Latest news with #SouthAfricanStateTheatre
The Star
5 days ago
- Entertainment
- The Star
A final standing ovation for Presley Chweneyagaye: Farewell to a cultural giant
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
The Star
12-05-2025
- Entertainment
- The Star
'Sophiatown' roars back to life in Fifth Season at State Theatre
South African Classic Blends Music, Memory, and Resistance The South African State Theatre's Opera stage is once again alive with the energy of Sophiatown, the beloved musical-drama now in its fifth season. Directed by award-winning Artistic Director Aubrey Sekhabi, the production — created by the Junction Avenue Theatre Company and Malcolm Purkey — has opened to full houses, roaring applause, and deep emotional resonance. Set in 1950s Johannesburg, Sophiatown tells the poignant story of a group of black South Africans who, in an act of defiance against apartheid, welcome a white Jewish woman, Ruth Golden, into their home. Through music, humour, and heartbreak, the production explores themes of displacement, identity, and community resistance. Sekhabi's vision remains faithful to the original text, with added musical dynamism and visual richness. Standout performances include Sandi Dlangalala as Jakes, Gaby Georgeson as Ruth, Sindisile Nkuna as Mamariti, Terrence Ngwila as Mingus, Princess Sechele as Princess, and Tshallo Chokwe, Mncedisi Hadebe, and Nompumelelo Mahlangu rounding out the vibrant ensemble. Live music by Oupa Makhubela, Khutso 'Shalom G' Nkwana, and Suprise Mshwana brings Kofifi's jazz spirit to life, under the musical direction of Zakhele Mabena. Visually, the production immerses audiences in 1950s Sophiatown with set design by Lungile Cindi, costumes by Lesego Moripe, and lighting by Mandla Mtshali. Choreography by Bafikile Sedibe fuses past and present in seamless rhythm. Night after night, the show draws packed audiences — many of them school learners — as Sophiatown continues to be part of the Grade 11 curriculum. Its resonance today remains clear: the struggles it explores are not relics but living conversations. Backed by the Department of Sport, Arts and Culture and the Department of Basic Education, the production has become both an educational tool and a cultural treasure. 'Come for the music. Stay for the message,' says guitarist Makhubela. Sophiatown runs until 21 May 2025, with tickets available at for R100.
IOL News
12-05-2025
- Entertainment
- IOL News
'Sophiatown' returns in glory at the South African State Theatre
Running from 5 to 21 May 2025 at the South African State Theatre, Sophiatown — a South African musical-drama classic — continues to attract school learners, theatre lovers, and first-time attendees alike, drawing them into a world where jazz, struggle, and community memory collide with haunting familiarity. Image: Bongani Nicholas Ngomane In an electric return to the Opera Theatre stage, Sophiatown — a South African musical-drama classic — has entered its fifth season with thunderous applause and renewed urgency. The play, first penned by the Junction Avenue Theatre Company and Malcolm Purkey, and now powerfully directed by the award-winning Aubrey Sekhabi, opened this week to full houses, standing ovations, and a resounding message: memory is not just nostalgia — it is resistance. Running from 5 to 21 May 2025 at the South African State Theatre, the production continues to attract school learners, theatre lovers, and first-time attendees alike, drawing them into a world where jazz, struggle, and community memory collide with haunting familiarity. Set in the 1950s in a Johannesburg neighbourhood teeming with creativity and cultural fusion, Sophiatown tells the story of a group of politically engaged black South Africans who, in a courageous act of resistance, welcome a white Jewish woman named Ruth Golden into their shared home. The play unfolds with wit, satire, music, and poignancy, capturing the essence of a community on the brink of erasure — torn apart by apartheid, yet fiercely determined to live, love, and resist. More than a setting, Sophiatown — fondly known as Kofifi — is the soul of the performance, pulsing through every note, every monologue, every moment of silence. At the helm of this deeply South African narrative is director Aubrey Sekhabi, Artistic Director of the South African State Theatre, who has remained devoted to the original script while infusing the work with refreshing musical and visual elements. 'This is a South African classic. We must not shy away from doing our classics again and again,' Sekhabi reflects. 'Artistically, the production has already succeeded. It's a fully-fledged musical now, and socially, it contributes massively to education across the country.' Under his direction, a formidable cast brings the spirit of Sophiatown to life. Sandi Dlangalala gives a charismatic and thoughtful performance as Jakes, the narrator and journalist. Gaby Georgeson portrays Ruth Golden with heart and grace, embodying the idealism and vulnerability of someone crossing boundaries with curiosity and courage. Sindisile 'Nyoni Lenhle' Nkuna breathes fire into Mamariti, the strong matriarchal figure whose love is as fierce as her wisdom. Terrence Ngwila's portrayal of Mingus commands attention—his stillness and intensity drawing laughter and tears in equal measure. Bringing playful energy and comic timing to the role of Fahfee is Tshallo Chokwe, while Mncedisi Hadebe silently stirs the audience as Charlie, his presence ever watchful and evocative. Directed by award-winning Artistic Director Aubrey Sekhabi, the production — created by the Junction Avenue Theatre Company and Malcolm Purkey — has opened to full houses, roaring applause, and deep emotional resonance. Image: Bongani Nicholas Ngomane Nompumelelo Admirer Mahlangu's Lulu is full of youthful spark, and Princess Sechele, playing Princess, dazzles with flair and authority. Her offstage leadership, too, is unmistakable, serving as an Associate Producer at SAST TV and a celebrated figure in the theatre's broader creative ecosystem. Live music wraps around the performance like a second narrative. Oupa 'Poy Poy' Makhubela on guitar, Khutso 'Shalom G' Nkwana on saxophone, and Suprise Mshwana on drums form a seamless ensemble that transports the audience straight to the smoky shebeens and jiving streets of 1950s Johannesburg. The musicality, directed by Zakhele Mabena, is not mere accompaniment — it is storytelling through sound. From the moment audiences enter the theatre, they are welcomed into a space that feels alive with memory. Banners declaring 'We Won't Move' and 'Hands Off Sophiatown' frame a set dressed in period-perfect detail — a vintage typewriter, coal stove, zinc basin, and layered rostra's conjure a home full of history and resistance. Set designer Lungile Cindi has crafted a world that breathes, while Mandla Mtshali's lighting and Lesego Moripe's exquisite costumes paint a visual language as rich and textured as the script itself. The choreographic direction by Bafikile Sedibe animates the stage with movement that is both rooted in historical rhythm and vibrant with contemporary energy. 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 Next Stay Close ✕ The response from audiences has been overwhelming. Princess Sechele notes that 'the audiences are engaged, they laugh, they cry, they sing—they see themselves in the characters.' Nkuna adds, 'It still feels like the first season. Every time I step into Mamariti's shoes, I am reminded of how powerful our stories are.' Learners, especially those encountering the story as part of the Grade 11 curriculum, have filled the theatre's seats, often leaving no space unoccupied. The show's consistency in drawing in schools is also a testament to its financial sustainability and cultural relevance. At its core, Sophiatown still matters because it still mirrors the truths of South Africa today. The themes of racial displacement, economic struggle, community tension, and love across boundaries remain deeply relevant. 'We've stayed loyal to the script. No ad-libs, no additions,' Sekhabi insists. 'That discipline has made the storytelling even stronger.' Gaby Georgeson echoes this sense of purpose: 'Ruth is fearless. She reminds us to go beyond our comfort zones, to listen, to understand.' There is a shared longing among the cast to take Sophiatown beyond Pretoria. 'We'd love to tour it,' says Sechele with a grin. 'This cast is family. Touring would be a dream.' The production continues to be supported by the Department of Sport, Arts and Culture and the Department of Basic Education, whose investment ensures that this living archive of South African resistance continues to inspire new generations. Guitarist Oupa Makhubela offers a simple yet moving invitation: 'Come for the music. Stay for the message.' And truly, what a message it is — one of memory, of defiance, of love, and of what it means to be home.
IOL News
12-05-2025
- Entertainment
- IOL News
'Sophiatown' roars back to life in Fifth Season at State Theatre
Visually, the production immerses audiences in 1950s Sophiatown with set design by Lungile Cindi, costumes by Lesego Moripe, and lighting by Mandla Mtshali. South African Classic Blends Music, Memory, and Resistance The South African State Theatre's Opera stage is once again alive with the energy of Sophiatown, the beloved musical-drama now in its fifth season. Directed by award-winning Artistic Director Aubrey Sekhabi, the production — created by the Junction Avenue Theatre Company and Malcolm Purkey — has opened to full houses, roaring applause, and deep emotional resonance. Set in 1950s Johannesburg, Sophiatown tells the poignant story of a group of black South Africans who, in an act of defiance against apartheid, welcome a white Jewish woman, Ruth Golden, into their home. Through music, humour, and heartbreak, the production explores themes of displacement, identity, and community resistance. Sekhabi's vision remains faithful to the original text, with added musical dynamism and visual richness. Standout performances include Sandi Dlangalala as Jakes, Gaby Georgeson as Ruth, Sindisile Nkuna as Mamariti, Terrence Ngwila as Mingus, Princess Sechele as Princess, and Tshallo Chokwe, Mncedisi Hadebe, and Nompumelelo Mahlangu rounding out the vibrant ensemble. Live music by Oupa Makhubela, Khutso 'Shalom G' Nkwana, and Suprise Mshwana brings Kofifi's jazz spirit to life, under the musical direction of Zakhele Mabena. Visually, the production immerses audiences in 1950s Sophiatown with set design by Lungile Cindi, costumes by Lesego Moripe, and lighting by Mandla Mtshali. Choreography by Bafikile Sedibe fuses past and present in seamless rhythm. Night after night, the show draws packed audiences — many of them school learners — as Sophiatown continues to be part of the Grade 11 curriculum. Its resonance today remains clear: the struggles it explores are not relics but living conversations. Backed by the Department of Sport, Arts and Culture and the Department of Basic Education, the production has become both an educational tool and a cultural treasure. 'Come for the music. Stay for the message,' says guitarist Makhubela. Sophiatown runs until 21 May 2025, with tickets available at for R100.
