BEDROOM CHATS REVIEW
BEDROOM CHATS – REVIEW
Written & Directed by Mashupe Phala
27 February 2026 | TX Theatre, Tembisa
10th Tembisa Theatre Week
Review by Thami akaMbongo Manzana
Image Source: Mandisi Sindo
Yesterday I had the opportunity to watch Bedroom Chats as part of the 10th Tembisa Theatre Week at TX Theatre. The title alone immediately makes one curious — what exactly happens in these “bedroom chats”?
This production has applied to be part of this year’s National Arts Festival. Without a doubt, it has the potential to become one of the favourites at the festival. The story is universal. Anyone — young or old, married or single — can relate to it.
As I watched, I kept asking myself: What makes a great theatre production? Is it the script, the performance, the directing, or the design? In reflecting on Bedroom Chats, I will look at these four elements.
Image Source: Mandisi Sindo
1. Script (Writing)
Mashupe Phala has written something intimate and daring. The script explores a marriage of almost 20 years that has shifted from passion to resentment and routine. Abigail and George, once deeply in love, now secretly plan each other’s death while finding comfort in social media and online chats.
The writing feels different from Mashupe’s previous works. It is clear that he wanted to experiment with new ways of storytelling — especially bringing together theatre, film language, and digital communication.
The script deals with:
The evolution of time
The same words carrying different meanings
The complexity of communication
The silent intentions hidden behind cellphone screens
It is layered and complex. This is not a production that easily allows a standing ovation. The storyline is heavy and thought-provoking. As an audience member, you leave thinking deeply and questioning your own life experiences — depending on the angle from which you watch it.
This is theatre that makes you reflect.
Image Source: Mandisi Sindo
2. Performance (Acting)
The production features two physical actors on stage:
Charity Sehlapelo as Abigail
Tebogo Tsiane as George
Both actors delivered strong performances. The script requires performers who are capable of deep script analysis and emotional control, and both actors rose to the challenge — especially for a premiere performance.
There are also two invisible characters:
George’s chat partner, “Beautiful Stranger”
Abigail’s “Male Bestie” (who is in prison)
Although these characters never appear physically, they are strongly present through cellphone conversations. This adds another layer to the acting challenge. The performers must react truthfully to characters who are not on stage.
In many moments, the actors successfully took the audience into their emotional journey — from tenderness to anger, from suspicion to calculation.
However, this production deserves more resources and funding so that the actors can continue developing the work with other practitioners. With further refinement, the performances can grow even deeper.
Image Source: Mandisi Sindo
3. Directing (Presentation)
As a director, Mashupe knows exactly what story he wants to tell. The direction clearly guides the audience between the physical bedroom world and the digital cellphone world.
It is also evident that Mashupe challenged himself by writing and directing this type of production. Combining theatre and digital storytelling is not easy.
However, because the director is also the writer, one feels that a strong dramaturg — especially someone with knowledge of both filmmaking and digital theatre — could assist as an outside eye. An external perspective could help tighten certain moments, particularly the chorus sections and some transitions.
Overall, the direction successfully moves us through multiple worlds:
The physical marriage
The digital relationships
The private thoughts
The silent tensions
Mashupe’s directing shows growth and boldness.
Image Source: Mandisi Sindo
4. Design (Technical & Visual Elements)
The design elements are beautifully coordinated. The colours of the props, costumes and set work well together. Lighting and music complement the emotional tone of each scene.
The use of cellphones, ringtones and projected conversations captures today’s social media world truthfully. The power of audio-visual elements is especially important here, because although there are only two actors physically on stage, the story involves four characters.
The digital world becomes a character on its own.
One wishes there could be an AV specialist to assist in making the technical execution even smoother and more seamless. With additional technical support, the integration between theatre and digital elements could reach an even higher level.
Image Source: Mandisi Sindo
Final Thoughts
Bedroom Chats is a universal production. It speaks about love, resentment, dependency, digital temptation, and the dangerous line between freedom and destruction.
It is not the kind of play where the audience immediately jumps up for a standing ovation. Instead, it leaves you seated — thinking. Questioning. Reflecting.
Depending on your personal life experience, you may sympathise with Abigail, with George, or with neither. That is the strength of the production.
Without doubt, if selected for the National Arts Festival, this production will be one of the favourites of many. It has the power to connect with diverse audiences across South Africa and beyond.
This is a production that makes one think deeper — about relationships, about communication, and about the silent spaces between words.
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