The Taking resurrects Zulu

Mbongeni Msimanga Sunday Leisure Correspondent
MANY may know Alec Zulu for the hit screen production Amakorokoza, Sinjalo and Sister Theresa that were screened on ZBC-TV before he went on a three-year hiatus of screen production and theatre.However, the veteran actor made a comeback recently with a slot on a play The Taking, which is a dramatical revisit to the all important but historic land reform in a theatrical way. He still possesses the same zeal and drama spirit he exuded in previous productions.

Zulu said he had not thought of leaving theatre yet but was working behind the scenes in various youth productions. He has been carrying out the duty of stage manager and helping youths in the PLAN drama schools programme.

He said he yearned to make a comeback on the stage where he believed his talents were.

“I haven’t been acting for the past three years but I have been participating in screen productions and the PLAN high schools programme. I can safely say I was a stage manager for the past years, and I really had a yearning to make a comeback on stage and I am happy to be back once more in an active stage role,” he said.

His comeback in the theatre fold was welcomed by artistes who thought the veteran actor was no longer interested in taking up active roles.

“People were surprised when I got on stage as it had been a long time since I participated in acting. Honestly my job behind the stage was boring because I wanted to act but I had to help out on Intwasa and other various theatre productions as well as promoting and churning out new talent,” he said.

The Taking is a theatre production that was written by veteran playwright Raisedon Baya and directed by Memory Kumbota.

In the play, Aleck Zulu makes a good rebound to the theatre world and those who had written him off as a spent force on stage should be forgiven and urged to rethink as he is still into it and easily wows a crowd with his bold presence and confidence that makes it easy for everyone to follow the story line.

He said they hoped to make an impact in theatre and bring back its spark and glory in the city.

“We are hoping to make theatre have a better following in Bulawayo and Zimbabwe. There is a lot of talent in Bulawayo but we want to make sure that we go around the country and show people what we are doing for screen production,” he said.

He lamented the lack of resources that made it difficult for some theatre productions to be fruitful.

Inspired by the late comedian Aureen Newa, Zulu said he was not turning his back on theatre and hoped that the play would première around the country and at national and international festivals.

“The only problem that we face is that we have no resources in the arts world that’s why most productions suffer a stillbirth and fail to come to fruition. We are hoping to take the play around the country and to other festivals,” he said.

The main story is that of the land reform, a story that everyone could identify with. It is a story that people usually feel uncomfortable to talk about in fear of being accused of political expediency or of being seen as unsympathetic to the plight of white farmers, depending on the angle one chooses to take. The Taking is not politically inclined.

It is a true presentation of what happened and left many people asking themselves questions as to who was to blame for the events of 2000. The play defined the importance of the land to humanity in a specified area. The land is the economy, identity and inheritance. It is the basic need for everyone and hence all the talk around it.

Its presentation left theatre lovers convinced that there were many Zimbabwean narratives that theatre practitioners could use to create good works of art.

It shows that land plays a pivotal role in any African society as it is regarded as a major resource in the welfare of people in any African set-up and is regarded as a national heritage that cannot be divorced from the values of the country’s liberation history.

“It is a play that mainly looks at the land issue. The importance of land is pivotal in people’s lives and it is the main theme that is highlighted in the play,” said Baya.

Not only does the play tackle the land issue, but it also employs imagery and interpretable storytelling techniques that look at the role and place of storytellers in present day Zimbabwe and how they interpret current national issues in the country.

According to theatre experts, The Taking, takes no sides but seeks to remind us of where we came from and who we are as Zimbabweans.

“The play looks at the place of folklore in pushing national narratives. Artistes are also given the freewill in identifying national narratives, what is important and how to tell these national issues,” said Baya.

The play features seasoned and new actors such as Zenzo Nyathi, Gift Chakuvinga, Elton Sibanda and Musa Sibanda who have been forces to reckon with in theatre.

There are two new faces in the play that were identified courtesy of the PLAN High Schools drama namely Musa and Elton.

In his review of the play Thabani Moyo said the actors did justice to the play which presented real life narratives of what happened during land reform.

“They kept themselves within the limits in a play where an overzealous actor could have run away with the show. Nyathi easily managed his transformations playing the arresting police officer, the prosecutor and newspaper vendor.

“All the characters were distinct. Chakuvinga displayed good story-telling techniques. He is one actor who can be stretched to any extent and will be up to the task. His narration of the folktale left the audience crying for more from him.

“Zulu had a good rebound. Those who had written him off from stage must rethink. He has a thing of easily tying the audiences around his finger and making them flow with him. He did a good job. Musa Sibanda, the only female actor in the cast, did a good job as she tried to match her seniors in all aspects.

“She played the role of Sikhathele with beauty and she was articulate. She has a bright future. Elton Sibanda is another plus that has come into the pool of actors, should a serious director think of casting for stage. He has a good body and has the talent. He managed to play the interrogating policeman and the white farmer so well,” said Moyo in his review.