Theatre needs writers, directors with bold ideas

THE year 2018 looks like it is going to be a fairly good year for theatre, judging by what we have seen so far and what is coming this November and the coming month. Yes, fairly good in the sense that this is one year we have seen some good audiences coming to theatre. We have also witnessed the launch of several new plays written by fairly new writers, and featuring fairly new actors and actresses. This November alone Mandy Nash premiers her “Everyone is Talking” that features a lot of new faces to the theatre. Ukholo — The Musical will also be launched. Does this signify the final rise of theatre in Bulawayo?

During Intwasa Arts Festival theatre looked fresh, vibrant, and attracted fairly good crowds. Plays like Savanna Trust’s Liberation and Nhimbe Trust’s Blood Tongue had theatre audience excited and talking about their fearlessness. Then there was Desire Moyo’s Rachel 19 whose approach and target audience very different from the other plays. The young people that watched the play loved it. They loved the music, the high energy and even the new faces that took on leading roles. Lynette Matseura, who showed serious potential while at Nketa High was finally given a chance to shine on the big stage and she did not disappoint.

To say Moyo is a new voice or face in theatre would be a lie. He has been around. However, more of his plays need to be seen beyond the townships. He brings something different to the theatre. Another play worth mentioning in this article is The Hostel. A great concept. Last year when Thulani Mbambo launched Double Funeral, we said a true and talented playwright had arrived. His latest offering is a piece that should be seen by all who love good theatre. What is so exciting about Mbambo is the fact that he is not seeking to prove his writing talents through courting controversy. He simply wants you to come to the theatre and enjoy a good and well thought out theatre piece.

Brent Meersman says plays or theatre pieces are a “valuable cultural medium for society, especially one as complex as our own, to reflect upon itself, to articulate personal, moral and ethical dilemnas where these intersect with public space, and above all to renew us against the emotional toll life takes on us.” This is why it is important for writers and directors to know what they want to achieve with their work and what theatre can do for them and the society. As theatre rises from the ashes we need a new breed of writers, directors and producers to push it and guide it.

Now there is obviously a need to develop new writers, directors and producers. Young writers, directors and producers who will want more from theatre than a few cheap laughs from an audience that is dominantly their friends. We need serious and intense writing workshops, serious and intense directors’ workshops and many opportunities for them to experiment. We need writers and directors who will explore the grey areas between theatre, ritual, performance art, installation, dance and fine art. We need writers and producers who will be able to create hybrids, exciting styles that will push and make Zimbabwean theatre visible. Our audiences need to see new and exciting work. We need theatre that will bring “bums” back into the theatre in their hundreds.

We surely need writers and directors who will be able to move the sector from dealing with obvious issues. Writers and directors with a good sense of imagination committed to revolutionalising the art of theatre making. We truly need a new breed of theatre artistes that will start showing us things and not just telling us things. We end this article by congratulating Jeys Marabini and his team for another successful edition of Godlwayo Yithi Arts Festival in Filabusi. May the initiative continue to grow till it attracts international artistes.