TRAIL OF THOUGHTS REVIEW
Trail of Thoughts – A Stirring Opening to the Botho Arts Festival Boutique Edition
Botho Arts Festival Boutique Edition – Polokwane Library Gardens
04 March 2026 | 17h00
The Botho Arts Festival Boutique Edition opened its Limpopo programme at Polokwane Library Gardens with Trail of Thoughts, a production written by the late Selaelo Maredi and Mpho Kolapho, and directed by Kolapho herself.
The choice to open the festival with this work was fitting. It is a play that places the experiences of women firmly at the centre, challenging audiences not to shy away from confronting the realities that shape women’s lives in our communities.
The play introduces Mahlodi (Seipati Conny Kgatle), a fearless and outspoken woman who refuses to remain silent about injustices faced by women. Mahlodi imagines a radical political response—forming a party of women and positioning herself as a Commander-in-Chief (CIC). Her bold thinking unsettles Donsile (Mpho Kolapho), who fears that Mahlodi’s vision could easily be interpreted as a declaration of war against men.
Through this dynamic, the play unfolds as more than a political debate. It becomes a reflection on trauma, resistance, solidarity, and the different ways women process their lived experiences.
Symbolism on Stage
One of the striking theatrical elements in the production is the washing line filled with buckets and white T-shirts. This seemingly ordinary domestic imagery becomes a powerful metaphor within the performance.
The act of washing becomes symbolic of attempting to cleanse the pain women carry in society. The washing line exposes the “laundry” of the nation for public viewing, forcing the audience to confront experiences that are often hidden behind silence. In this sense, the stage becomes a public space where the stains of injustice are acknowledged and addressed.
The white T-shirt inscribed with the phrase “In The Beginning” holds further significance. It is linked to a song created collectively by the women—suggesting shared experiences across different societies. The imagery reminds us that while the story is rooted in a particular community, the realities it speaks to are universal.
The Male Presence
An interesting theatrical device used in the production is the portrayal of the male character, the Commander (David Mogashoa). For most of the play, the character remains offstage, standing behind a white cloth. His voice is heard as a backing voice, while his physical presence is concealed.
This staging choice suggests that the Commander exists primarily as a psychological presence—representing Donsile’s traumatic memories. The violation she experienced at the hands of this figure continues to haunt her. The Commander thus becomes a symbol of the “dirtiness” and violence women carry within their memories, even when the perpetrator is not visibly present.
Each woman in the story engages with this male presence differently, highlighting the diversity of responses women develop when confronted with similar forms of harm.
Ensemble Strength
The performance is driven by the strong work of its cast:
Seipati Conny Kgatle as Mahlodi
Mpho Kolapho as Donsile
Matshidiso Mashiane as Mokgadi
David Mogashoa as Commander
The three actresses deliver particularly compelling performances. Rather than competing for dominance on stage, they function as a cohesive ensemble, supporting and elevating each other’s performances. If one were to imagine awards being presented at the festival, this company would certainly be deserving of a Best Ensemble recognition.
That said, there remains room for further development in the storytelling. Some of the line delivery tends to maintain a similar tone throughout the production. Introducing more vocal and emotional variation could add further layers to the narrative and create richer theatrical textures.
Language and Accessibility
The play is performed largely in English, which undoubtedly assists in making the production accessible to a wider audience. The cast handles the language confidently. However, there were moments where the inclusion of more vernacular languages could have strengthened the connection between the characters and the communities they represent. Language, after all, carries emotional weight and cultural specificity.
Music and Movement as Storytelling Tools
One of the most refreshing elements of the production is its use of music and movement.
According to director Mpho Kolapho, the integration of these elements was inspired during the company’s participation in Tembisa Theatre Week, curated by TX Theatre, where Festival Director Gift Ngobeni encouraged the creative team to explore alternative storytelling techniques beyond strict realism.
The result is a production that avoids becoming overly wordy or slogan-driven. Music and movement introduce rhythm, emotional depth, and theatrical excitement. The musical direction and choreography enhance the narrative, providing moments of reflection and intensity.
At times, the singing is accompanied by a backing track, which adds welcome variation to the soundscape. Expanding this musical layering further could create even richer emotional textures within the production.
A Promising Future for Limpopo Theatre
Watching Trail of Thoughts within the context of the Botho Arts Festival Boutique Edition leaves one optimistic about the future of theatre in Limpopo. The festival provides a crucial platform where local voices, stories, and talent can be nurtured and presented to wider audiences.
Strong writing, confident direction, and emerging performers all signal that Limpopo’s theatre ecosystem holds tremendous potential. What is needed now is continued investment, infrastructure, and consistent platforms that allow such talent to flourish.
The presence of the late Selaelo Maredi’s spirit is deeply felt in the work. His contribution to the script remains a guiding force as the production continues to evolve and discover its full theatrical expression.
A Festival Worth Supporting
Trail of Thoughts also demonstrates the importance of curated festivals like the Botho Arts Festival Boutique Edition. These spaces allow theatre to meet community, conversation, and social reflection in a meaningful way.
The production speaks not only to seasoned theatre audiences but to ordinary members of the public who can recognise their own realities within the story.
Audiences with families in Polokwane and Jane Furse are encouraged to attend the remaining performances in the festival. For those unable to attend, another meaningful gesture would be to donate a ticket for someone who might not otherwise afford the opportunity to experience theatre.
The Botho Arts Festival is steadily positioning itself as a flagship cultural programme for Limpopo, contributing to the broader development of South African theatre. With sustained support and investment, initiatives like this can play a significant role in building a vibrant, inclusive, and community-rooted theatre industry in the province.
And if the opening performance is anything to go by, Limpopo’s theatre future is indeed bright.
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