MHLANGULI GEORGE SPEAKS OUT
Theatre Doesn't Belong Only in Buildings
An Exclusive Interview with Mhlanguli George
Founder of Backyard Dance Theatre and Creator of Theatre in the Backyard
For more than a decade, Mhlanguli George has challenged conventional ideas of where theatre belongs. Through Backyard Dance Theatre and the innovative Theatre in the Backyard model, he has built a movement that has attracted local and international recognition while remaining deeply rooted in community development.
As Backyard Dance Theatre prepares to present another exciting season featuring MTHUTHUZELI (The Comforter) and THE PURPOSE,
The Creative Passport sat down with George to discuss his journey, artistic philosophy, funding, collaboration and the future of South African theatre.
Theat, re in the Backyard has become one of the most recognised community theatre concepts in South Africa. Where did this vision begin?
Mhlanguli George:
The vision for Theatre in the Backyard began in 2012 as a response to a question that had been on my mind: How do we create theatre that speaks to people who don't usually go to theatres?
The idea was never just about performing in backyards. It was about breaking down the barriers that often make theatre feel exclusive or inaccessible. I wanted to create relevant stories that resonate with ordinary people who may never have considered themselves theatre audiences.
For me, Theatre in the Backyard is ultimately about redefining where theatre belongs. It proves that professional, high-quality performance doesn't have to exist only inside traditional theatre buildings—it can thrive in community spaces, making the arts more accessible, more relevant and more meaningful to the people it serves."
Backyard Dance Theatre has become an important platform for artists. What philosophy guides your work?
Mhlanguli George:
My philosophy has always been about creating meaningful artistic experiences rather than simply producing performances.
I believe artists grow by working in challenging environments that push them creatively and encourage genuine engagement with communities.
Looking back, the impact of Theatre in the Backyard has exceeded anything I imagined when I started the concept in 2012.
The platform has become a subject of academic interest, has attracted local and international visitors, has been commissioned by the National Arts Festival, invited by the South African State Theatre, recognised at the Prague Quadrennial, and has hosted internationally celebrated artists such as Vincent Mantsoe.
These milestones have shown me that Theatre in the Backyard is much more than a performance model. It is a platform for innovation, collaboration, research and cultural exchange.
Why did you choose to present MTHUTHUZELI and THE PURPOSE together?
Mhlanguli George:
Curating these productions together was a very intentional decision.
Although they are different in style, structure and storytelling, they are connected by a shared exploration of the human spirit.
I also wanted to create opportunities for women to lead creatively.
Collaborating with Thumeka Mzayiya was important because I wanted to support an artist who is courageously stepping into that space.
As a curator, I don't simply programme productions because they are good shows. I look for work that expands the conversation and reflects the values of Theatre in the Backyard.
I believe our responsibility as theatre-makers is not only to entertain but also to create spaces where audiences feel seen, challenged, comforted and inspired.
Independent theatre companies continue to face funding challenges. How has Backyard Dance Theatre survived?
Mhlanguli George:
One of the biggest lessons I have learned is that sustainability is not built on funding alone—it is built on relationships.
Throughout my journey, I have invested in creating strong networks and mastering the art of collaboration.
Every collaboration brings together different skills, ideas, spaces and opportunities that make ambitious work possible, even when financial resources are limited.
If there is one thing that has kept Backyard Dance Theatre moving forward over the years, it is the understanding that no artist or company succeeds alone.
Networking, collaboration and a shared commitment to excellence have been our greatest assets.
This season has received support from the National Arts Council. What does that support mean to you?
Mhlanguli George:
First and foremost, I am deeply grateful to the National Arts Council for supporting this season.
For an independent company like Backyard Dance Theatre, this investment is more than financial support—it is a vote of confidence in our artistic vision and in the value of the work we continue to create within communities.
Public funding is absolutely essential for independent theatre companies.
It enables us to create employment for artists, invest in quality productions, develop new work and make theatre accessible to audiences who might otherwise never experience it.
My hope is that public funding for the arts continues to grow because investing in artists is ultimately an investment in the country's cultural identity, its people and its future.
What changes would you like to see in South Africa's arts funding landscape?
Mhlanguli George:
I believe South Africa has extraordinary artistic talent, but we need a more sustainable ecosystem.
I would like to see stronger leadership and advocacy for the arts at a policy level.
Government should expand partnerships with the private sector because supporting the arts should not rest on government alone.
I also believe funding agencies should look beyond individual productions and invest in organisations over longer periods.
Ultimately, the arts should be seen as an investment rather than an expense.
What advice would you give to emerging theatre practitioners?
Mhlanguli George:
My advice is simple: believe in your vision before you expect anyone else to believe in it.
Stay curious.
Collaboration is one of the greatest lessons I have learned throughout my career.
Don't define yourself by a single role.
Learn to direct, write, produce, manage projects and market your work.
Finally, be patient.
The future of South African theatre will not be built only in our major cities—it will also be built in townships, villages, backyards, community halls and every space where artists dare to imagine something different.
That is where innovation begins.
Finally, what legacy do you hope Backyard Dance Theatre will leave?
Mhlanguli George:
My vision is to continue building a sustainable artistic ecosystem that proves independent theatre companies can create meaningful, impactful work through innovation, collaboration and strong partnerships.
I hope future generations will look back and see that we created pathways where artists did not have to wait for opportunities to be given to them—they were empowered to create, collaborate and build their own platforms.
Theatre in the Backyard started as an idea about taking theatre into communities, but the bigger vision has always been about creating a movement—one that values collaboration over competition, accessibility over exclusion and sustainability over dependency.
My hope is that this movement continues long after us.
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