Award-winning director talks about getting the job done as a black woman

THE night South African actress, writer and director Lesedi Job won a Naledi Theatre Award, she was at home. She was too nervous to attend the ceremony at the Teatro at Montecasino in June and thought it “unrealistic” to even think she could win.

She became the first black female director to achieve this accolade for bringing to life Mike van Graan’s When Swallows Cry, which also walked off with awards for Best Production of a Play and Best New South African script.

“When my friend called to let me know I had won I cried. I knelt down with my mother and said a prayer. I wanted the award, but I was completely realistic about the possibility of not winning, considering it was my debut as a director, and that I was up against André Odendaal, Lara Bye, Lara Foot and Sylvaine Strike.”

In this, Women’s Month, Lesedi Job said she felt women were gaining more ground in theatre and business.

“My winning is not a massive accolade, but it counts. Absolutely. I know there is still so much more that needs to be done for women but I am aware that some things take time, require patience, a lot of strength and resilience. But things can change overnight and, my goodness, do I look forward to those moments. Just the belief in it happening means it can and will happen.”

Job’s personal life over the past few years has been challenging and her work her main driving force.

“On the one hand, I was scared of the disappointment if I lost, but on the other hand, if I won, I would have been extremely overwhelmed. My feelings on being the first black female to achieve the award is still something I am processing. It’s an absolute honour, but it comes with its own pressure. I have been on cloud nine and being a black woman in the industry, I am passionate about black women not only being given opportunities but also being recognised for their excellence.”

Asked what made When Swallow’s Cry so special, she said: “As my directorial debut, this play will always hold a special place in my heart. The journey was so scary, right up until I sat in the Mannie Manim Theatre on opening night. Gosh, I couldn’t breathe!”

She described the play as the desire to survive against all odds. “It’s about hope and desperation. It’s about human life and how more often than not it is devalued. It’s about colonisation and the ramifications it has had on those living on the African continent. The challenges faced by Africans who want to migrate.

“I love taking on a challenge, and the play challenged me to find a simple, yet creative way of telling three interwoven playlets in one play. Directing three actors but essentially nine characters and finding a balance between the emotional journey of the actors and the violence in the play.”

When Swallows Cry will be performed overseas later this year and Job is looking towards directing another play next year.

On the state of theatre in South Africa, Job said she was “excited” and looking forward to seeing where theatre will be in the next few years.

“I think the industry is growing and that is an important thing.

“Obviously there’s room for improvement, and we could do with more funding. But stories are being told in a variety of different ways, and I am loving seeing younger up-and-coming talent. I think it’s important to not constantly get bogged down in what isn’t relevant any more to the South African journey.”

When away from work, this energetic and articulate theatre practitioner loves listening to music.

She trained as a jazz singer and will often be found belting out a song while driving, in the shower, or in the mirror while getting dressed.“My musical tastes vary,” she said.

“I listen to everything and what I listen to goes according to my mood. But I will always listen to gospel. I love Amadodana aseWesile. Then there’s hip hop. I’m a huge fan of ’90s hip hop.”

She admits she doesn’t know how to relax but finds an outlet for her energy in weight training, a hobby she was involved with four years ago. “You will find me three times a week in the gym attempting to do a pull up, a barbell squat, a strict press and a variety of other interesting things with weights.”

A Beta tape of the ground breaking musical Ipi Tombi, which she religiously watched at her grandparents home in Mthatha during the holidays, first planted the acting seed.

She’s certainly come a long way, and South African theatre would be the poorer without her creative contribution.