Month: June 2025

Sophiatown

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Sophiatown

Wonderful story, great sets and the best Jazz music, I recognized the coal stove, worn out door and cohabitation associated with being from the township. A stadium of people can coexist and live together in a 4 room house and that’s the case in this story. Maybe not a stadium but family, extended relatives, girlfriend and close friend. Jewish girl moves in and is welcomed to the family. I love the family dynamic, makes the characters relatable as you can see yourself in their image, it forces you to care for the characters and stay engaged with the story, the conversations are hearty, free flowing and feel natural, dialogue funny, witty, serious, heartfelt and emotional. The show had everything, it was supremely entertaining. There’s a lot of range, textures and layers to the acting. For the most part the show is comedic but it does get threatening and dramatic. I cared for the characters, I saw my sister, mother, father and uncle. The gangster was humanized in a way I had not seen since “The Sopranos”, we got to see what the protagonist is usually like with his family, that made him a bit likeable despite the fact that he is a bad person with questionable morality. Like on “The Sopranos”, his family are enablers of the lifestyle. The mother welcomes a life of crime since his son gives him money. The gangster’s girlfriend, Princess is textbook Carmella Soprano with the lavish lifestyle and like Carmella, she is manipulated and bought with jewelry. She stays in the relationship despite the physical and emotional abuse. She is labeled “A princess of the slums” and as such, she has to take all the abuse, she has no other place to go, she has no other options, she’s living a good life, she’s in, she’s in! For most of the show, it feels like a sitcom, the live Jazz band controls the tempo and creates the feel, the 1954 Sophiatown jazz feel, love the costumes, the double breasted suits, cane’s and hats, it is gentlemanly and gives intellectual vibes. The actors on the stage were amazing, they were convincing, they were in sync, they had chemistry, they had a lot of enthusiasm and were animated and lively. They looked like they were having a lot of fun, they connected deeply with their characters. My favorite character is Lulu, the school girl, she’s funny and I appreciate her perspective. I enjoyed the gangsters performance, he had the crowd at the palm of his hand, he is violent, a bully, exhibits preditory behavior, manipulative and an overall bad person. Oh well, what do you expect from a gangster? Yes he is a family man but a gangster nonetheless. Great cheographed moves with wonderful melodic and harmonic singing, the band are amazing throughout, they are hidden for most part of show by the set (Shacks/Informal settlements) but they are revealed to the audience when Sophiatown is bulldozed to the ground. The depiction of the township is so accurate with the loud dogs and music, it made chuckle. In the end, everybody moves out or to be precise is forced out! Even Princess snaps out the trance she was in and figures she deserves better. Segregation and apartheid prevails and the white Jewish girl moves to Yeoville, ending the chance at romance with her black writer intellectual, the gangsters righthandman Charlie, is forced to live in pipes under a bridge because he is colored and can’t move to Meadowlands. One day gets knifed to death courtesy of a fight he was involved in. The rest of the family gets relocated to Meadowlands. Their movers are unsympathetic, insensitive Dutch men who are on a schedule and don’t negotiate with anyone, they just bring everything down! Having identified with the core characters for more than 2 hours, you feel their pain and helplessness at the situation. In the end they all lost. Amazing story with authentic characters played by actors who executed optimally.

On the square III: Post Script

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On the square III: Post Script

Theatre is female. Daphne opened the door, Regina called me in, Sharon took me with her and Sam showed me everything. These are all my girls, I love them with impunity, they loved me and I love them forever. After I took the “Dress Code” script, I experienced some turbulence. Me and Regina were at loggerheads and she didn’t want me at the theatre anymore. I had defied, disrespected her and my time working as stage manager was done! I was tired of being bossed around, she was tyrannical and condescending. She never missed the opportunity to remind me that I owed her for the job. It was unfair and inaccurate, I landed the job myself. I talked to Daphne, I was at the theatre every week watching shows, the theatre needed help with operations and they approached me to help and I accepted. Regina switched everything around, it was I who needed the job, I was lucky to be there and she was the one who hired me not Daphne. I went with what she said because I needed to be there so I can understand the landscape and be apart of theatre. She started with that narrative very early on, one the first day and she was on top from the very first day. She dominated me, she was overbearing, she humiliated me, every time Daphne paid me, she made it a point to ask me how much she had paid me. After my response she would proceed on reminding me how lucky I was I had that job. I was doing the job, I was perfect at it, I was an asset to theatre and yet I was in bondage to her! She used to tell me every day that this was her theatre. Her demeanor was narcissistic. I hated that. I knew I wasn’t going to last from the first day she took that R100 from me, I knew I would turn on her sooner rather than later. What she didn’t understand is that I wasn’t motivated by money or fear, I was doing this for the love. That gave me the edge to be strategic because I wasn’t afraid of losing the job, I welcomed it if it meant I couldn’t work with dignity. She wanted your balls for that paycheck and my balls were mine. I dislike being micromanaged, I prefer to work with autonomy and space, I will do the job perfect if not I will take responsibility for the down fall. I don’t need to be put down and reprimanded in front of an audience, that won’t give you the best results. The truth is that me taking that script was premeditated, I was being spiteful, I wanted her to see and acknowledge me, it was my receipt for everything and my way of showing her that I was pretty narcissistic too. The script had other uses too, I took it to get close to the cast, I knew I wasn’t going to last at the theatre. I anticipated her response, she was outraged and played the victim when I was only reflecting her, I knew my position at the theatre was secured. I stayed away for a while but I’ll be back.

Now that I wasn’t working at the theatre anymore, I connected with Sharon. When we were together working on the “Dress Code”, she said she wanted to take me with her after “Dress Code”. I never forgot that. I told her the theatre didn’t have space for me anymore and reminded her of what she said. She acquiesced and stuck to her word giving me tickets to her shows. When I talked to her, she was there, responding with speed, attention and care. It would have been easy to dismiss me but she didn’t. When theatre had turned it’s back on me and I had nothing, she was there, she was theatre and she was the best. Her show with Allen Committee “Same Time, Next Year” at Montecasino was awesome, she mesmerized me, such talent, I was in awe and she took me to Montecasino, something that raised my spirits because I was not on the square anymore. I will never forget Sharon Spiegel-Wagner, she was there for me, she’s the reason I stayed with theatre and she did it alone. She did take me with her, after the square, I was at two of her shows. I got VIP treatment, I had the best seats and got to see her and hug her after the show. Only good feelings about Sharon.

I came back on the square to watch some shows and was a regular again. They had some kid who replaced me. Good kid, good energy and we connected quite well but to be honest he wasn’t better than me. I was not intimidated at all, in fact I was relieved. True, I do have a bias that makes me think I am the best but I also give credit where it’s due. I didn’t think this new kid was going to last. I thought Regina was going to eat him up! I was happy he was there because he gave me space to maneuver around. With him around I’d be at the theatre more often and have zero responsibilities whilst engaging and living with the people in the theatre. The last time I was there, I didn’t control the narrative, I worked there for a month and towards the end I was painted as an asshole. A label I welcome because I had to be one. With the new kid there, I’d paint my picture, they would see me for who I was and not through unfair projections that weighed me down. I would interact with the staff and help out where necessary whilst avoiding being micromanaged and taking orders from the boss. It was perfect, let him do the job, I’ll take the credit, my plan was long-term. It worked out pretty well, the theatre was home again, every time I showed up I was greeted with a cold beverage and the staff absolutely loved me. When the theatre was packed I assisted the staff and Daphne would give me something in terms of monetary compensation. It was part-time work but I got what I wanted, I was working with autonomy. The new kid didn’t last, he was my replacement but I was working alongside him. I was doing his job better than him. He was the second replacement who couldn’t replace me, oh well at least he worked for a couple of months. After months of labor, Regina finally let down her guard and welcomed me back to the theatre. She gave me back my R100 and I apologized for taking the script, I acknowledged it was a jerk move and we have a new relationship. The truth is that I’ve been an asshole at times, I did her and the theatre wrong, I am not perfect. Still, she forgave me multiple times and tried to show me what was right. I realize that she fought with me so much because she cared. She was the only person who cared. She wanted me to do the right thing. I love her for that even though at times I couldn’t communicate that. Yes, I was selfish and egotistical but it was a defense mechanism. The world had not been kind to me. She gave me everything, she gave me a chance, she took me me in and I will always be grateful for that. I love her the best. Love flows, we are cool.

One day I came in to watch “Vincent”, a show I knew pretty well. It was their second run, their first run was successful. The show is highly acclaimed and was always sold out. I served as a member of the production team on the first run and I was happy to be a part of the crowd for the second. That’s when I met Sam of SamSays and we connected right away, with the greatest of ease. It was so easy talking to Sam, everything flowed. She was a theatre enthusiast and knew everything and everyone. She reviewed shows and went all around the country. We talked about theatre and the Springboks, the World Cup final was playing that day All Blacks vs. Springboks, a game we won! It was a perfect day, “Vincent” was a masterpiece and we won the World Cup. I followed her on her socials and we have been close ever since. She has taken me everywhere! She recommends the best shows and she helps out in every way possible. No hyperbole, Sam is the best thing that has happened to me in the world of theatre. She expanded my horizon and I met new and awesome people because of her. Her reviews are great and I rate her very highly. I never would have met Sam if I didn’t take that “Dress Code” script, I never would have connected with Sharon Spiegel-Wagner if it weren’t for that script. Taking that script is the best thing I’ve ever done. Theatre loves me post that script.

SARAFINA

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SARAFINA

At Joburg Theatre to watch SARAFINA. Beyond ecstatic to watch this masterpiece. Full house, every seat taken and it’s like that for the remainder of the run. The movie is pretty great but there is nothing like the theatrical production.

Bantu education, exuberant youth in black and white uniform, soldiers, police, violence, despair and hope. I’ll extend my neck and declare that it’s the greatest show of all time! Perfect choreography, heavenly voices, boundless energy, relatable South African characters, world class performers, fabulous lighting that moved the story and the content is king! The lighting throughout the show is just wonderful. The set evokes the 1970’s, wide stage that is separated by a fence. One side is the students world and the otherside, the soldiers world. On either side of the students world is scaffolding. When there was a monologue, the students dispersed to the scaffolding, making the stage bigger for the performer sharing the monologue. Focus, intensity, with the spotlight fully illuminating the performer.

The play speaks to something deep – freedom. The right to exist without demarcation, limitations or conditions imposed by the unjust, unfair system. The right to just be. Huge stage, the performers make used of every inche. They run, they jump, they dance, they are energetic, animated, expressive and free. The music band are just the best. At the start of the show, the theatre suffered a blackout, the auditorium was dark, the band carried on playing as the audience took out their cellphones to provide the light. It was a beautiful sight, like fireflies. Small glitch, the lights came back on and the crowd went crazy! We were invested in the story from the very start. The show had everything, it was comedic, silly, serious, festive, covered injustices, Bantu education, unrest, sexual assault, apartheid and death. Crocodile is so mischievous! He physically beat his classmates to be Nelson Mandela. His classmates still picked Sarafina, a girl, to be Nelson Mandela. Being the strongest doesn’t always produce the desired effect. So in love with mistress, she teaches her classes with complete conviction, the students trust and respect her. When she performed in that red dress it was as if I were struck by cupid’s arrow.

This is a large ensemble and everyone is important. Some of the names in the production are Noxolo Dlamini, Hlengiwe Pearl and Busisiwe Mhlanga.

Nompumelelo Gumede-Ngema provided the choreography.

Sarafina is the greatest theatrical production of all time. It’s a complete theatrical experience. Thank you to the visionary, an absolute Legend, Mbongeni Ngema for his genius. Thank you to the exceptional performers who gave everything to bring the story alive. SamSays on the credits.

Congratulations Mpho Molepo and the whole team for a great show and a deserved standing ovation.

📷: Dumakude Nxumalo

Matilda Jr.

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Matilda Jr.

At the Peoples Theatre, Joburg Theatre for the opening of Matilda Jr. I was so excited for this one! As a kid, I used to love the movie. To be honest, I still love it today. I would never dare change the channel if it’s on. Nostalgia, it takes me back to simpler times. A time when I yearned for telekinetic powers to defeat and outwit my bullies. I truly loved the show, it had me laughing and reminiscing all the way. There’s nothing better than hearing a child’s laughter, the show had that effect. Everyone was entertained, it is mellow, humorous, light and family-friendly.

The set is colorful and the transition between scenes is seamless and efficient. Everyone knew their cues and the show just flowed. I absolutely loved Peo-entle Pitso as Matilda. She is sharp witted and fast. She performs with a lot of love, she’s mischievous, she sings and she’s convincing, she is simply brilliant! One for the future. Luciano Zuppa is straight-up Miss Trunchbull. Musculine, crooked teeth, towering and intimidating. Raymond Skinner as Mr. Wormwood is definitely my favorite. He has zero regard for reading and derisively calls Matilda a “bookworm”. It’s crazy that Matilda has read “Crime and Punishment”, I agree with his father’s assessment. He ultimately gets in trouble with the Russian mafia for his shady deals. Jordan Rogers is gorgeous and enjoyable as Mrs. Wormwood. She is materialistic and wants the good life. She also doesn’t understand Matilda and she doesn’t waste her time trying to, she’d rather spend time with her boy toy, dancing with her wedding ring out of sight. Amelia Stephens is simple as Miss Honey. Long dresses, clean presentation, tame and a calm demeanor. I laughed out loud when Matilda asked if she was poor. Yes, she is poor. However she is kind, caring and empathetic – qualities that make her a great teacher and she gets the big house at the end.

Amazing show, the kids are in sync and well practiced. They sang, they danced and they delivered lines with precision. The writing is fabulous, everything and everyone is fabulous! Highly recommended, wonderful, wonderful show!

Directed by Jill Girard and Sandy Richardson-Dyer
Musical Director – Coenraad Rall
Set Design – Grant Knottenbelt

Congratulations to the Peoples Theatre and the whole team for a great show and a deserved standing ovation.

The black circus of the republic of Bantu

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The black circus of the republic of Bantu

Just when you think you have seen it all, something you haven’t seen before strikes you on the head to remind you that you haven’t seen anything!

At the Market Theatre for the opening of “The black circus of the republic of Bantu”. The energy and feeling is different, certainly nothing you have seen before. Before we stepped in the auditorium, our hands (the audience) was tied with a string. Something ancestral and ritualistic about the act. Soon as you entered the auditorium, the whole place reeked of incense. A solitary figure, big and heavy, dressed in all black was the source. The seating arrangement was also different. We had 3 sitting banks located against the walls, if you wanted a seat, you can sit but the majority were sitting on the floor. The set up was like a catwalk and a large screen served as the backdrop. Before the show commenced, the performer shared snuff and coarse salt with the audience and then he stripped completely naked and started interacting and dancing with the audience, instructing audience members to touch him and participate. He was in his birthday suit. It was peculiar. He was dancing completely naked, undisturbed, undeterred, balls hanging like a piñata to Maskandi music while the audience cheered him on.

The show is inclusive and encourages the audience to get involved. On the performers cue we were signaled to stand-up, sit down, echo the performers words and sing. Four participants from the crowd were selected to be in the show. They were given beastly costumes and instructed to dance, while the performer barked orders with his whip. The scene is exploitative and uncomfortable. The image of Sarah Baartman is a constant in the show. The show pays homage to figures like Sarah Baartman whose bodies where fetishized and deemed to be of a different species by colonizers. The show is about pride and empowerment.

Albert Ibokwe Khoza is the performer leading procedures. He is fearless, vivacious, colorful, creative and authentic. A lot of personality and flavor. He completely and utterly shocked me to my core, no hyperbole, I have never seen performance arts like that before!

The giant screen provided commentary and shared personal insights. The visuals are cinematic, artistic and bold.

Congratulations Princess Mhlongo and the whole team for an interesting show, certainly different and completely unapologetic.

Master Harold… and the boys

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Master Harold… and the boys

On the square for the opening of “Master Harold… ” and the Boys. Filled to the brim, no space. Celebrities, celebrities, swimming all around, it’s a serious day for theatre, three performers at the top of their game delivering a Athol Fugard classic, RIP.

The story started off light with a comedic tone, with Willie and Sam conversing about the upcoming ballroom competition. Willie has high hopes of winning but he doesn’t have a partner. He beats his beloved Hilda, too much and too hard. Sam comes off as an expert. He teaches Willie a couple of moves. Hally, a white 17 year old, comes in and the atmosphere and relationship dynamic changes. Willie positions himself in the background, cleaning, keeping things moving. He calls Hally master. Hally even admonishes him and beats him with his ruler. Sam is more liberated, they talk about Leo Tolstoy’s War and Peace, Charles Darwin, Kites, and Dostoevsky. They seem familiar, they are in sync, there’s an understanding and then everything switches. Racism, hate, apartheid, I am better than you Kaffer, spilling this bottle of alcohol on the floor because I can, clean it up! Also you gonna have to start calling me master Harold, Kaffer. All bridges get burned when Hally does the unthinkable and spits on Sam’s face. Everything shatters, there’s no going back, what’s done is done. The play takes place in a small tea shop on a rainy afternoon. You hear the raindrops and we have the added sensation of seeing the rain. The rain sets the mood, it’s depressing, they do their best to amuse themselves, they are trapped in one room, Hally’s father is a cripple and his mother currently at the hospital, the mask peels off.

Sello Maake ka-Ncube plays Sam, a waiter at the coffee shop.

Daniel Anderson is “Hally”, oh sorry, master Harold.

Lebohang Motaung is “Willie”, the other waiter/cleaner.

Set designer by Wilhelm Disbergen, an awesome set that evoked the 1950s.

This is such a powerful show. Hats off to Daphne Kuhn and Theatre on the square for yet another banger! It starts off nice and slow and then it hits you with a vice grip. You can’t go anymore, you are trapped, there is nowhere to go. It’s triggering. An outstanding performance from the performers who told the story masterfully. Daniel Anderson shocked me to my core today.

Congratulations to Warona Seane and the whole team for a great show and a deserved standing ovation.

KENTE

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KENTE

Spent the day as an observer for Sam, SamSays on the credits. She told me to check out the Gibson Kente lecture. I was enthused, Soweto theatre, of course, let’s go! Always wanted to come to Soweto but I hadn’t found probable cause, Sam put together content, theatre and Brenda Fassie to get me there, that my good man is an offer you can’t refuse – The Gibson Kente annual lecture. Before this I didn’t know much about Gibson Kente so I did my research and learned much about him. Legendary playwright, composer, director and producer born in the township like me 🙋🏽‍♂️, started a theatre in the township, collaborated with Caiphus Semenya and Letta Mbulu on his first play titled “Manana, The Jazz Prophet” – a play that depicted gangsterism. Sello Maake ka-Ncube called him the “Godfather of theatre” and he trained more than 400 artists including Brenda Fassie and Mbongeni Ngema. Let’s not forget wrote songs for Miriam Makeba and Letta Mbulu. Oh, thank you for the great pass Sam! It was an awesome day, I learned a lot, it was supreme, the Soweto theatre is beautiful, what a design, the colors, the outdoors vibe, the modern architecture is beautiful! The place is a piece of art. A great place to lose yourself, the sound is crisp, wonderful acoustics, I felt like I was in an oven being cooked but it wasn’t hell, it was pleasurable, like closing your eyes listening to your favorite music, theatre is wonderful, performance arts, an imitation of life, art, it makes life worth living because without it it’s just boredom and death. Definitely one of the best theatres I’ve been to, spacious and comfortable, accommodative and bakes you, temperature slow burning, chilled and relaxed. There is plenty of space for parking, it’s easy to get there, outside area to chill and great art to look at. The Soweto Theatre is pretty awesome! I enjoyed the lecture, it was insightful and educative, quite specular, I am inspired, Gibson Kente is a legend, 23 plays and I want to see them all! The subject matters he explored are about everyday living and life, the black experience, township life, human nature, hope, death. He dealt with what it meant to be human and alive, fought against apartheid and believed in freedom and human dignity. It was an experience and enthusiasm reigned, people connected, energy flowed, loved beamed, the lights emitted, the sound crisp and the stream of consciousness was oscillating in a high vibration. It was a day for theatre. All the theatre people were there, I am talking about directors, actors, legends, writers and producers. I also met a friend I was first acquainted with On the Square (Theatre on the Square, Sandton) who produced a show titled “From Soweto with smiles” Mojalefa Mogagabe, a talented creative I was happy to engage with. Kente, the father of black theatre, SamSays on the credits.

I usually come in an hour before the show, to prepare my mind for the experience, take in everything, be comfortable with the scenario, acquaint yourself with the environment and it was not any different this time. I came in nice and early to Jabulani, I love the fact that the theatre is in the township. I made friends. I was home. When you travel all around you realize that people are the same, we are motivated by the same things, we all want the same things, we wear the same things and we even look alike. The faces are different but we still connected, we could still be friends. I even got myself a Kota, what I eat when I am at home. The township (Kasi) is amazing, it’s the people, the community, diverse cultures, all crammed into one, we may be different but we co-exist as one, the pulse is one because all of humanity is one. Soweto is a breeding place for stories, content and inspiration roams all around, it is the place that made Gibson Kente, he told his peoples’ stories, he brought solace to those who needed it, he reflected and made sense of reality, he was a pillar, he entertained, he made people forget, he inspired, he is forever, Kente, the father of black theatre.

Dr. Andile Xaba the lecturer of the program is a great teacher, knowledgeable, prepared, articulate, passionate and has a lot of love for the arts. He grew up in Soweto and knew Gibson Kente, he was influenced and inspired by him. I learned a lot from him. It was a great lecture that covered Kente’s whole life. It was thorough and informative. iComplete and the band were amazing, heavenly voices, sharply dressed in all black, they were the tempo of the day, smooth and sophisticated. The violinist, Tshegofasto Matabane blew me away! She is so talented, showed so much focus and attention when she was playing the violin, it sounded so beautiful. Shoutout to the Artistic Director of the show James Ngcobo, the program was wonderful, it was an incredible day. It was an experience, my taste, while we chilled outside waiting for the lecture to commence we were treated to some wonderful Jazz music, it was a treat. Counselor Lubabalo Magwentshu provided the Keynote Address. Nomathemba Matu a student of Gibson Kente was the guest speaker sharing entertaining stories about his mentor. She shared life lessons with the audience. She is an amazing storyteller and I was engaged, I took what she had to say to heart. Her perspective humanized Gibson Kente, she made him a person. She was relatable. Soweto is awesome! I enjoyed the performances, everything was masterfully executed. The whole event was well coordinated and professional. One word to describe the event, “Masterpiece”. It was honestly the best day of my life. Kente, the father of black theatre, SamSays on the credits.

The great man
ANTAKALIPA

Peacock

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Peacock

I’ve never been attracted to you my whole life. I am flattered, but not in this life. You need to stop masquerading as my wife. Move along and find someone who will take you as a wife. You deterring the ladies who have a chance, so slanderous your stories and they starting to spread rife. Hate to be the bearer of bad news but you ain’t my type. Maybe the blade is in too deep but it’s only because it’s a knife. You don’t get this enough but I’ve never been attracted to you my whole life. I am a popular guy and I have some options, you’re the kid in the corner who never gets adopted. You’re a special kid but this ain’t a contest. You just don’t fit the requirements to take the test. What can I say? Okay fine, I’ll hear you out, give you the chance to work your magic, run the catwalk, the expedition don’t need to be tragic. But at the end of the day I have to be honest, I’ve never been attracted to you my whole life. You’re a good kid, pretty smile, find you a good guy who won’t mind walking the extra mile. I am looking the other way, it’s a bye. I’ve never been the guy to sustain a lie. You’re too mellow and yellow, can’t reach my level so a collaboration is a hello no! Good presentation, a wonderful try but I have to be honest, I’ve never been attracted to you my whole life. I walk naked in the gyms locker room to intimidate other guys with my massive cock, not just another Peacock. One night with me would surely rock, but you a nerd and I am a jock. Move over for the ladies who actually have a chance, I’ve never been attracted to you my whole life.

Graveland

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Graveland

At the Market Theatre to watch “Graveland”. Social commentary, reflecting life back at us. Heartfeltingly moving, poignant, tragic. A story of love, hate, injustices, grudges that never get mended, characters who are bitter and unjustlyingly so. Two stories, two perspectives, you can emphatize with both scenarios, unhealed trauma, life goes on.

A story of a foreign national who one day gets a promotion at work. The natives are jealous, angry and offended. They won’t take orders from “ikwerekwere”. The disrespect is evident, so the foreign manager gets the natives axed from work and hires a brother. Chaos ensures, they stone his brother to death and made him watch, he begged, he pleaded, he was at their mercy, the damned South Africans didn’t care, they wrapped a tyre around his torso and set it alight. He burned to ashes. The broken man returned home with his dead brother for ashes, contained in a cup that looks like a flusk, it’s not even a proper urn. The family are heartbroken, they plan an excursion to get back their lost ones soul in South Africa.

In South Africa, Mahikeng, they encounter a disagreeable, xenophobic cop who arrests them. He demands R8000 for ‘tjo tjo” bribe money, R2000 per person. The foreign nationals can’t do anything, worse is that one of them left a pregnant wife at home. The Cops hate comes from his experiences as an officer of the law. He is pro South African, that’s who he regards, he calls foreign nationals cocroaches. Hillbrow Central, his sister was killed by a foreign national. She was used, she was abused and she died. His brother, the cop, couldn’t do anything, investigations with dead-ends. He hates foreign nationals, very stereotypical, the jobs, women, drugs, we suffering too, stay in your own country, solve your own problems, we suffering too. Towards the conclusion, he shoots a man wanting to go home to his wife and kid. Another African child will grow up without a father.

Graveland poster

The show stars
Allen Cebekulu, Diane Maseko, Abongile Maurice, Dineo Sello, Thabiso Rammala, Confidence “Mamzo” Lokhele, Thokozani “zits” Maseko, Sinenhlanhla Mbeyi & Lunga Khuhlane.

Produced by: Relebohile Mabunda
Written & Directed by: Thembeni Joni & Lunga Khuhlane
Movement by: Sinenhlanhla Mgeyi
Production Designer: Sinenhlanhla Q. Zwane
Percussionist: Mongezi Yamba

Congratulations Lule Productions and the whole team for a great show and a deserved standing ovation.