PHOTOS: Music, culture shine at Lekompo Balcony Mix
Raeesa Sempe
Raeesa Sempe is a Caxton Award-winning Digital Editor with nine years' experience in the industry. She holds a Bachelor's Degree in Media Studies from the University of the Witwatersrand and started her journey as a community journalist for the Polokwane Review in 2015. She then became the online journalist for the Review in 2016 where she excelled in solidifying the Review's digital footprint through Facebook lives, content creation and marketing campaigns. Raeesa then moved on to become the News Editor of the Bonus Review in 2019 and scooped up the Editorial Employee of the Year award in the same year. She is the current Digital Editor of the Polokwane Review-Observer, a position she takes pride in. Raeesa is married with one child and enjoys spending time with friends, listening to music and baking – when she has the time. 'I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon." – Tom Stoppard
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IOL News
3 hours ago
- IOL News
Gavin Hood and industry peers celebrate Presley Chweneyagae's scene-stealing talent at heartfelt second memorial service
The life of Presley Chweneyagae was celebrated at The South African State Theatre on Thursday, June 5. Image: File. The second memorial service of actor Presley Chweneyagae took place at The South African State Theatre on Thursday, June 5. Chweneyagae recently died at the age of 40 from natural causes. His funeral is set to take place on Saturday, June 7, at Akasia Community Hall, Gauteng, from 8am. He will be laid to rest at Zandfontein Cemetery. The actor rose to fame through his unforgettable performances in the Academy Award-winning film, "Tsotsi", "iNumber Number: Jozi Gold" and the popular telenovela "The River", which ultimately led to a spin-off show, "Cobrizi". Actors Thato Molamu and Motshidi Motshegwa presided over the service. The ceremony was marked by heartfelt tributes from his co-stars and colleagues, all eager to pay homage to the talent and spirit of a man affectionately known as 'Cobrizi wa le Easy'. South African filmmaker Gavin Hood delivered a moving tribute, recalling the young actor's unique talent. "What an amazing celebration of an amazing man. When the late Moonyeenn Lee (casting director) suggested we audition Presley for 'Tsotsi', I confessed that I've never heard of him ... but she couldn't take her eyes off him. "He was only 19 and had never been in a film before. He possessed that rare quality that defines great acting. "And what is that quality? It is an ego-free instinct for raw emotional honesty ... He knew how to move through a scene ... He didn't show emotion, he allowed it to exist honestly, vulnerably in front of us." Hood continued to describe how Chweneyagae brought depth and honesty to the role of Tsotsi, stating: "He didn't act, he listened and allowed the story of the character he was telling to just be seen through him ... He gave Tsotsi a soul, he gave Tsotsi his soul. "The Oscar I was privileged to collect on behalf of 'Tsoti' was not awarded to me as the director, it was awarded to our film, to a collective effort, to everyone who involved themselves and gave themselves to that story. "And no one gave themselves more than Presley. He carried the heart of that film without ever trying to steal one frame, and witness him reveal the humanity of Tsotsi brought us all closer together." Fellow actor Terry Pheto shared her journey with Chweneyagae, expressing that he was instrumental in transforming her life and career. "Presley was part of my beginning and somehow the end of a full-circle moment in my career. We worked together on my very first film, 'Tsotsi', we were just kids back then, young, hungry and full of dreams, even we couldn't articulate, and yet, there he was, carrying the weight of that story with a quiet intensity that left everyone breathless. "His brilliance catapulted my career into unimaginable heights." Their collaboration on "Tsotsi" paved the way for Pheto's future successes: "I don't say that lightly, but being part of 'Tsotsi' opened doors that didn't know existed and almost two decades later, I had the honour of working with him again on 'iNumber Number: Jozi Gold', this time as a director trainee. "And, once again, he was he lead, still powerful, still generous and still utterly magnetic. Presley made history, he made us proud, and he made us laugh." Kenneth Nkosi echoed the sentiments of his peers: "A lot of people are jealous that they didn't work with that man (Chweneyagae). He was so easy to work with ... Shout out to Presely and Moonyeenn Lee." Israel Matseke Zulu, who also spoke at Chweneyagae's memorial on Tuesday, June 3, in Mahikeng, advocated for the celebration of actors' contributions while they are still alive, hoping to honour their legacies through festivals. "We don't have to wait for somebody to depart. I wish you could organise a festival like this for me before I depart. Rest in peace Chweneyagae," said Zulu. Reflecting on their encounters on the set of "iNumber Number: Jozi Gold", S'dumo Mtshali remembered Chweneyagae's influence on him. "The first time I met him, I met someone that I admired watching from 'Tsotsi', from seeing him on this stage (State Theatre), and to work with him is a masterclass of its own ... I always called him 'grootman' because he paved the way for me." He urged Chweneyagae's son to embrace his father's legacy and the responsibility that came with it, encouraging him to carry his family legacy. "One thing I want to say to you, young man, is yes, you lost a father, now you have to take up his shoes. Don't be bitter, don't be angry, don't be sad, but feel those emotions, it's all new now. "You have to carry this family. Help your mother, she needs you now. Presley gave us hell, but he always showed up, and I want you to show up ... I want you to hold that he was a good man. He paved the way for us and many other artists." Other speakers at the memorial included representatives from the Moonyeenn Lee Agency, the MultiChoice Group, actor Thabiso Ramotshela, who played Chweneyagae's son on "The River", and director Krijay Govender, who referred to Chweneyagae as a "thief" during her tribute. "Nobody stole a scene, absolutely nobody stole a scene the way Presley did," said Govender. Watch the full memorial service below.
IOL News
3 hours ago
- IOL News
A final standing ovation for Presley Chweneyagaye: Farewell to a cultural giant
Presley Chweneyagaye, the beloved actor, writer, cultural architect and icon of South African stage and screen, was honoured with a stirring memorial service on June 5th at the South African State Theatre, in a sendoff befitting a legend. They came in their thousands — artists, politicians, friends, fans, and fellow dreamers — to say goodbye to a man who never stopped dreaming out loud. Presley Chweneyagaye, the beloved actor, writer, cultural architect and icon of South African stage and screen, was honoured with a stirring memorial service on June 5th at the South African State Theatre, in a sendoff befitting a legend. The theatre — a place Presley knew as home — overflowed with people from all walks of life. Traffic swelled around the venue, parking lots brimming, queues snaking along the pavement as the faithful waited to get in. Inside, every corner pulsed with his presence. Screens were set up in overflow stations across the building, and still, hundreds stood outside, clinging to the hope of catching a glimpse or a note of the tribute inside. At precisely 11:50 a.m. — fifty minutes later than scheduled due to the immense turnout — the memorial began with the soaring voices of the Tshwane Gospel Choir. Their opening hymn lifted the ceiling and spirits alike, setting a tone of joy in remembrance. Dr Sibongiseni Mkhize, CEO of the South African State Theatre, welcomed the crowd with a heartfelt address. As he spoke, the big screen on stage flickered to life, replaying iconic moments from Presley's career. From Silent Voice, his lines echoed through the hall: 'There is a time to be born, and a time to die... to everything there is a season.' His voice — familiar, powerful, intimate — moved many to tears. A specially designed burner stood on stage bearing his image, while throughout the theatre, every screen played highlights of his remarkable life and work. From his earliest performances to his Oscar-winning moments, including the unforgettable image of him holding his award beside Nelson Mandela, the visuals reminded all present of the depth of his artistry and the breadth of his impact. Among the many dignitaries in attendance was Gauteng Executive Director Mr Shane Maja, seated alongside the MEC and other public figures. Their presence, together with celebrities, artists, and community members, reflected the breadth of Presley's impact, not just in the entertainment industry but across the country's cultural and social landscape. Among the speakers were stars and colleagues who shared personal anecdotes — stories that painted Presley as not just an actor, but a cultural alchemist. Sdumo Mtshali recalled working with Presley on Number Number, calling him 'a quiet fire, always burning, always shaping the story.' Theri Pheto recounted a moment with a foreign journalist who questioned Presley's name. With characteristic wit, Presley had replied: 'If Hollywood can say Schwarzenegger, they can say Chweneyagaye.' Music filled the theatre, not as background, but as celebration. GP MaOrange brought the house down with Thuma Mina, turning the memorial into a soulful stage show. NTLAKS's rendition of Golokile Golokile had the crowd on their feet, dancing through their tears. Phatha Phatha blessed the gathering with uplifting rhythms, while Modleko's drums gave a heartbeat to the crowd's claps and chants. Presley wasn't only a performer. He was a creator, a visionary. He co-wrote the acclaimed Relativity with Paul Grootboom, directed original works, and even forged a unique linguistic world that bled from his scripts into South African slang — words like bevs, chawist, slipist, and playful renamings like Makabaza for Kabelo. To his friends, he was Tobetsa — a nod to the Setswana meaning of press — a perfect play on his nickname Pres. People captured every second. Phones held high, tears streaming, voices raised. Laughter echoed. So did mourning. But above all, love. It was the last curtain call for a man whose life was a standing ovation in itself. Presley Chweneyagaye took his final bow surrounded by the art, the people, and the spirit that defined his journey. And oh, what a show it was. Presley, your stage was the world. And the world clapped. Ngomane PhD Candidate | University of the WitwatersrandTheatre Practitioner | Researcher | Dramaturge
IOL News
8 hours ago
- IOL News
From Uitsig to Broadway: the inspiring journey of Chesray Dolpha
Chesray Dolpha Image: Supplied From the stoep of her grandmother's home in Uitsig to the bright lights of Broadway, Chesray Dolpha's journey is a testament to the transformative power of storytelling. The 42-year-old Tony Award-winning theatre director, who now calls New York City home, has built a career bridging continents, cultures, and causes — all through the power of performance. Dolpha grew up in a Pentecostal church her great grandfather founded, where 'you could count on dancing, shouting, visions and speaking in tongues.' She recalled how church felt like 'a version of theatre,' with the pageantry of her grandmother's and mother's church outfits, complete with matching hats and bags, serving as her first theatre experience. Her grandmother, considered a trusted neighbourhood counsellor in Uitsig, was often visited by community members. These visits to her grandmother's stoep or couch would also later shape a narrative and become her first introduction to storytelling. 'The people in Uitsig are natural storytellers with a mastery of expressing a massive range of the human experience and they were my introduction to storytelling.' Dolpha's mother was also a major influence. Despite a slight stutter and having to leave school early to support the family, Dolpha describes her as one of the best storytellers she knows. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ 'She was a feminist before her time because she knew a simple truth: that her existence, and by extension her story, mattered.' Her schooling began at Uitsig Primary before moving to Dr Van Der Ross Primary in Belhar, and later Symphony Secondary School. It was here that her love of literature blossomed, while her first real experience of theatre came when her school visited the Artscape. From there Dolpha's dream started realising when she moved to New York City, made possible by the Oprah Winfrey Foundation's African Women's Public Service Fellowship at NYU Wagner. 'This highly competitive fellowship is awarded to only one or two women across the entire African continent each year. I was honoured to be named the 2009 Oprah Fellow.' As Resident Director of Tina: The Tina Turner Musical, Dolpha found a deeply personal connection. 'Like Tina Turner, my mother, sister, and I are survivors of domestic violence. My mother made the courageous decision to leave my father, who was struggling with an addiction to Mandrax. 'When I interviewed for this job, I told Phyllida Lloyd, my boss, that I saw my mother's strength and resilience reflected in Tina. A woman who chose to reinvent herself, refusing to be defined by what went wrong and instead focused on what made her truly special.' Her approach to directing is rooted in empathy and respect. 'My directorial approach was deeply rooted in centering the humanity of the actors and creating a space where their stories and emotions could be fully honoured and expressed.' Beyond theatre, Dolpha's consultancy, StoryBridge, uses storytelling as a tool for social change. Chesray Dolpha showed that there is power in believing Image: Supplied 'When we share stories from people with marginalized experiences, we reaffirm that we will not be silenced — that our stories, from Belhar, Uitsig to Mitchells Plain and all the way to New York City, truly matter. Storytelling creates a world where the characters on stage look like us, sound like us, and live our realities. I don't believe I'm here to help people find their voice — they already have it. 'My work is about centering those stories and creating storytelling experiences that allow a wider audience to see and understand the brilliance of truthful storytelling — where joy has the opportunity to be centered and not just our trauma. It's about honoring the legacies of our grandmothers, mothers, and aunties, who have powerful things to say and refuse to be relegated into the shadows. In fact, it's about demanding a spotlight that honors our full humanity—one that holds space for both our strength and our joy.' In leadership roles with the Broadway Advocacy Coalition and the Classical Theatre of Harlem, Dolpha stresses the importance of belonging. Looking ahead, she is excited about the StoryBridge x The Playwrights Incubator in Cape Town, which aims to elevate black and queer voices.
