Online Reporter
Tafadzwa Zimoyo
Zimpapers Entertainment Editor
THE return of internationally acclaimed actress and playwright Danai Gurira to Zimbabwe signals more than a brief home visit.
It marks a powerful and deliberate act of cultural investment — one aimed at shaping the future of Zimbabwean theatre and offering a new generation of young creatives access to the global stage.
Having earned worldwide recognition for her roles in “Black Panther”, “The Walking Dead” and award-winning stage productions such as “Eclipsed” and “The Convert”, Gurira has returned to launch “Africa Voices Now!”, a bold and transformative theatre festival.
The festival is the first public initiative by Almasi Arts Trust, an organisation she co-founded more than a decade ago to nurture dramatic talent in Zimbabwe.
Opening next week at the Jasen Mphepo Little Theatre in Harare, the festival marks a significant shift for Almasi — from a private institution focused on behind-the-scenes mentorship to a public-facing creative force.
For Gurira, this moment represents a long-term vision finally taking centre stage.
“This festival represents our transition from private institution to public engagement,” she said.
“After 13 years of intensive development, we’re ready to demonstrate that Zimbabwean theatre can compete internationally while remaining authentically African.”
The festival will showcase three world-premiere plays written by graduates of Almasi’s rigorous development programme: “Can We Talk?” by Batsirai Chigama, “These Humans Are Sick” by Tatenda Mutyambizi, and “The Return” by Rudo Mutangadura.
Each work engages deeply with themes of grief, social justice, identity and family — offering stories that are firmly rooted in African realities while resonating far beyond the continent.
“These three plays showcase the extraordinary talent that has been quietly developing within Zimbabwe,” said Zaza Muchemwa, director at Almasi Arts Trust. Each playwright brings a unique voice to universal themes, proving that African narratives have global relevance.”
While the productions themselves are central to the festival, what truly sets “Africa Voices Now!” apart is its commitment to accessibility and youth development.
As part of the broader programme, Almasi is launching a citywide outreach initiative that will engage over 500 students from 10 schools across Harare.
The initiative, known as the Cultural Education Equity Initiative, is designed to create access to theatre for both privileged and underserved communities — breaking down traditional barriers that often separate the arts from public education.
Through this programme, students will gain behind-the-scenes access to rehearsals, participate in theatre education workshops, attend heavily subsidised performances, and engage directly with the writers and cast through curated talkback sessions.
The intention is to build a sense of cultural ownership among young Zimbabweans — many of whom have had little exposure to live theatre or professional artistic practice.
According to festival publicist Phil Chard of Point Black Entertainment, the outreach component is not simply a side activity but a strategic part of the festival’s long-term impact. “We’re not only staging plays — we’re making a statement,” Chard said. “Young Zimbabweans don’t have to leave their culture or continent to be heard.”
He further emphasised that the festival reflects a much broader movement across the continent — one where African stories are being reclaimed, refined and recognised on global platforms.
“This isn’t just a theatre festival. It’s a cultural moment,” said Chard. “We’re witnessing the emergence of a new artistic era — one that’s proudly African, unapologetically local and globally resonant. Almasi has been planting seeds for over a decade. Now the world gets to see what’s been growing.”
Running until November 7, the festival will unfold at Jasen Mphepo Little Theatre.
This scaled-down model prioritises meaningful engagement between performers and audiences, offering a premium cultural experience that underscores the viability of theatre as a sustainable creative enterprise.
Beyond the plays and workshops, Gurira’s return carries symbolic weight. In an environment where many young Zimbabweans view emigration as the only path to success, her decision to return and reinvest in local infrastructure is both inspiring and instructive.
It sends a clear message that Zimbabwe is not only a place of origin but also a place of possibility — one where meaningful creative careers can be imagined, built and sustained.
Her presence on Zimbabwean soil —not as a guest of honour, but as a working artist, mentor and builder — elevates the significance of the entire festival. It also reaffirms her commitment to ensuring that the next generation of storytellers has the tools, training and platforms to tell their stories in their own voices, on their own terms.
In doing so, Gurira has not only brought a festival home — she has brought with it a vision for the future. And for the 500 students poised to walk into a theatre for the first time this month, that future just became a little brighter.
