adminfor a decade since she joined the arts. From being part of the cast in the local soap, Studio 263, to her role as a hooker in the play “Sinners”, Eunice has proved her mettle and dexterity in the theatre industry. Entertainment Editor Ruth Butaumocho (RB) caught up with Eunice (ET) to talk about her passion for the arts.
RB: Tell us about yourself Eunice?
ET: I was born in Kwekwe but I did my primary school in Mupepereki in Mhondoro. I later went to Bulawayo for my secondary school before coming to Harare in 2000.
RB: How did you end up in the arts industry?
ET: When I came to Harare I met a friend who introduced me to theatre. She was into television production, so she would often take me around to different places, where they would be rehearsing for scenes, say, for a TV drama and other productions. That alone spurred the dormant passion that I had always had since primary school. My first stint in theatre was with the Together as One drama group and I did not have other formal training in the area.
Daves Guzha of Rooftop Promotions and Danies Maphosa were very instrumental in shaping my career in theatre, and through them I got information, experience, exposure and a life in theatre.
Now, of course, I have a certificate in theatre from the University of Zimbabwe, and I have learnt a lot from my trips locally and abroad.
RB: Which productions would you say were your best and why?
ET: Heaven’s Diary written by Daniel Maphosa that I took part in, in 2005 and The New Road, by Stanley Makuwe, were some of my best productions to date. In both plays, I am convinced that I did my best and I really worked hard. Of course, there will always be other plays, where the audience and the production team will feel that I excelled better than the ones that I mentioned, but I am convinced I was at my best in these two.
What normally happens in theatre is that sometimes you become so passionate and engrossed in a role that you are playing that even when you are going over the script, everything becomes so real. In these two, it appeared like I was acting real-life experiences, of people out there, whom I had never met, but I was able to connect with them. That’s how powerful theatre can become.
RB: You are one of the successful women in the arts industry, in particular theatre, how have you managed to remain focused?
ET: Everything boils down to the issue of discipline and being principled. I also feel that my background has really contributed to what I am today. Because my passion is heavily rooted in theatre, I want to remain focused because I am convinced I have a role to play in theatre and, being a woman I want to be counted among those who made a difference in theatre by contributing positively to its development.
RB: There is a lot of stigma attached to being a female artiste in Zimbabwe. What have been your experiences and, what do you think should be done?
ET: I think that era is fast fading away, and we’re into an epoch that recognises and values women’s positive contribution towards the country’s development, in particular the arts. Gone are the days when women were labelled loose, because of their role in art. But, of course, in every developmental situation, and better still, when there is change, there will always be a few people, who will want to derail the process. There is still a small section of society that still believes in that, but in good time, all that shall come to pass.
RB: A snap survey that I did revealed that more than 70 percent of the roles in theatrical production are usually taken up by women, yet there are few women producers. Where is the problem, Eunice?
ET: There are three reasons that are probably contributing to the scenario that you are referring to, namely the issue of socialisation; lack of support of women by women and the general fear of being in leadership.
There are a lot of women who would make good theatrical producers and directors but are afraid to take up the challenge because they feel they cannot lead men. On the other hand, the few that have taken up the challenge and gone into production rarely get support from fellow women, resulting in them abandoning the projects all together.
Be that as it may, I believe that there are equal opportunities for women who want to direct their own plays. Patience (Tawengwa) is an example of a female director who is displaying a high level of ingenuity.
It is women like her who inspired me to join the Hifa direct project by the British Council, because I believe I also have what it takes to produce and direct good theatrical productions.
That’s why I have got so much respect for women like Mai Red Rose (Barbara Chikosi of Red Rose Entertainment), who has played a pivotal role in the arts, currently dominated by powerful men.
Although I have never met her personally, as a woman I admire her tenacity, determination and her courage to make a difference in the arts sector.
RB: I have no doubt that acting in theatre is more challenging than in television. You have taken up more roles in theatre than in television. Why is that so?
ET: I’m interested in both, but I have since realised that there are more opportunities in theatre than there are in television. The theatre sector is more active than television, where casting for a role in a drama series takes place once in a time, whereas in theatre something is always happening at any given time, and naturally I earn more in theatre because of the hyper-active nature of the sector.
Of course, given the opportunity, I have no problem in appearing on television regularly like what I am doing in theatre at the moment.
RB: I would like to believe that most people recognise you, as you will be going about with your business in and around and are bound to stare or snide at you, depending on your role. Does that bother you?
ET: Sometimes, but it is very rare. When I meet people on the streets, they express a genuine interest in my life and my role on stage, and sometimes that leaves me more confused than anything else. While I would want to communicate with them, I wouldn’t know whether they have seen me on television, on stage – in theatre or in advert. At the end of the day, I will probably nod my head in acknowledgment or just pass on a sheepish smile, because I try not to offend people when they reach out to me.
RB: What role should the Government play in the promotion of the arts, particularly in theatre?
ET: Government should be actively involved in theatre through funding of developmental initiatives and, better still, involve us as much as possible in national developmental issues. I have noticed with concern that there is so much visibility of musicians in developmental issues and on projects that are funded by Government. These include galas, tourism events and a host of other projects and yet nothing much is happening in theatre.
As theatre artistes, we can also contribute and play our part in national development, once we get enough funding and assistance from the Government. As we speak, in other countries, climate change is a big issue and governments across the globe are pouring in money to arts initiatives to embark on awareness campaigns. That is something that our Government ought to look at and utilise the abundant talent in the arts in the country.
RB: The last time you had an interview in one of the papers in 2006, you revealed that you were “single, unattached, but not desperate”. Is your situation still the same?
ET: Not any more. I am happily married to a loving man. He is called Jeff. Although he is not into the arts, he is quite supportive. Even when I am not around, he takes time off his busy schedule just to go and watch different theatrical productions.
RB: Apart from theatre, what else do you do to put food on the table and to keep yourself busy?
ET: I sometimes help my husband at his workplace.
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