MY TINY VOICE REVIEW
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Review: My Tiny Voice — When Young Voices Refuse to be Silenced
Festival: Botho Arts Festival Boutique Edition
Production: My Tiny Voice
Date: 05 March 2025
Venue: Limpopo Library Gardens, Polokwane
Written & Directed by: Takalani (Tshinesa) Raduvha
Choreography: Wilbert Dzombere & Ngonizashe Mushonga
Music: Mathakha Dzimbale
Stage Manager: Khodani Raduvha
Cast:
Mathakha Dzimbale as Vhalaudzi
Ngonizashe Mushonga as Fuluphelo
Wilbert Dzombere as Zwidofhelangani
There is something profoundly moving about watching young performers tell stories that speak directly to the realities faced by many in society. My Tiny Voice, presented at the Botho Arts Festival Boutique Edition, is one such production — a work that reminds us why theatre remains one of the most powerful tools for social reflection and healing.
Written and directed by Takalani (Tshinesa) Raduvha, the production explores the emotional world of a 16-year-old boy living with the traumatic flashbacks of Gender-Based Violence and the lingering abuse that continues even after the death of his mother. It is a sensitive subject, handled through a blend of physical theatre, music, and movement, giving the story emotional depth and immediacy.
A Strong Opening that Sets the Tone
The production opens with a lively soccer scene — a simple yet effective device that immediately places the audience in the world of young boys navigating childhood. The energy on stage is infectious, drawing the audience into what initially appears to be a playful environment before the deeper emotional layers of the story begin to unfold.
From the outset, the performers demonstrate remarkable stage energy and commitment, an indication that the production is driven by passionate young artists who are deeply invested in storytelling.
The Power of Physical Theatre
One of the most exciting elements of My Tiny Voice is its use of physical theatre to communicate emotional states that words alone cannot express. The performers shine particularly when movement and emotion merge, allowing the body to speak where dialogue might fall short.
At times, the production hints at an even greater potential for this physical storytelling. In moments where the show transitions quickly into song, one senses an opportunity for the physical theatre language to be explored more deeply. The fusion of movement and music, especially when supported by the backing track, created some of the most thrilling moments of the performance — moments that left the audience wishing there were even more of them.
The choreography by Wilbert Dzombere and Ngonizashe Mushonga is powerful and expressive, adding texture to the storytelling. The sequences where performers combined movement, singing, and emotional expression were particularly memorable and demonstrate the production’s artistic potential.
A Standout Performance
Among the performances, Ngonizashe Mushonga as Fuluphelo emerges as the heart of the production. Mushonga brings a beautiful innocence and honesty to the role, embodying the vulnerability of childhood with remarkable authenticity. The sincerity of the performance resonates strongly with the audience and becomes one of the emotional anchors of the play.
It is performances like this that remind us that great actors are not only trained — they are nurtured through opportunities such as this festival.
Language, Culture and Audience Connection
Another strength of My Tiny Voice lies in its commitment to language. The production does not dilute its linguistic identity for convenience, allowing the audience to connect with the characters in a way that feels authentic and culturally grounded. This decision deepens the emotional impact and reinforces the importance of storytelling rooted in community experience.
Areas for Growth
Like many productions developed within emerging spaces, My Tiny Voice reveals areas where further development could strengthen the work.
Scene transitions sometimes leave the stage momentarily empty, creating pauses that interrupt the rhythm of the performance. These moments present an opportunity to use music, movement, or transitional choreography to maintain the energy and visual continuity of the piece.
Simple design elements could also enrich the storytelling. Even minimal set or costume adjustments could help transport the audience more convincingly into the world of children that the story seeks to portray.
Similarly, there are moments where performers momentarily drift from fully embodying the child characters they portray. Yet these are not weaknesses so much as signposts of growth, reminders that these artists are still on an exciting journey of artistic development.
The Importance of Festivals in Talent Development
What makes My Tiny Voice particularly significant is not only the story it tells, but where it is being told.
Festivals like the Botho Arts Festival Boutique Edition play a crucial role in the theatre ecosystem, especially in provinces like Limpopo where opportunities for emerging artists are often limited. These platforms become spaces where young performers can experiment, learn, and discover their artistic voices in front of live audiences.
Without such platforms, many talented performers might never be seen.
Productions like My Tiny Voice remind us that the future of theatre does not simply appear overnight — it is cultivated, mentored, and nurtured through platforms that allow artists to grow.
A Promising Future
Despite some developmental aspects that could be refined, My Tiny Voice stands as a powerful example of raw talent, commitment, and artistic potential. The performers are clearly strong and capable artists who, with continued guidance and mentorship, have the potential to develop into formidable voices in the theatre industry.
Director Takalani (Tshinesa) Raduvha deserves recognition for grooming young performers who clearly understand the essence of theatre — storytelling with honesty, emotion, and courage.
The production was undoubtedly worthy of its place in the festival programme, and if this performance is anything to go by, these young artists are only at the beginning of journeys that may one day shape the South African theatre landscape.
Sometimes the smallest voices carry the most powerful stories.
And in My Tiny Voice, those voices are already beginning to be heard.
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