State Of the National DisAster

Philangezwi Innocent Bhekuyise Nxumalo

Thami akaMbongo: Philangezwi Innocent Bhekuyise Nxumalo’s bravery in bringing such an audacious and unapologetic production to the stage cannot be overstated.

As a theatre enthusiast and a keen observer of South Africa’s cultural landscape, I recently had the pleasure of experiencing the groundbreaking production “SONDA: State Of the National DisAster” at Kippies in the Market Theatre.

Crafted by the fearless playwright Philangezwi Innocent Bhekuyise Nxumalo, better known as King SMS (Iciko Lethonga), this one-person show proved to be a tour de force of political satire and social commentary.

From the moment the lights dimmed and Nxumalo took to the stage, it was evident that the audience was in for a thought-provoking and unapologetically honest journey through the complexities of post-Apartheid South Africa.

Through a series of vignettes and monologues, Nxumalo deftly tackled a myriad of pressing issues plaguing our nation, from unemployment and poor service delivery to crime and education system failures.

What struck me most about “SONDA” was Nxumalo’s unwavering commitment to speaking truth to power. With biting wit and raw emotion, he fearlessly confronted the injustices and inequalities that continue to pervade our society, challenging the audience to confront their own complicity in the status quo. It was a testament to Nxumalo’s courage and conviction that he was able to tackle such sensitive topics with both grace and ferocity.

Moreover, “SONDA” exemplified the rich tradition of protest theatre in South Africa, harkening back to the days of “Sarafina!” and “Woza Albert!” Yet, while paying homage to the past, Nxumalo’s production felt distinctly modern and relevant, capturing the zeitgeist of our turbulent times with uncanny precision.

From a technical standpoint, “SONDA” was a masterclass in storytelling. Nxumalo’s command of the stage was mesmerizing, effortlessly transitioning between characters and scenes with seamless precision. The minimalist set design and evocative lighting served to enhance the overall impact of the performance, drawing the audience deeper into Nxumalo’s world with each passing moment.

In conclusion, “SONDA: State Of the National DisAster” is a triumph of contemporary South African theatre, a fearless exploration of the issues that define our nation’s identity in the 21st century.

Philangezwi Innocent Bhekuyise Nxumalo’s bravery in bringing such an audacious and unapologetic production to the stage cannot be overstated.

As we approach the National & Provincial Election on 29 May 2024 and celebrate 30 years of Democracy, “SONDA” serves as a timely reminder of the power of art to provoke thought, inspire change, and give voice to the voiceless. It is a production that demands to be seen, discussed, and celebrated for years to come.


Thami akaMbongo
akambongo@gmail.com
AkaMbongo Foundation Pty Ltd
http://www.akambongo.co.za


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Thami aka Mbongo writes on his personal capacity.

Philangezwi Innocent Bhekuyise Nxumalo in SONDA: State Of the National DisAster.
Philangezwi Innocent Bhekuyise Nxumalo in SONDA: State Of the National DisAster.