YAWA LEMBEWU REVIEW

 

YAWA LEMBEWU

Written and Directed by Ntsikelelo Ngcanga
05 March 2026, 17h00
Botho Arts Festival Boutique Edition – Polokwane Library Gardens

Cast
Nokwanda Stokoti as Londiwe
Phiwokuhle Mazibuko as Thembisile
Lehlohonolo Taolana as Nthabiseng

The Botho Arts Festival Boutique Edition continues to demonstrate the richness and diversity of theatre programming in Limpopo. One of the most exciting aspects of the festival is its willingness to present productions that explore different theatrical styles, forms, and performance languages. In doing so, the festival not only entertains audiences but also educates both practitioners and viewers about the breadth of theatrical expression.

Among the productions that brought a distinctive theatrical language to the festival stage was Yawa Lembewu, written and directed by Ntsikelelo Ngcanga. This production stood out as a carefully crafted piece of theatre that blends storytelling, chorus work, movement, and musicality into a cohesive performance experience.

The play opens beautifully with the hymn “Ukholo Lwam Ndonyuka Nalo,” a powerful Xhosa spiritual song that speaks of unwavering faith carried through hardship and ultimately to heaven. This opening moment immediately establishes the emotional and spiritual tone of the production. It also situates the audience within a reflective and symbolic world that the play continues to explore.

From the beginning, it becomes clear that the performers are experienced and deeply knowledgeable about theatre practice. There is a deliberate sense of style in the pacing, timing, and rhythm of the production. The performers demonstrate an understanding that in a piece like this, the actor must go beyond simply delivering lines. The actors must embody the physical, emotional, and rhythmic demands of the form.

The production fuses storytelling, ensemble chorus work, and stylised movement, creating a theatrical language that demands stamina and precision from the performers. In productions of this nature, actors must avoid becoming what is often referred to as “talking heads,” where dialogue dominates at the expense of physical and visual storytelling. Instead, the performers must remain constantly aware of the theatrical tools provided by the script and the direction.

The stage design reflects admirable simplicity. With only three chairs on stage, the production embraces minimalism while still managing to create striking theatrical imagery. This simplicity encourages audiences to focus on the performers and the emotional journey of the narrative.

However, there remains exciting room for further exploration within the staging. The chairs, for example, could be used more creatively as part of the choreography and movement vocabulary. Additionally, the production could benefit from greater experimentation with levels and spatial composition to avoid extended moments of straight-line staging.

What is particularly commendable is the pace of the production. The play maintains an engaging rhythm that keeps audiences attentive and emotionally invested. Throughout the performance, the audience remained visibly absorbed in the unfolding narrative.

The script is primarily written in English, which makes the narrative accessible to a wide audience. Yet one cannot help but feel that incorporating more vernacular language would enrich the authenticity of the characters. Language often carries cultural habits, psychological nuances, and emotional textures that can deepen characterisation. More vernacular dialogue might allow the performers to explore the internal struggles of the characters not only physically but also linguistically in an African context.

Ntsikelelo Ngcanga’s commitment to the work is evident both in the writing and in the directing. His vision for the production is clear, and it is evident that the world of the play lives vividly in his imagination. When a writer and director are the same person, however, it can be valuable to bring in an external eye during the development process. Such collaboration can help tighten the script and maintain the momentum of the performance, particularly in a festival environment where pacing is crucial.

One of the most compelling theatrical devices used in the production is chorus work. The chorus is strategically placed throughout the script and direction, functioning both as a narrative device and an emotional amplifier. For chorus work to reach its fullest potential, performers must complement each other while maintaining clear individual identities within the collective voice. This balance ensures that the chorus does not feel like simple recitation but rather a dynamic ensemble expression.

The choreography and movement deserve special recognition. The physical storytelling throughout the production is visually engaging and thoughtfully constructed. Movement is used not merely as decoration but as a narrative tool that enhances the emotional resonance of the story.

Music is also used effectively. The selection of songs and musical moments feels deliberate and purposeful, supporting the atmosphere and themes of the production.

Among the standout performances, Phiwokuhle Mazibuko displays remarkable maturity in her performance. Her timing, control of movement, and emotional grounding reveal an actor who understands the rhythm of the stage.

A particularly powerful moment in the production is the birth scene, which emerges as one of the most emotionally moving images of the performance. It is staged with sensitivity and conviction, leaving a lasting impression on the audience.

The play itself deals with deeply painful realities. It tells the story of three women who died during the COVID-19 lockdown in South Africa at the hands of their loved ones due to gender-based violence. Now standing in a queue at “Heaven’s Gate,” the women recount their stories while waiting for entry into the afterlife. Through this premise, Yawa Lembewu confronts society with difficult questions about violence, justice, and collective responsibility.

The themes explored in the play are universal and deeply relevant, making the production accessible to audiences beyond South Africa.

All three performers—Nokwanda Stokoti, Phiwokuhle Mazibuko, and Lehlohonolo Taolana—deliver strong and believable performances. As the production continues to tour and the performers spend more time working together, the ensemble energy will undoubtedly grow even stronger.

Without doubt, Yawa Lembewu stands as one of the strong productions presented at the Botho Arts Festival Boutique Edition. It brings a different theatrical energy to the programme and demonstrates the importance of exposing audiences to varied theatrical forms and performance styles.

Festivals like Botho are vital because they create spaces where artists and audiences can engage with theatre that challenges conventional expectations. Understanding different theatrical styles not only expands artistic knowledge but also deepens appreciation for how theatre can communicate social realities in multiple ways.

When asked about the future plans for the production, writer-director Ntsikelelo Ngcanga expressed a desire to present the work at the National Arts Festival and eventually tour internationally.

Based on its thematic strength and theatrical vision, Yawa Lembewu certainly has the potential to succeed at the National Arts Festival and represent South African theatre proudly on international stages.

More importantly, productions like this remind us that theatre remains a powerful space for reflection, healing, and dialogue—a place where stories that are often silenced can finally be heard.

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