for change and a fertile environment for young talent to flourish. CF

2014 SBYA for Theatre - Greg Homann.

Princess Mhlongo.

PHOTO Timmy Henny

PHOTO Suzy Bernstein

Creative Feel / June 2016 / 65

SINGING

the Ages

Throughout her long career, Gcina Mhlophe has established herself as an important (and one of the few) female storytellers in a country dominated by male voices. A charismatic performer, Mhlophe works hard to preserve storytelling as a means of keeping history alive and encouraging South African children to read.

T

he bricks sing 101 stories of the many hands that

When touring overseas, Mhlophe felt pride in being part

laid each one into the cement. Artists’ hands,

of the Market Theatre’s narrative. International visitors

each with their own stories, placed their mark

knew that ‘if you were in Johannesburg, you had to go to

on the very bones of the place they would all

the Market Theatre and Kippies. If you had not gone to the

call home. This place was to be called the Market Theatre.

Market Theatre, you just hadn’t been to Johannesburg,’ she

They sang as they worked – the artists – and their song

remembers hearing. The theatre, she says, ‘was a hub. You

swelled through the centre of Johannesburg as the fruit

hung out at the bar, even if you didn’t drink, and shared

and vegetable sellers filled the music with their calls.

ideas,’ she says. But before she became multiple-award

Everyone was welcome there, at this place called home.

winning actress, Mhlophe earned her first role in Maishe

Gcina Mhlophe calls the Market Theatre ‘the child that

Maponyane’s Umongikazi – The Nurse (1983). It had only

has seen it all.’ She says that the story of this child would

been three years since she matriculated in Durban and she

be titled Singing the Ages, if she ever wrote down its tale.

had been reciting poetry as a young activist at political

The theatre was the gathering hearth of the who’s who of

rallies when Maponyane saw her. She had never acted

South Africa. She recalls that it was not only the famous

on stage before but when the play opened at the Market

artists who met there but that ambassadors and important

Theatre, she was catapulted into worldwide success. ‘I

political figures would come to sit at the café and talk

didn’t have a sense of how important it was until I knew

and talk and talk. People met at the Market to talk about

the history of the theatre,’ she says. After performing

everything under the sun, from politics to their troubles

there in her first professional play, it would only be a few

with their sons. At the Market Theatre the art that took

years until she would work as assistant director to Barney

place was not just in the rehearsal rooms and on the stage,

Simon when he worked as the visiting director at Boston’s

it breathed through every brick as though they too would

Brandeis University. She likens those first moments of

sing of the humanity that built the reputation of the place.

working at the theatre to ‘giving somebody a plate of gold

66 / Creative Feel / June 2016

“

If you were in

Johannesburg, you had to go to the Market

Theatre and Kippies.

If you had not gone to the Market Theatre,

you just hadn’t been to Johannesburg

”

Gcina Mhlope SOURCE JT Communications

and they don’t know why it’s so heavy until they find out

in action. But Mhlophe, who had become an award-winning

its value.’ The theatre was her plate of gold when she

actress, remembers: ‘I used to say I’m flying with crooked

arrived in the city of gold.

wings.’ She was not an actress, she was a storyteller.

It was Barney Simon who would have the greatest

‘It was in April 1991, I’ll never forget that day,’ she

influence on her. ‘I didn’t know who he was and how really

remembers walking into Mannie Manim’s office and telling

important he was. I thought he was just a really nice man.’

him that she wanted to do a storytelling festival. ‘He jumped

This nice man would help her to learn that she did not need to

up from his seat and came round to hug me and said, “I love

be anything but herself in that space. ‘It was like going to war,’

storytelling”.’ When the festival opened, there were so many

she says of preparing productions with Simon. Mhlophe was

people that journalists were sitting on the stairs and they

part of the cast who workshopped and toured Born in the RSA

were all worried because of the fire hazard ‘but it was so

(1986). She recalls that ‘doing Workshop Theatre was actually

packed,’ Mhlophe gives a laugh so full it sounds like Santa

really terrifying.’ Simon, she felt, was ‘preparing us for war:

Claus. She is grateful that the doors remain open to sing new

you were creating stories and you were speaking words that

stories (and from young people); the place where everyone

you had written, and going on tour.’ Their work was activism

belongs together. It still sings. CF

Creative Feel / June 2016 / 67

LIBERATION of the mind One of the most in-demand actors and voice actors of his generation, Sello Maake kaNcube has performed in theatre, film and television in various award-winning roles around the globe.

Some of his prestigious theatre roles have been in Woza Albert! (1986), The Good Woman of

Sharkville (1996), Prophets in the Black Sky (1992) and The Suit (1993).

I

n 1981 a young man went to the Market Theatre to

Mbongeni Ngema and thought to himself: ‘I could play that

perform in a showcase, or rather a ‘try-out’ as it was

part. I wish I could play that part!’ It was just after 15:00

called then. Sello Maake kaNcube, an actor from

when he walked into the room to audition for the second

Atteridgeville, had already known of the famous theatre

company of the play. When he finished reading ‘they said

and it had left an imprint on his life that he would forever be

they wanted to start on Monday so I went past my work

grateful for. At the beginning of his professional career, he

that Monday and handed in my resignation,’ he remembers

would visit the theatre to watch plays. ‘The Market Theatre

with reverberating happiness. His laugh is booming as he

helped me to deal with the disability of my daughter (my

remembers performing the play. He says, ‘Woza Albert!

daughter’s deaf),’ he says with his booming voice. He had

is an actor’s jam because it gives you a complete use of

watched a play called Children of a Lesser God and the lead

yourself. Physically, emotionally, intellectually I don’t think

character was performed by a deaf person. He never forgot

I can do what I did then. I was young.’

that lesson. Performing in the Dramatic Monologues, a

He had already worked with the man that he credits

showcase of children’s monologues for charity, at the theatre

for making him what he is now: Dixon Malele. ‘Then came

this year, he believes that people are the ‘leads in their own

Barney Simon… I don’t know what I’d call him. Barney’s

lives, their own stories.’ It was one of the things that he took

understanding of the human condition was amazing,’ he

to heart from his lessons with Barney Simon, as he learned

says. Maake kaNcube’s vivid recollections of rehearsals with

that performance was a reflection of the human condition;

Simon could fill a play text on their own. The conversational

‘that everybody has a story to tell.’ The theatre represented

manner in which Simon drew stories out of his actors

a democratic ideal by being a space for all races to speak the

and helped them to see the powerful impact of their

power of their own story.

own experiences is astounding. Maake kaNcube recalls a

Maake kaNcube’s story aligned with the theatre when,

rehearsal when ‘you would see life shine through his eyes’

in 1985, he auditioned for the role played by Mbongeni

and Simon would simply ask if the actor liked what he felt

Ngema in Woza Albert! The young actor who had gone for

when he told that story and, if so, then he should keep it in

‘try-outs’ in 1981 had all but given up on performing by

the performance. ‘He’s permitting us what we already know,’

that time. Black actors struggled to find work because of

Maake kaNcube recalls thinking at the time. He laughs out

the strict racial laws and so Maake kaNcube was working

loud and says, ‘I would say this white man… this white man…

as a full-time clerk. It was only because a space like the

He really understands black people.’

Market existed that he was able to stay in touch with professional theatre, and he recalls that he had seen

68 / Creative Feel / June 2016

The last play that Simon directed starred Maake kaNcube. It was The Suit (1994). It came at another critical

MARKET THEATRE | 40 YEARS OF STORYTELLING

“

Woza Albert! is an actor’s

jam because it gives you a complete use of yourself.

Physically, emotionally,

intellectually I don’t think I can do what I did then. I was young

”

Sello Maake kaNcube SOURCE The National Arts Festival

time for the actor. In the early democratic era there was a

in The Suit and ‘working with Barney was just amazing…

troubling narrative that spoke to the death of black theatre

So when The Suit came, I played it with a vengeance!’ he

because it had been so strongly associated with protest

hisses. He states unequivocally that that was his best role

theatre that it was said that black theatre would die; as

to date. ‘I don’t think that I’ve surpassed that,’ he says

though black performers were incapable of performing

and adds that acting is the liberation of the mind. He says,

other roles than those of struggle. Sello Maake kaNcube,

‘Belief is such an important thing.’ The Market Theatre

who was becoming a household name, was yet again about

founders believed in the human condition and Simon

to quit the stage because of the politics. But, he was cast

believed in story. CF

Creative Feel / June 2016 / 69

THE NEWSPAPER OF OUR TIME Paul Slabolepszy is a prolific playwright and actor, having amassed numerous awards in his decades-long career. Some of his acclaimed plays include Smallholding (1989), Mooi Street

Moves (1992), The Return of Elvis du Pisanie (1993) and Victoria Almost Falls (1994).

M

emories make monuments meaningful.

the place where his first hit-play Saturday Night at the

Walking into the Market Theatre and standing

Palace (1982) was initially staged. The theatre is a holy

at reception as a regular visitor, it can be easy

place for Slabolepszy. He says that the Market is ‘like a

to move with the flow of current times and

temple for me. It’s got history.’ He points to the bust of

overlook the statue of Barney Simon’s bust as it stands in the

Barney Simon and says that he often arrives and stops

corner. Sitting with Paul Slabolepszy on the sofas closest to

to say: ‘Hi Barney’ when he comes to work. Simon was a

the bust, and seeing the sheer wave of emotion that fills the

mentor whose voice Slabolepszy still hears at the back of

eyes of an otherwise outgoing person, was a warm reminder

his mind whenever he creates a new work. He says that if

of the influence of the theatre. Slabolepszy is a man filled to

he did other kinds of work outside of the theatre Simon

the brim with words. His jovial and boisterous personality is

would ask: ‘Why are you wasting your time?’ Slabolepszy

captivating. The writer of over 30 plays in over 30 years of

says, ‘It’s taken all this time to understand it.’ The lesson

theatre-making could actually interview himself once he gets

he learned from Simon was that it was not worth it if he

excited about a subject. Speaking with him about the theatre,

did not take it to the highest degree, if he did not take

the stories poured out as he sat down for a conversation

risks, if it was not worth everything.

prior to starting a rehearsal for his latest play at the Market,

These are the terms in which Slabolepszy describes the

Suddenly the Storm (2016). ‘I’m kind of reminded, at every

theatre now: ‘It’s everything because the ancestors are here.’

pillar and every step I go up, of all the people that have

He remembers working as a young actor and writer in the

worked here,’ he says with obvious emotion.

new theatre that had to churn out play after play to keep

After a theatrical hiatus since the early 2000s, he has

its doors open. He recalls John Kani flying around the world

come back to the Market Theatre and he says, ‘I burst into

to woo sponsors and he makes an unusual noise with his

tears because I’d come home. I’d come home! It was almost

mouth as he tells of how he and Vanessa Cooke would sit

like I’d been dead. Like Moses, I’d been in the wilderness and

dry-mouthed after licking stamps for sponsorship letters all

I’d come alive again.’

day. He points to the bar and to different corners of the space

He is back with a new play, and is back on the stage as a performer again. For him, ‘it’s a joy to work here’ at

70 / Creative Feel / June 2016

when he speaks of how they were always on the look-out because the Special Branch would send undercover forces to

MARKET THEATRE | 40 YEARS OF STORYTELLING

Renate Stuurman, Charmaine Weir-Smith and Paul Slabolepszy in Suddenly the Storm, 2016 SOURCE The Market Theatre

“

investigate the theatre. Saturday Night at the Palace, a play about two white men who kill a black roadhouse worker, was denounced as being untrue by security forces. In an

We brought mine dust and scattered it all over the

place. The audience was

effort to bring audiences of the time to places and truths that were censored from news and television, he had gone to every effort to make the realism of the play palpable. ‘We brought mine dust and scattered it all over the place. The audience was sitting in car seats. They were at a roadhouse at two o’clock in the morning. We brought chips and cooked

sitting in car seats. They

at the back so it smelt of old roadhouse,’ he says and smacks

o’clock in the morning. We

Heaney, his current director for Suddenly the Storm, when

were at a roadhouse at two brought chips and cooked at the back so it smelt of old roadhouse

”

himself with delight. The Market Theatre, he says, ‘This was the newspaper of our time.’

Slabolepszy remembers a conversation with Bobby the play Saturday Night at the Palace opened in 1982: ‘I said to Bobby, 30 years ago, “I want you to be there!” And people came because they wanted to be there,’ The theatre performed a different function in those turbulent times but it was a place of connection. He says, ‘Theatre’s a temple of sharing. It’s a temple of communion.’ That’s what he learned from Simon. He believes that it still continues to play that holy role. CF

Creative Feel / June 2016 / 71

CDs & DVDs The latest releases to suit all tastes

My Tribute to Yehuni Menuhin | Daniel Hope | Deutsche Grammophon | 4795303 22nd April 2016 would have been the 100th Birthday of violin legend Yehudi Menuhin, accordingly Daniel Hope dedicates a complete album to his former mentor and close friend.

After the Hope family fled from the apartheid regime in South Africa, they made their new home in England where Hope’s mother was offered a job as a secretary to Yehudi Menuhin, and later became his manager. Speaking about the renowned musician, Daniel Hope says, ‘Yehudi Menuhin is the reason I became a violinist. I was privileged to know Menuhin all my life as he used to say, I fell into his lap, as a baby of two years. Menuhin often called himself my musical grandfather. Now, in celebration of what would have been his centenary, my friends and I can finally pay our respects to this great man, in a way I am sure he would have loved.’

This new album is a beautiful selection of works, mostly commissioned by/for Yehudi Menuhin: Takemitsu’s ‘Nostalghia’, Reich’s ‘Duet for 2 Violins and String Orchestra’ and Henze’s ‘Adagio’, were all commissioned by Menuhin.

MARTHA ARGERICH · DANIEL BARENBOIM Live from Buenos Aires | Argerich | Barenboim | Deutsche Grammophon | 4795563

LAND OF GOLD | Anoushka Shankar | Deutsche Grammophon | 4795459

SCHUBERT & BEETHOVEN | Grigory Sokolov | Deutsche Grammophon | 0735250

Anoushka Shankar’s Land of Gold

Grigory Sokolov is an exceptional

Deutsche Grammophon releases a live

originated in the context of the

artist. He is regarded as one of the

recording of another of the legendary

humanitarian plight of refugees

world’s leading pianists and adored

concerts that Daniel Barenboim and

and is a fervent response to

by his audience in sold-out concerts

Martha Argerich have given in the

the humanitarian trauma of

dedicated to his art and nothing

Teatro Colón in Buenos Aires. The

displaced people fleeing conflict

else. Grigory Sokolov plays late

programme was recorded in July 2015,

and poverty. The virtuoso sitar

masterworks by Schubert, including

during the second Festival de Música

player explores an expressive

the much-loved Impromptus, and

y Reflexión that Daniel Barenboim

range, conveying an evocative

Beethovens mighty ‘Hammerklavier

established in 2014 in Argentina.

journey infused with a message

Sonata’, finishing with six

Following the outstanding success of

of enduring hope. With exquisite

impeccable encores by Rameau

last year’s inaugural album, Daniel

arrangements blending genres

and Brahms. This outstanding

Barenboim and Martha Argerich

and musical collaborations,

recital is culled from concerts in

elected to perform chamber music

Land of Gold is a narrative

Warsaw and Salzburg, which were

together in the city of their birth. On

communicated with conviction

celebrated by the media, Salzburger

the programme were works for two

and poetic beauty. Both Shankar

Nachrichten claimed, ‘Wherever

pianos: Debussy’s arrangement of

and her husband Joe Wright,

he plays, the utopia of ultimate

Schumann’s ‘Six Studies in Canon

whose filmmaking sensibilities

satisfaction is closer than ever...’

Form’, Debussy’s own ‘En blanc et

helped to shape and add depth

Following on from Mozart and

noir’ and Béla Bartók’s ‘Sonata for

to the mood and energy of the

Chopin, this new live recording is a

Two Pianos and Percussion’.

album, produce the album.

pianistic landmark release.

72 / Creative Feel / June 2016

Book Reviews Recently published

The Methuen Drama Guide to Contemporary South African Theatre | Edited by Martin Middeke | Peter Paul Schnierer | Greg Homann | Publisher: Bloomsbury | ISBN: 9781408176696 South Africa has a uniquely rich and diverse theatre tradition, which has responded energetically to the country’s remarkable transition, helping to define the challenges and contradictions of this young democracy. This volume considers the variety of theatre forms, and the work of the major playwrights and theatre-makers producing work in democratic South Africa.

Written by a team of over 20 leading international scholars, The Methuen Drama Guide to Contemporary South African Theatre is a unique resource that will be invaluable to students and scholars from a range of different disciplines, as well as theatre practitioners.

Slow Burn City: London in the Twenty-First

Authentic Portuguese Cooking | By

Cometh The Hour: A Novel | By

Century | By Rowan Moore | Publisher:

Ana Patuleia Ortins Publisher: Page

Jeffrey Archer | Publisher: Macmillan,

Picador, an imprint of Pan Macmillan |

Street Publishing Co.

an imprint of Pan Macmillan | ISBN:

ISBN: 9781447270188

ISBN: 9781624141942

9781250061621

London has become the global city above

An encyclopaedic collection of

Cometh the Hour opens with the

all others. Money from all over the world

recipes from one of the world’s

reading of a suicide note, which has

flows through it; its land and homes are

most cherished food cultures.

devastating consequences for Harry

tradable commodities; it is a nexus for

Ana Patuleia Ortins will help

and Emma Clifton, Giles Barrington

the world’s migrant populations, rich

you travel to and experience

and Lady Virginia. Cometh the Hour

and poor. Versions of what is happening

the unique paradise of Portugal

is the penultimate book in the Clifton

in London are happening elsewhere, but

without setting foot on a plane.

Chronicles and, like the five previous

London has become the best place to

Portugal is known for its cuisine

novels – all of which hit the New York

understand the way the world’s cities are

that, while mild in spice, is rich

Times bestseller list – showcases

changing. Fiercely intelligent, thought-

in flavour. As the authority on

Jeffrey Archer’s extraordinary

provoking, lucidly written and often

Portuguese cooking, Ortins

storytelling with his trademark twists.

outrageously and uncomfortably funny,

highlights the fare through

Jeffrey Archer was educated at Oxford

Slow Burn City is packed with fascinating

an encyclopaedic look into

University. He has served five years in

stories about the physical fabric of London

her family’s cooking and the

Britain’s House of Commons and 19

in the 21st century.

country’s history.

years in the House of Lords.

Creative Feel / June 2016 / 73

encore Kwanele Gumbi is the Chairman of the Market Theatre Foundation Board.

At present, the board is on a mission to create a world-class arts institution

specialising in theatre, photo and arts education in South Africa and the world over.

Professionally, he is an entrepreneur and works for Gumbi Global as CEO – a diversified investment management company with interests in commercial real estate and financial services.

Name three artworks that you love and why.

a great deal. It would give the arts sustainability, its own business

I love most things called art or that I call art. South African/

case and not pity. A commercial approach within reason in all

African art is appealing and it resonates with me, such as

things art is what you need to come out of the shadows.

Gerard Sekoto. Maskandi is exceptional with its rhythm and on point message, particularly that by artist Phuzekhemisi, Ihashi

What is your most treasured possession?

‘limhlophe. I also admire photographer Zanele Muholi, her work

I have gained and lost so much over the years, I don’t value much

is seminal, timely and provokes the core; art is meant to shift

outside life itself. If you press me for an answer, I value what I

you and her work does this eloquently.

have with me at that moment.

Name one artist you would love to meet.

What do you regard as the lowest depth of misery?

Deceased: Michael Jackson; alive: Femi Kuti.

To feel nothing.

What are you reading at the moment?

What is it that makes you happy?

I always read business books and only recently started being able

Love.

to read multiple books at the same time. I am currently reading The Innovators Solution by Clayton M. Christensen and Saving

Describe a defining moment in your life.

Capitalism by Robert B. Reich.

When I was ready to become a father and had a child – that intersection was surreal and I decided to repeat it three times.

What is in your car’s CD player?

The Best of Miriam Makeba.

What projects will you be busy with during 2016 and into 2017?

If you could change one thing about yourself, what would it

My economic view is that 2008 – 2018 would be a lost decade.

be?

2016 and 2017 would continue to be tough years for any industry.

I have learned to accept myself, flaws and all. I wouldn’t

Therefore I am doing the basics very well. At the Market Theatre

change anything.

Foundation, we are preoccupied with excellence and how it can transform our organisation to the world stage, again – this time on

How have the arts industries in South Africa changed over the last ten years?

It’s becoming more professional. You can now see a pathway for a would-be artist and money at the end of the rainbow, albeit still little. The influence of commerce and governance in the arts

pure artistic excellence.

At Gumbi Global, we are pursuing green projects in technology (content generation) and agriculture.

Privately, I feel the pull of politics knocking at my door all the time… the door is closed, not locked but the window is open…

industry continues to improve birthing a sustainable industry for many. By participating numbers only at this stage, its one of the

Name one goal you would like to achieve in the next

most reflective industries of our country’s people.

twelve months.

I have so many goals, those I can mention and those that I can’t

Name one thing you think would improve the arts and

publicly. For the Market Theatre Foundation: I would like us to tour a

culture industry in South Africa.

great South African production to at least two continents. Personally,

The influence of commerce within the arts will help the industry

drive from Durban to Dakar with a Land Rover Defender. CF

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