Thami AkaMbongo Manzana: A thoughtful and courageous theatre intervention rooted in memory, care, and collective labour.

WHY THIS DAY MATTERED

On 16 December 2025, Reconciliation Day, I spent an entire day at TX Theatre, Moses Molelekwa Art Centre in Tembisa, attending the Gauteng Research & Development Showcase of THE HANG MAN’S NOOSE.

What unfolded over the course of the day was not simply a theatre showcase, but a carefully curated, research-led artistic intervention into South Africa’s painful and unfinished history of political imprisonment, state violence, and execution under apartheid.

For those who were not present, it is important to understand the scale of this undertaking. This was a full-day programme, running from morning into the evening, presenting five one-hour theatre works, each developed by a different region of Gauteng. Writers, directors, performers, facilitators, and researchers gathered not to present polished final products, but to interrogate history through performance as part of a deliberate Research and Development (R&D) phase.

This review is offered as a professional theatre production reflection, appreciative yet critical, honouring the work presented while asking necessary questions about labour, funding, ownership, and sustainability in the South African cultural sector.

BACKGROUND AND INSPIRATION: FROM MEMOIR TO MULTI-REGIONAL THEATRE

THE HANG MAN’S NOOSE is inspired by Dancing with My Assassin, the memoir of political stalwart Mr Sithembele Khala. The project revisits South Africa’s death-penalty era, tracing the journey from arrest and interrogation to incarceration, execution, and the enduring trauma carried by families and communities long after the gallows fell silent.

One of the most grounding aspects of the project was the presence of Mr Khala himself. He attended the entire day, watched all five productions, delivered the keynote address, and remained engaged during the closing dialogue. In a context where lived experience is often reduced to symbolic reference, his sustained presence anchored the work in lived truth rather than abstraction.

The project was guided by Nhlanhla Mahlangu (Creative Director), with Tshepo Shai (Project Manager) overseeing the overall coordination. The structure and flow of the day reflected careful leadership, intentionality, and respect for both the subject matter and the artists involved.

MZANSI GOLDEN ECONOMY (MGE): AMBITION, SCALE, AND HONEST DECISION-MAKING

THE HANG MAN’S NOOSE received R1.5 million in funding from the Mzansi Golden Economy (MGE) programme under the Department of Sport, Arts and Culture (DSAC).

What stood out during the opening addresses was the honesty with which the producers spoke about scale and limitation. It was openly shared that there was initial hesitation to accept the funding, as the long-term vision for the project — imagined at the scale of Sarafina! or Hamilton — would realistically require in excess of R25 million. Rather than dilute the idea, the team made a conscious decision to proceed by framing this phase as Research and Development.

As part of this R&D strategy, the project deliberately focused on all five regions of Gauteng:

– Sedibeng

– Ekurhuleni

– Tshwane / Pretoria

– Johannesburg

– West Rand

Each region was allocated a writer, director, and cast, tasked with exploring a specific aspect of the death-penalty journey. This decentralised model meaningfully expanded participation, visibility, and employment opportunities across the province.

VENUE AND TIMING: WHY TX THEATRE AND RECONCILIATION DAY MATTERED

Although originally envisioned for Constitution Hill, hosting the project at TX Theatre proved to be a powerful and appropriate decision. TX Theatre has long been associated with bold, politically conscious, and experimental work in South African theatre. Placing this R&D phase in such a space returned the work to a community-rooted and artist-driven environment.

That this took place on Reconciliation Day sharpened the project’s relevance. Reconciliation remains deeply contested in South Africa, particularly in the absence of accountability and material justice. THE HANG MAN’S NOOSE did not attempt to offer easy answers. Instead, it allowed contradiction, discomfort, and memory to coexist on stage.

THE PROGRAMME: FIVE REGIONS, FIVE PRODUCTIONS

1. SEDIBENG – THE HANGMAN

Writer: Modisana Mabale

Director: Thabiso Rammala

Cast: James Mankgaba, Nthabiseng Mofolo, Mzimkhulu Mtshali, Thobeka Plank, Isaac Sithole, Mzimkhulu “Mzee” Mhlambi, Mokete Motseki

A penetrating exploration of how ideology, religion, and nationalism produce instruments of violence, focusing on the psychology of an apartheid-era executioner.

2. EKURHULENI – ARREST AND INTERROGATION

Writer: Moruti Abednigo Dlamini

Director: Mxolisi “The Great” Masilela

Cast: Nonhlanhla Dube, Thabo Malete, Sifiso Botha, Gifter Ngobeni, Tshwarelo Kgwadi Selolo, Linda Shabagu, Mojalefa Thatho

A visceral episodic journey through fear, resistance, and survival under state terror.

3. TSHWANE / PRETORIA – THE MATCHSTICKS (REDUCED TO THE SIZE OF THE NOOSE)

Writer: Masai Sepuru

Director: Abongile Maurice Matyutyu

Cast: Gopolang GP Modungwa, Xolani Lowrance Nhlapho, Bafana S. Nkuna, Kgaogelo Hancia Shale, Teboho Tladi, Juta Ramasike, Siyabonga Mmekoa

A poetic meditation on how men are systematically broken down until they fit the noose.

4. JOHANNESBURG – THE POT

Writer & Musical Director: Pulane Mafatse

Director: Alen Cebakhulu (devised with the cast)

Cast: Darlington Khoza, Wian Smit, Tebogo Machaba, Nandi Zulu, Kgomotso Nkomo, Tshiamo Matlhape, Katleho Mollo

A musically driven reflection on love, faith, forgiveness, and mortality on death row.

5. WEST RAND – 52 WAYS OF DYING

Writer: Sinenhlanhla Q. Zwane

Director: Sbusiso “Vonder” Fihlani

Cast: Thabo Sebekedi (Sgopepe), Dimpho Kubang, Tshegofatso Sethole, Tiro Matlhaga, Thapelo Mooki (General), Lucky Thamsanqa Gxubane, Taptsula Oliphant

A movement-driven excavation of childhood memory, institutional violence, and inherited trauma.

ACKNOWLEDGING CONTRIBUTIONS BEYOND THE PROGRAMME

Beyond the named writers, directors, and performers reflected in the official programme, it is important to acknowledge that several other individuals were recognised during the day by the various productions for their contribution to the creative and research process. While their names were not formally captured in the printed programme, their impact was evident in the strength, coherence, and execution of the work presented.

We extend salute and respect to everyone who contributed to the success of THE HANG MAN’S NOOSE, including those working behind the scenes — administrators, coordinators, technical teams, facilitators, support staff, and all unseen hands that ensured the smooth running of a demanding full-day programme. Their labour made it possible for the work to be experienced with dignity and care.

The audience turnout was remarkable, with strong attendance maintained throughout the day. All five productions were presented in a well-packaged and professionally managed venue, reinforcing the seriousness of the project and the appetite that exists for rigorous, politically engaged theatre. The sustained presence of audiences across the entire programme speaks to both the relevance of the work and the effectiveness of its presentation.

WHAT THE PROJECT REVEALED: STRENGTHS AND LEARNING POINTS

Across the day, what emerged was a valuable snapshot of the current state of theatre practice in Gauteng. Differences in writing depth, directorial clarity, ensemble discipline, and dramaturgical maturity were evident. This unevenness should not be viewed as failure, but as essential research data — precisely what an R&D phase is meant to reveal.

The standard of work presented at TX Theatre is comparable to work regularly staged in mainstream theatres. This raises important questions about equity, resourcing, and how we value artistic labour across different production contexts.

LABOUR, JOB CREATION, AND THE ETHICS OF PUBLIC FUNDING

One of the most affirming moments came when Creative Director Nhlanhla Mahlangu stated that artists involved in THE HANG MAN’S NOOSE were compensated for their work. This transparency is commendable and deserves acknowledgement.

It is hoped and strongly recommended that artists’ budgets remain reasonable, realistic, and respectful, reflecting both professional expertise and the quality of work delivered. If the Mzansi Golden Economy positions itself as a job-creation mechanism, then fair remuneration must remain central.

Going forward, funders could consider allocating a specific percentage of funding towards job creation beyond artistic roles, particularly in administration, production coordination, and arts management. Sustainable creative ecosystems require more than performers and directors alone.

Importantly, THE HANG MAN’S NOOSE created increased employment opportunities by deliberately involving all five districts of Gauteng, demonstrating how decentralised models can meaningfully expand impact.

INTELLECTUAL PROPERTY, CREDIT, AND OWNERSHIP

A further issue that requires careful clarification relates to credits and authorship. In the official programme, the project is described as being “inspired by” Dancing with My Assassin, while the T-shirts worn on the day stated “written by”.

This distinction is not semantic. As the project evolves, it will be important to clearly articulate:

The difference between inspiration and adaptation

How authorship is defined

How writers and directors from this process are credited and protected

Clear crediting is an ethical and professional necessity.

RESEARCH, COMPARISON, AND LEARNING FROM OTHER PRODUCTIONS

It would be intellectually valuable to conduct a case study comparison between THE HANG MAN’S NOOSE and productions such as Marabi, scheduled to be staged at the Market Theatre, to examine differences in artist remuneration, scale and resources.

Thami AkaMbongo Manzana
akambongo@gmail.com
AkaMbongo Foundation Pty Ltd

Disclaimer: Artslink.co.za encourages freedom of speech and the expression of diverse views. The views published do not necessarily represent the views of Artslink.co.za.

This piece is penned by Thami akaMbongo Manzana in his personal capacity – as an artist, thinker, and observer of life.

The reflections, ideas, and expressions shared here are entirely his own and are not meant to represent the views or positions of any organization, structure, or association he may be part of.

These are personal thoughts flowing from the heart, mind, and lived experience – meant to provoke thought, inspire dialogue, and spark the imagination.