Timeless South African Theatre classic, Woza Albert at Selaelo Maredi Theatre, Alex Theatre Company and Academy, 12th Avenue, Alexandra Township

Hamilton Dhlamini and Thulani Mtshweni brought to life the evils of apartheid through their magnificent stage presence and extraordinary monologues. Their theatrical prowess is showcased by their ability to portray different characters - switching roles between and within the scene with minimal props and costumes. Produced by Ndlondlo Productions, directed by Hamilton Dhlamini and stage managed by Phumeza Damage, this four-decade old play, Woza Albert, was originally written by Percy Mthwa, Mbongeni Ngema and Barney Simon. This two-hander piece is currently touring South Africa, fresh from Eswatini. It mesmerised audiences in Alexandra Township for two days - 10th and 11th of June 2023 - and the next stop is the Makhanda National Arts Festival. 

Thulani Mtshweni and Hamilton Dhlamini. Pic Supplied by Alex Theatre Company and Academy 

This uniquely-spirited stage piece brings forth the lived experiences of South Africans during apartheid, which some of the present leaders never experienced first-hand. In the opening scene, the overhead lights draw attention to the two actors, sculpting them into a masterpiece in motion, moulding their bodies into orchestra, whirling helicopters and hurtling trains, as if to lament the horrors of apartheid regime. Dhlamini appears to be patronisingly in acknowledgement of the audience, telling them they're beautiful, but immediately contrasting their beauty with that of a passbook.

The Blogger (Chepape Makgato) with Hamilton Dhlamini after the performance.  

From the word go, suspense is created with confrontation between a black civilian and an apartheid police officer, reminding him of his race and where he should be at that time - in prison - and when the sentence is served he should graduate on to the bushes because he does not belong to the city. Dhlamini, who portrays the character of the officer, turns to the audience to explain Section 29 of apartheid laws. In 1982, the apartheid government passed the Internal Security Act, which gave the state even wider powers of control and coercion. Section 29 of this Act allowed for people to be detained indefinitely. The victims of that Act were obviously black people. 

Thulani Mtshweni and Hamilton Dhlamini. Pic Supplied. 

Though this play is a set work for schools, unfortunately is only for private schools in South Africa. This speaks to how, though we have black led government, we equally have no say when it comes to the content taught to our children in our classrooms; a testament that the current government has ignored the arts dismally. The Constitution stipulates: (1) Everyone has the right— (a) to a basic education, including adult basic education; and (b) to further education, which the state, through reasonable measures, must make progressively available and accessible. It is a real pity that art education is not available to everyone, especially black children under this government. 

This classic is resplendent of biblical satire and historical riddles, depicting multi-layered characters using skills, mime, acting, singing and choreographed dance - affording you the privilege of sitting on the edge of your seat without fatigue for 90 minutes! Their indomitable strength and acumen in crafting relatable images using few words and actions makes you want to follow the story carefully as they deliver it through short monologues, except during the scene depicting the coronation of Morena. Woza Albert is the kind of play that confronts critical issues and challenges the norms that have become commonly-accepted. It creates possibilities and situations where one can ask oneself: what if this or that were to happen? What would be the response of those in power?

The Blogger (Chepape Makgato) with Thulani Mtshweni after the performance. 

We, as the audience, are taken to different situations of black lives during apartheid by the talented Dhlamini and Mtshweni, who actually breathe life to the years gone by. Each one of them has moments to shine during the play. In the scene where Dhlamini plays an old man who stays with his grandchild, we get to enjoy the kaleidoscope of old age, artfully portrayed. The old man emerges from the backstage in his coat and rugged pants. The coat is a patchwork and he continues to patch it up in the course of long conversations. 

Who is Morena? This fictional character is based on the idea of the return of Jesus Christ, who chose South Africa for landing from Jerusalem. But, the apartheid government was not impressed! Though the play is staged frequently both in the country and outside, it does not gloss over the apartheid nostalgia but still speaks to the current audience due to its timeless craftsmanship. The original text of when it was written over 45 years ago has not changed, but the subtext has. The power in this play is the reflection that nothing has changed in South Africa, despite our liberation from oppression based on race and class segregations. In it, we are reminded that this country, its state of load shedding, economic challenges, unemployment rate rising to all-time highs and crime becoming the norm, this country needs a leadership reset - public servants who have morals.

Towards end of this irrepressible tour de force stage piece, one realises that a better life for all is still not a reality in SA. It laid bare the racist obscenities of apartheid. It is apparent that although white South African authorities during that time were delighted at first when Christ or Morena chose their country for His Second Coming, the government was not impressed. Needless to say, when He is appalled at what He finds, the same authorities decide that He is a ''cheap Communist magician.'' In the end, the performers, and clearly the audience, can only cry out ''woza,'' or rise up, not only to the late Albert Luthuli, head of the outlawed African National Congress, but also to a host of black and white heroes including Steve Biko, Bram Fischer, Lillian Ngoyi and Neil Aggett. This work of art reminds, propels and encourages us to rise up against poor quality leadership that fails to rescue us from all manner of maladministration and social ills. Ironically, this 90 minutes long play was affected by loadshedding, forcing the stage crew to switch on alternative power supply in the form of a generator.