When global theatre came home

THE Zimbabwean capital slipped effortlessly into a moment of global relevance on Friday, where international literary weight met local creative fire, as Almasi Collaborative Arts carried forward the bold momentum of its 2026 season rollout. It was one of those evenings where Harare felt both intimate and expansive at once, alive with cultural possibility.

At the centre of it all was a free public staged reading of “Sweat”, the 2017 Pulitzer Prize-winning play by celebrated American playwright Lynn Nottage, whose reputation as a two-time Pulitzer winner preceded the work but never overshadowed its emotional power. Bringing such a formidable piece to local audiences was not a quiet gesture; it was a confident statement of artistic intent.

Hosted at the Friendship Bench Hub, the event gathered an eclectic audience — actors leaning forward in their seats, students scribbling notes, curious first-time theatre-goers and seasoned practitioners alike — drawn together by the promise of good storytelling. The production stood as a defining moment within Almasi’s wider 2026 vision, reaffirming the organisation’s long-standing commitment to strengthening, sharpening and professionalising the African arts sector from the inside out.

Under the direction of Charlene Mangweni-Furusa, the staged reading unfolded with clarity and urgency, carried by a cast that seamlessly blended long-time Almasi collaborators with emerging voices eager to prove their mettle. The result was a textured, lived-in performance that felt grounded and immediate.

Bliss Tanatswa, Shane Mahobele, Michael Kudakwashe, Daniel Nxumalo, Deborah Nyasha Kabongo, Tinevimbo David Chimbetete, Chido Chigariro, Nyaradzo F. Nhongonhema, Donne Jone, and Tsungirirai Chenjerayi inhabited Lynn Nottage’s characters with honesty and intensity, giving voice to people navigating loss, loyalty, anger and hope. There was a visceral charge in the room, the kind that reminds you why stories matter.

Like much of Almasi’s work, the performance was the visible tip of a much deeper process rooted in discipline and craft. The road to Friday’s reading began well before the audience arrived, shaped during a rigorous two-day dramaturgical workshop.

Led by Almasi’s Programmes Director, Gideon Jeph Wabvuta, the workshop brought together the cast, director, and a group of Almasi-trained directors and playwrights, forming a collective space of inquiry and reflection.

They pulled the play apart carefully, interrogating its structure, language and emotional architecture, ensuring that every performer approached the work with both intellectual rigour and empathy before stepping into rehearsals that would eventually culminate in the public reading.

Set in Reading, Pennsylvania, “Sweat” paints a raw portrait of America’s industrial decline, tracing the erosion of jobs, dignity and trust as economic systems falter. It explores how quickly friendships fracture and racial tensions escalate when survival is at stake. Though firmly rooted in an American context, its exploration of labour, broken systems and quiet resilience landed with startling familiarity for the Harare audience, echoing realities much closer to home.

Mangweni-Furusa spoke candidly about her connection to the material, highlighting the universality at its core.

“Sweat takes us through a cross section of society, from the optimistic outlook of ‘sweating’ hard enough to one day realise one’s dream, to being at the end of the line with no prospects in sight. Everyone being at the mercy of a system that does not recognise them. This is a play I think we can all see a bit of ourselves in.”

Wabvuta reinforced that sentiment, framing the staged reading as both an artistic and strategic act.

“Staged Readings are the mainstay of Almasi’s development agenda. They enable us to further the dramatic literacy of Zimbabwean artists while sharing rich, beautiful dramatic works with the public. It is such a privilege to continue our connection with Lynn Nottage through a staged reading of her Pulitzer Prize-winning play, ‘Sweat’, following her visit to Zimbabwe last year to facilitate a rewrite workshop for local writers. ‘Sweat’ is a timely piece, devastating in its exploration of human fragility, yet it serves as a window through which we can find the opportunity to connect over tumultuous times,” he said.

Friday’s presentation marked Almasi’s third public programme of the year, continuing a rhythm of consistent artistic output. The 2026 season began in February with a staged reading of “A Raisin in the Sun” by Lorraine Hansberry, directed by Leonard Matsa, followed in March by the second edition of the Almasi Writer’s Retreat.

The rest of the year promises equally ambitious programming aimed at honing Zimbabwean creative voices. Up next is a Directing and Stage Management Workshop led by visiting US theatre practitioner Adam Immerwahr, running from 20 April to 2 May, followed by a Voice and Acting Workshop facilitated by Scott Miller of the New York University Tisch School of the Arts faculty.

Also on the calendar is a Filmmaker Intensive led by a yet-to-be-announced, internationally celebrated, multi-award-winning filmmaker, alongside the much-anticipated “Africa Voices Now! A Festival of New Plays”, scheduled for 17 October through 6 November. The year will close with the Almasi African Writers Conference from 7 to 20 December, which has notably expanded to welcome screenwriters into its fold.

Beyond its headline events, Almasi has remained firmly grounded in community engagement, sustaining outreach programmes under Community Engagements Manager Tafadzwa Bob Mutumbi. These include the Solo Initiative Monologue Program for out-of-school youth, while the Almasi New Play Collective, led by Wabvuta, continues to offer year-long development support to emerging writers.

Co-founded by and operating under the Executive Artistic Directorship of Danai Gurira, Almasi Collaborative Arts remains proudly Harare-based, committed to building the African arts sector deliberately and sustainably.

Through world-class training, access to global work, and meaningful opportunities, the organisation continues to empower African artists to carry their stories beyond borders — ensuring that Zimbabwe’s voice remains confident, skilled, and unmistakably present on the world stage. —Follow on X @MbuleloMpofu