Soweto’s state-of-the-art theatre not ‘RDP’
Colourful and playful, the complex, in Jabulani, boasts all the mod cons and is multifaceted and vibrant, writes
IT MAY not be pretty, but it’s pretty iconic. The new Soweto Theatre resembles three giant children’s building blocks wedged between curved steel structures fringed by an undulating tent-like awning. One wag has labelled it “a deconstructed Rubik’s cube”. Others are quite taken with its merry jamboree of colours and shapes: a playhouse that’s actually playful.
But the theatre complex is about so much more than looks: the R150m development doffs its hat to the extraordinary artistic contribution Soweto has made to the country — a creativity that, until now, has had no other place to flourish than in community halls, back yards, living rooms and churches.
It’s the first formal, professional performing arts space in a century-old township that has produced arts luminaries such as Gibson Kente, Gerard Sekoto, Zola, Lebo M, Big Voice Jack Lerole, Mandoza and the Grammywinning Soweto Gospel Choir.
The Soweto Theatre is seen as an important component in Johannesburg’s “culture-led urban regeneration” plan. And judging by its state-of-the-art technical facilities and the five-star quality of its opening production, James Ngcobo’s inspired rendering of Es’kia Mphahlele’s short story, The Suitcase, the stage is set for the continuation of Soweto’s proud artistic tradition.
As Chris Vondo, the city’s mayoral committee member for community development, said: “It’s a dream realised for the Soweto community … that unlocks the image of Soweto.”
Opened by Johannesburg mayor Parks Tau on Africa Day, May 25, in Jabulani, next to the Jabulani Mall, the theatre comprises three performance spaces, the jewel in the crown being the 436-seater main theatre with a traditional proscenium arch (or “picture frame” stage) and an orchestra pit. This theatre is intended primarily as a drama venue, although it can accommodate musicals, dance, music acts, fashion shows and so on. Near the “red room” is a blue “box” theatre seating 120 to 180 people, and a yellow “box” venue seating 60 to 90 — both experimental, flexible spaces.
Works by artists from Soweto’s Ubuhle Bobuntu Arts collective adorn the theatre’s passages and walls. They are taken from a recent exhibition at Museum Africa called Liberation of Mind, Body and Soul, which is quite apt, since the complex aspires to become a space conducive to artistic freedom taking root.
In addition to the trio of theatres, there is a canopied forecourt/piazza that can be used for launches and events. Overall, the complex is designed as a multipurpose venue that is part of the city’s ambitious Jabulani central business district development, which includes sprucing up the historic 60-yearold amphitheatre. Steven Sack, the city’s director of arts, culture and heritage services — and acting CEO of the Soweto Theatre — says the theatre came about following vigorous lobbying from Soweto’s arts community. As the 2010 World Cup approached, the voices became more insistent.
It was initiated in 2007 and championed by the likes of former mayor Amos Masondo as a World Cup legacy project and part of the broader Soweto upgrade programme.
The architectural firm Afritects was briefed to create “an iconic and photogenic building; a building that becomes a symbol”, but built in a functional way, says Sack.
Hopefully this will kick-start new waves of cultural infrastructure development in other parts of the country
They had never designed a theatre before, but conducted extensive local and international research (influenced by design concepts such as the Young Vic in London) and brought theatre whizz Denis Hutchinson on board as a consultant. His expert eye is evident in the technical niceties, and the views over the city from the upper level are spectacular.
Initially, the development’s price tag was about R40mR60m. This grew to R80m when the first plans were submitted and then, says Sack, “the global economy changed, the cost of raw materials rose and the process of consultation with potential users necessitated that the specifications be enhanced”. The final cost burgeoned to R150m for the building and its surrounds, paid for by the city, national government and the private-sector developer. An extra R10m has been allocated by the city to upgrade the Jabulani Amphitheatre, and there are plans for a media hub and art library as part of an extended cultural precinct.
Costly it may seem, but few would begrudge the money spent on giving Soweto its first hi-tech performing arts complex. Over and above its obvious cultural significance, about 460 artisan jobs were created during the building phase and more permanent jobs are on the cards.
The production chosen out of 140 proposals to launch this landmark venue was The Suitcase, which had already won several Naledi theatre awards in its previous incarnation at the Market Theatre. Ngcobo enlisted Hugh Masekela to compose new music and choreographer Greg Maqoma to impart fluidity of movement to Mphahlele’s richly textured tale of naive hopes and shattered dreams. So the theatre raced out of the starting blocks on a sure footing.
Judging by the excitement the theatre has elicited in its first weeks of operation, it is well on track to become not only a tourist attraction but a magnet for locals too. “Hopefully this will kick-start new waves of cultural infrastructure development in other parts of the country,” says Sack.
The Soweto Theatre will function both as a producing house, with its own in-house productions; and a receiving house for outside producers and promoters to rent. Sack says there has been an avalanche of applications, but management is taking it cautiously, avoiding programming all three venues simultaneously. Thanks to a city subsidy, ticket prices are negligible and rental tariffs start from a low base. The immediate emphasis is not on establishing a commercially sustainable venue but “a developmental theatre for the community”; one that will attract diverse audiences, create work and promote social cohesion.
This month, Youth Month, will be marked by comedy, dance and street-theatre workshops for young people, culminating in public performances; next month will see the finals of a national community theatre competition; in August and September, the theatre will host Women’s Day celebrations, the musical Scenes From Soweto, performances by Themba Mkhize, the Danse l’Afrique Danse festival and the Soweto Comedy Festival.
Certain to generate nationwide publicity is the recording of two Idols group shows at the theatre on July 17 and 19, for broadcast on M-Net and Mzansi Magic at a later date, with a results show due to be broadcast live from the venue on July 29.
If anyone feared this would be an “RDP theatre”, as Ishmael Mkhabela, the chairman of the theatre’s board, put it, they have had to eat their words. Instead, the venue boasts all the mod cons and is colourful, multifaceted and vibrant. The city hopes Sowetans will embrace the new theatre, or as Sack puts it: “Beautiful people in a beautiful venue.”