Online Reporter
Mbulelo Mpofu, Zimpapers Arts and Entertainment Hub
SAIMON Mambazo Phiri, the indefatigable force behind some of Zimbabwe’s most vibrant theatrical exports, has said that despite recently celebrating his 50th birthday, he is not ready to slow down just yet.
“I don’t feel like it,” he said on the need to slow down after three decades in the arts.
As he reflects on this milestone, Phiri’s words paint a portrait of a man deeply anchored in the lessons of the past, fiercely protective of the value of his craft, yet wide open to the possibilities of the future. This all comes through discipline and drive.
Phiri’s story is inseparable from Bulawayo’s artistic renaissance. In 1989, a young and ambitious Phiri co-founded the Nostalgic Actors & Singers Alliance (NASA) Theatre, which would later evolve into Siyaya Arts Productions, a name now synonymous with Zimbabwean performance art on the global stage.
The early years, however, were far from glamorous. Phiri recalls that the challenge was not merely creating art, but convincing anyone to come and see it.
“Back then, we found it incredibly hard to get our theatre acts out there. There was no social media, no easy digital reach. We had to physically go out, pound the pavement, and even market ourselves at school assemblies. That was our stage, our audience builder.”
It is this relentless self-promotion that shaped his perspective on today’s creative landscape and led to a candid, perhaps controversial, observation.
“I think artistes are now lazy. Back in the day, marketing one’s craft was hard, but now, creatives cry foul for opportunities that are literally on their fingertips. That’s laziness to me. We didn’t have social media to market our stuff, but we made it work with sheer effort.
“Now it’s different, easier in many ways. Creatives need to think outside the box. If we could make it with school assemblies, surely they can make it work with the internet and everything.”
This belief in hard work was best shown in Siyaya’s famous football musical, Zambezi Express (2009). Named after the famous steam train that once travelled across Africa, the two-hour non-stop spectacle tells the inspirational story of Mzilikazi, a boy from humble beginnings who defies the odds to become a football star. But beyond its plot, the show mirrored the real-life journeys of its 30 performers, who poured their personal stories, songs, and electrifying dance into every performance.
The production was more than just a success; it became a global phenomenon. With its high energy and universal message, Zambezi Express captivated audiences around the world. It made history as the first Zimbabwean musical of its kind to tour Europe, thanks to support from former circus owner Gerry Cottle.
The praise did not end there: the late British journalist Sir David Frost, host of Frost Over the World, famously called it “the happiest show on earth.”
Demand for the production was so overwhelming that Siyaya released a fourth album dedicated to the musical in 2014. And its legacy continues to grow: this year, Zambezi Express features prominently in the “50 Dates at the Theatre” festival at the Bulawayo Theatre, where 50 different shows are being staged.
For Phiri, seeing his creation stay relevant decades later is a personal success.
Even though he criticises today’s artists’ work ethic, Phiri is still dedicated to working with others.
“I have an open-door policy for anyone willing to genuinely collaborate, to bring ideas, to work. Well, it’s half open, so one needs to kick it to get in,” he said.
But this openness comes with a clear warning, shaped by years of experience and business sense.
Today, Phiri is a sought-after event curator whose expertise is called upon for State, public, and private functions. Yet he is adamant about valuing his work.
“I’m a businessman. Part of my portfolio includes creating value for my craft. So, I don’t come cheap, and neither do I come for free. I have to build a legacy for my children.
“My business is to make stories and sell them. Our craft should be able to pay our bills and sustain our lives,” he said.
It is a practical mindset shaped by experience, and it goes beyond just making money. One of the lessons that stuck with Phiri the most is the importance of being on time, a value he learnt the hard way after a costly mistake. After missing a flight in Frankfurt, Germany, he learnt a lesson that has stayed with him ever since.
“The essence of being on time cannot be overstated. That experience was a stark lesson. Time is money, time is opportunity, time is respect. It’s non-negotiable in my world now.”
But there is more to Phiri than just a producer and administrator; he is also a flexible team player. Colleagues call him “a mystery”, with a rare ability to adapt and connect with anyone, no matter their profession.
This versatility was vividly demonstrated in his work with former Zimbabwe Warriors midfield dynamo Esrom “Yellowman” or “Kota” Nyandoro.
“Esrom was a very talented and disciplined lad. I enjoyed working with him immensely. I recall sitting with former Warriors coach Charles Mhlauri, discussing Kota’s destiny – he was exceptional both on stage and on the football field.
“Unfortunately, we lost him to football. But in all honesty, they gained a true cadre,” Phiri said.
Phiri’s artistic journey was shaped by the lively and sometimes quirky vibe of his Bulawayo neighbourhood. Living just five houses away from the late theatre legend Cont Mhlanga had a big impact on him.
“Life was always a theatre for us. To many, Cont was either a weirdo or an idol. We always saw him with white people, carrying large books, sporting belly-bottoms. To some, it was odd, but to us, it was purely artistic,” he reminisced.
Even earlier influences came from everyday life.
“The first people I saw on the streets were the women from the market. They were amazing storytellers. Their stories were funny and captivating. Radio also played a big role in my storytelling journey. Listening to voices like Admire
Taderera opened up new worlds for us.” – Follow on X @MbuleloMpofu
