Is theatre in Harare dead?

Takudzwa Chihambakwe Arts Correspondent

AT a glance one would be tolerated if they say theatre in Harare is dead.

However, a closer analysis of the situation will show that the sector still has a pulse but its output, especially on non-commissioned work, has been very limited in recent years.

Back in 2013 and 2014, some theatre practitioners and various players in the sector pointed to the lack of platforms to showcase productions.

During those days the only dedicated space for theatre was Reps Theatre.

Of course some would say it was only for the elite but the space accommodated all races.

But one would have thought that with the new-look Theatre in The Park and the Jasen Mphepo Little Theatre coming on board, lovers of the art would be spoilt for choice but sadly, that is not the case.

This year alone, both Theatre in The Park and the Jasen Mphepo Little Theatre have dedicated most of their programming to music shows.

But why are these platforms shunning theatre?

One of the reasons is that paying audiences have dwindled at most shows.

The most popular show which sold out on several nights in the capital was the Masvingo production, “Operation Restore Regasi”.

After that, we have seen seasoned actors, directors and producers making shows that are performed for empty chairs.

So what then is the solution?

The Zimbabwe Theatre Academy has decided to go back to the drawing board and start training players within the theatre value chain.

Since its establishment, the academy has been focusing on training physical theatre actors but now has also developed a training module for playwrights with the support of The International Chair in Creative Writing (Africa) at the University of East Anglia, running from June to September through an initiative dubbed ‘Emerging Voices’.

“Emerging Voices is a grassroots creative writing skills mentoring programme. The programme seeks to encourage and nurture emerging and future theatre playwrights,” said Zimbabwe Theatre academy director, Lloyd Nyikadzino.

“The actor-creator graduates and the Emerging Voices participants have an open platform to showcase their products at the academy flagship festival, Mitambo International Theatre festival.

“We have also set up a tele-radio theatre programme on radio, with the aim of engaging with digital media in promoting theatre and broadcasting of vital and topical community issues”.

High-profile writers who include Tsitsi Dangarembga, Professor Jean McNeil, Gideon Jeph Wabvuta, Zaza Muchemwa, Ben Musgrave and Dr Sola Adeyemi have been selected to facilitate the programme.

“The sustained need for skills training continues to be the Zimbabwe Theatre Academy’s overarching strategy for realising the vision of high-quality theatre products and services, in the service of audiences and indeed livelihoods for the graduates of the academy,” said Nyikadzino.

Over the past two months, the 12 candidates participating in the training have been engaging in online sessions.

“Physical gatherings are set to commence next week from the end of August to the middle of September which will conclude with public readings of new works by the mentees on the 13 September in Harare at Reps Theatre.”

But why not just have the mentees produce full theatre productions instead of ending with stage readings we asked?

“Our expectation is that after the mentorship process and hopefully next year with our partner, we will be able to at least stage two of the successful productions as a follow up progression.

“This supports the actors programme we have been running for the past five years. Even though play development has a very specific approach which might be best served with a stage reading, with our emerging voices, we want the mentorship to not just end in stage readings,” said Nyikadzino.

Sharing her views on how the theatre sector can be revived in an online discussion, Music Crossroads director, Melody Tanyanyiwa Zambuko, said training is critical.

“I think skills enhancement definitely increases quality.

“Regardless, the upgrade of Zimbabwe theatre quality will require a hybrid approach some of which will include improvement and access to theatre spaces, funding, audience building and monetization strategies, related training (e.g wardrobe and set design, directing workshops) etc.

“Theatre houses or spaces already in existence need financial injection for vibrant programming.

“At the same time, skills enhancement for new and old practitioners alike will result in newer, exciting productions altogether leading to a vibrant theatre sector for Zimbabwe,” she said.

Zimbabwe Theatre Academy has managed to create and produce professional and original theatre productions which include “Zandezi”, “My Zimbabwe”, “Gang Leader”, “Breathing Grave”, “The Stone”, “Coming Home”, “Vuliziso” and “Deep Down Inside”.

Some of the productions have won awards and toured internationally.