adminJohn Mambo”.
This came out during brilliant performance by Tinopona Katsande, Eunice Tava, Evangelista Mwase and Michael Kudakwashe last Tuesday.
While the audience at the opening ran short of adjectives to describe this brilliant theatre piece, there were fears that like all other previous theatre productions that have graced Theatre in the Park this year, poor promotion would limit people’s access to this valuable cultural product.
It is not often that an audience at the launch of a theatre production in Theatre in the Park, comprising mostly of theatre professionals, cultural activities and literary critics collectively express amazement at the relevance and high quality of the script, the performance and the hand that directed it. This is why prominent citizens in the audience proffered ways of ensuring that this production is extensively and effectively marketed. Credit for this high quality theatre production cannot just go to the excellent job of writing and directing the play by Baya but also to whoever was responsible for the choice of the cast.
These are not just the cream of the veterans of our theatre, film and television, but a rare collection of thespians whose high level of commitment to theatre jelled them together into a highly creative hand that sculptured a colossal theatrical beauty.
Rooftop Promotion’s own promotional blog states that “The Two Wives of Mambo” is an “epic poem that makes its onto the stage with incredible zest. Spiced by Baya’s poignant observation of everyday life, it resonates with satire and drama.”
This , in many respects, is an understatement. This is a gripping tragic story of artists in Zimbabwe. It is a story about the fate of creative artists in a society that does not value them and the artistic legacies they leave behind.
Indeed, it is a story of a highly talented and productive artist who dies a pauper and whose value is only appreciated after he dies. On the surface, the story of John Mambo as presented in the promotional material is simply stated: “A prominent poet deserts his wife and children to commit bigamy with another woman. Years later frustrated and angry, he lies dying ravaged by a mysterious disease. His old wife pays a visit at his death bed only to come face to face with the other woman.”
Together the two women take the audience on an emotional roller coaster ride into the depths of their heats as they fight over the ailing husband.
This is not just a play about courage, love and human suffering but also a vivid illustration of the strength of a spiritual bond a marriage establishes and the cementing power of children to that bond. As the two women pour vicious scorn on their dying husband for leaving them in a desperate state of life, they reveal a highly tragic nature of the institution of marriage and its fundamental weaknesses.
The cultural exigencies and implications of marriage are juxtaposed with the folly of excessive pre-occupation with the search for one’s freedom to the extent of ignoring tenets of marriage and responsibilities of a father.
In “The Two Wives of John Mambo” Baya emerges not just as a prolific playwright, a formidable and valiant social and political commentator but a brilliant poet.
The brilliance of the actors was also shown in the way they made Baya’s poetry lucid and palatable to all. One hopes that this cast of one man and three women can be allowed to evolve a long lasting theatrical marriage that will be celebrated all over this country and abroad.
The play will run at Theatre in the Park until November 5. Only one show at 5.30pm is presented every day except Sunday and Monday.
Today sees the official opening of the Protest Arts International Festival in Harare at the Crown Plaza. The three-day festival has attracted theatre groups, poets, musicians, dancers, paper presenters, discussants and films from different parts of Africa.
The programme has a rich line up of papers such ‘Artistic Engagement with Constitution-making process’ by Aliku Jelile from Nigeria; ‘Protest Arts: Whose Agenda Are We Pushing’ by Patience Tawengwa; ‘Use of Media in Arts Activism and Marketing’ by Thomas Brickhill; ‘Play as a People’s Idiom’ by Peter Chinyowa of the Wits University and Civil Society, Religion and Applied Theatre by Nehemiah Chivandikwa of the University of Zimbabwe.
Other papers to be presented include, ‘Conceptualising arts organisations as civil society in Zimbabwe’ by Nginidzaishe Muwonwa; ‘Artistic and Cultural Construction of ethnic association and consciousness and democratic governance’ by Masimba Kuchera; ‘Role of Music in Community Healing’ by Francis Mandeya.
Papers that are based on case studies will also be presented. These include ‘Applied theatre and Social Change: The case of Savannah Arts’ by Ruth Mukumbirofa; ‘Arts, censorship and Advocacy’ by Josh Nyapimbi; ‘Thinking beyond Boal to postmodernism’ by Kelvin Chikonzo.
Keynote addresses will be delivered by Takura Zhangazha of the Voluntary Media Council of Zimbabwe and Dalia Basiouny of Egypt.
During the festival the following workshops will be held: ‘Drama in Education’ facilitated by Drama for Life of Wits University; ‘Marketing Arts and Management’ by Noel Marerwa and ‘Beyond Protesting’ by Melissa
Everleigh. Theatre performances which will be held at the University of Zimbabwe’s Beit Hall and in Harare Gardens include “Burn Mukwerekwere Burn” by NKM and Development Artists; “Fesbhuku” by Savannah Arts; “No Voice No Choice” by Edzai Isu and Zvido Zvevanhu Ensemble.
“My Daughter” by baptism of Fire Community Theatre Group; “The Two Leaders I Know” by Rooftop Promotions and “The Comeback’ by Hifa Direct will also show. Poets who will perform at discussions sessions and in the performance arena include lack Pearl, Mutumwa Pavi, Bhekimusa, Stitch and Zimbabwe Poets for Human Rights.
The festival closes on Saturday afternoon with a music, dance and comedy bash featuring Suluman Chimbetu, Madiz, Judith WeUtonga, Blavance, Zvido Zvevanhu Dance Ensemble and Trevor Chigubu – a stand up comedian.
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