‘Mr Duiker Sang the Blues’ Presents a Meditation on the Death of an Artist

‘Mr Duiker Sang the Blues’ Presents a Meditation on the Death of an Artist

The Market Theatre in partnership with the Dramatic, Artistic and Literary Rights Organisation (DALRO), Wits University Press and the University of KwaZulu-Natal’s Centre for Creative Arts (UKZN CCA) have teamed up for the premiere of Mr Duiker Sang the Blues, a theatrical adaptation of the 2025 DALRO Can Themba Merit Award winning short story of the same name, written by Dyondzo Kwinika.

This new play-with-music tracks the life of an exceptional jazz musician named “Themba”, who enjoys a successful music career while wrestling his inner demons. Through the recollections of his family and those closest to him, the play presents a deeply intimate and honest exploration of family, friendship, memory and the complexities of mental health.

Mr Duiker Sang the Blues is directed by Mahlatsi Mokgonyana (Standard Bank Young Artist 2022), and will run from 10 September – 4 October 2026 at The Market Theatre.

Legendary actor Desmond Dube, who featured prominently during The Market Theatre’s 50th anniversary celebrations, leads the phenomenal cast comprising of another veteran of the stage, Nomathamsanqa Ngoma. William Harding and Tankiso Mamabolo complete the cast, with experimental and narrative-driven music by Yogin Sullaphen and haunting operatic vocal lamentations by Pertunia Msani, who together are at the core of telling this story.

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Nelisiwe Xaba makes a comeback to The Market Theatre as the play’s movement director.

Director Mokgonyana describes Mr Duiker Sang the Blues as a meditation on the meaning of an artist’s death, while poignantly exploring grief, how it lingers and how we reckon with loss.

“The burden of the artist is often to be everything except being yourself. In surrendering their innermost being to the demands of their craft and the public gaze, artists become expelled from themselves, becoming idols and icons who belong to the world,” he remarks. “When death arrives, family and loved ones must then contend with private grief in the midst of public mourning. The weight of the spirituality of death is reduced to a spectacle, and the artist, in death as in life, forfeits themselves to the gallery.”

With death as its meditative anchor, this musically rich work calculates the hefty psychological price for creative talent, and the cost of balancing artistry, personality and celebrity. It further lends much needed language to mental health challenges facing the creative community, often masked in performative joy and the unending pursuit of perfection. It asserts that the true legacy of artists is not measured by the outpouring of condolences when they pass on, but the respect and integrity with which they were treated during their life and times.

The DALRO Can Themba Merit Award was launched at the Time of the Writer Festival in March 2025 as a groundbreaking collaboration between DALRO, The Market Theatre Foundation, Wits University Press and the University of KwaZulu-Natal’s Centre for Creative Arts.

The competition attracted more than 250 submissions from different parts of South Africa. An anthology featuring the top ten shortlisted stories titled When Water Wants To – including Kwinika’s Mr. Duiker Sang the Blues – was published by the Wits University Press and edited by playwright-director, Neil Coppen.

Reflecting on this moment, Kwinika says, “I wanted to write about the guilt, the silence, the unbearable. And Mr Duiker Sang the Blues came out of that place. I wrote it as a short story, so seeing it become a play is still strange to me. Words that started with me are now being spoken by actors, and other people are finding their way into the work. The DALRO Can Themba Merit Award has been important in my writing journey. It gave the story a life beyond me and gave me the opportunity to discover playwriting. I am still learning what happens when a story leaves your hands and enters a room.”

Greg Homann, Artistic Director at The Market Theatre Foundation and dramaturge of the play-with-music, says Mr Duiker Sang the Blues continues on an impressive record of staging and adapting some of South Africa’s favourite novels and short stories into plays. “For us at The Market Theatre, adaptation has long been a powerful way of giving stories a life from page to stage. Through this tradition, iconic works such as The Suit, The Life and Times of Michael K, The Promise, The Cry of Winnie Mandela and now Mr Duiker Sang the Blues have found new audiences beyond the page, expanding access to these important narratives while vitally preserving, growing and celebrating our rich literary heritage,” states Homann.

For DALRO, this work is closely linked with its commitment to safeguarding the rights of creators and advancing an ecosystem in which artists are fairly recognised and remunerated, both of which are essential to their wellbeing, sustainability and legacy. “The journey of Mr Duiker Sang the Blues from an award-winning short story to a fully realised stage production is exactly what the DALRO Can Themba Merit Award was created to achieve,” says DALRO Managing Director, Lazarus Serobe.

“The award is more than a writing competition. It is a developmental platform designed to identify, nurture and invest in emerging South African writers, providing mentorship, publication opportunities and pathways into other creative disciplines. We are immensely proud of Dyondzo Kwinika’s achievement and of how this story has progressed from a call for submissions to publication and now to the professional stage. In celebrating Can Themba’s legacy, we are also creating opportunities for a new generation of writers to find their voice, build sustainable creative careers and contribute to the future of South African storytelling.”

Don’t miss this poetic, moving and deeply effecting play-with-music at The Market Theatre from 10 September – 4 October 2026.

Tickets for Mr Duiker Sang the Blues are available on Webtickets starting from R110, with special discounts for the preview performance, for groups of four or more, and with all Wednesdays at half-price.

Affordable, safe and secure underground parking is available at Newtown Junction.

ENDS.

The Market Theatre is a division of The Market Theatre Foundation, an agency of the Department of Sport, Arts and Culture.

 For reduced price block bookings (of 10 or more) and school groups, contact Anthony Ezeoke (Audience Development Specialist at The Market Theatre Foundation) atAnthonyE@markettheatre.co.za or 083 246 4950.

For media enquiries, please contact Bongiwe Potelwa (Publicist at The Market Theatre Foundation) at bongiwep@markettheatre.co.za or (011) 832 1641.

Cradle of Creativity Festival 2026: Where Imagination Takes Centre Stage

Cradle of Creativity - Where Imagination Takes Centre Stage!

Presented by ASSITEJ South Africa, Cradle of Creativity is the country’s only international festival dedicated to theatre and the performing arts for children and young people. Since its origins in hosting the ASSITEJ World Congress in 2017, the festival has become a major platform for artistic excellence, international collaboration, audience development and professional exchange, showcasing the very best work from South Africa, across Africa and around the world.
“Children and young people in South Africa seldom have the opportunity to experience international theatre and performing arts of this scale,” says Yvette Hardie, Director of ASSITEJ South Africa. “Cradle of Creativity is about bringing the world to children, while showcasing the creativity and stories of South Africa to the world.”

The festival takes place in the 50th anniversary year of the 1976 Soweto Uprisings. Inspired by the courage, creativity and activism of young people, the festival celebrates the power of youth to question boundaries, imagine alternatives and shape a more just future. It also honours the rich indigenous heritage of the continent, creating space for local voices to stand alongside artists from across Africa and beyond.
 
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This year’s festival is supported by the National Arts Council through the Presidential Employment Stimulus, and will present 21 productions in theatre, dance, circus and interdisciplinary performance coming from 10 countries, reaching audience members aged from as young as one year old through to adulthood.

Performances for the youngest audiences include Eyecatchers by De Stilte from the Netherlands, a sensory dance work for children aged one and older, featuring movement, music and unusual instruments. The production is supported by the Royal Netherlands Embassy. South Africa’s award-winning Grommels, for ages two and older, follows the last two colours in a grey world and was named Best Children’s Theatre at the 2025 Kanna Awards, in addition to receiving an Ovation Award at the 2025 National Arts Festival.
 
Also for audiences aged two and older, The Young Scientist presents children as capable thinkers who can respond to environmental destruction, species extinction and animal abuse. The Boy and the Ball, an acclaimed non-verbal production from Australia aimed at four-year-olds, uses simple objects and theatrical illusion to tell a gentle story about shyness, friendship and connection.

For children aged 5-12 and their families, South Africa’s The Forest combines live dance, animation and audience participation in a story inspired by Ukrainian writer Lesya Ukrainka’s Forest Song. The production explores nature, imagination, love and resilience, reminding audiences of the importance of protecting their relationship with the natural world.
Children aged seven and older can experience productions from Ghana, Zimbabwe Rwanda, Germany and South Africa. 

Gizo-Gizo! The Musical, from Ghana, combines traditional and contemporary music, dance and storytelling in the tale of a selfish spider who pollutes a lagoon. Zimbabwe’s The Painted Kite explores friendship, bullying and self-discovery through the magical journey of three children and a kite brought to life. South Africa’s Serurubele/Butterfly Heart offers a sensitive, child-centred exploration of friendship, grief, and loss. 

IreOluwa, a dazzling musical from Amandla Danca Teatro (Northern Cape), weaves together music and dance from Yoruba and Khwe Xam (Khoi San) cultures. Golden Memories, from Circus Zambia, combines circus, physical theatre, music and storytelling in a journey through childhood memories, imagination and personal growth. 
Dimpho and the Catfish explores adolescence, online choices and the evolving relationship between a mother and daughter in a technology-driven world. Leah, from Nigeria, reimagines the story of Leah Sharibu, who was abducted by Boko Haram in 2018, through a two-woman production combining storytelling, music and Northern Nigerian humour.
Talking About Silence, created by Ishyo Arts Centre in Rwanda and Helios Theatre in Germany, uses personal stories, songs and melodies to examine silence within families, communities and histories. It explores what is spoken and left unspoken, and the different ways silence can shape personal and collective experience. The production is supported by the Goethe-Institut.

Older children and teenagers can engage with a number of productions exploring youth agency, history, trauma, civic responsibility and issues relevant in contemporary South Africa. 
Skin We Are In, based on the book by Dr Sindiwe Magona and Professor Nina Jablonski and adapted for the stage by Omphile Molusi, supports conversations around race, belonging and shared humanity, through storytelling, music and audience interaction. Both Uganda’s The Snake Around Baba’s Waist and South Africa’s RooiLug, confront the lasting effects of childhood traumas in their respective contexts. 

For audiences aged 14 and older, S.O.N.D.A. uses satire, humour and sharp social commentary to examine South Africa’s political landscape and invite reflection on civic responsibility. A Season of Hell explores youthful rebellion and the contradictions of contemporary Johannesburg, as a space of struggle and renewal. Letters From Tomorrow examines reflection, regret, and redemption in the not so new South Africa. It questions reconciliation and challenges what we think we know about truth. 
The festival is expected to reach around 8000 audience members. Approximately 300 young artists and cultural practitioners will participate in workshops and professional exchanges designed to strengthen South Africa’s creative industries and build lasting international partnerships. These include workshops on creating theatre for young audiences that engages with difficult social issues and developing work for very young (0-6 years).

In addition, ASSITEJ South Africa will launch its Arts-Rich Schools programme, developed in partnership with the Department of Basic Education. The initiative will connect schools with professional artists and cultural organisations, helping to ensure that every child has opportunities to create, participate in and experience high-quality arts throughout their education.

Participation in the arts can contribute to creativity, communication, confidence, empathy, critical thinking and educational achievement. However, professional performing arts created specifically for children and young people remain unevenly distributed across South Africa. Cradle of Creativity seeks to address this by building sustainable relationships between artists, schools, families and communities.
The festival affirms that children and young people are not simply audiences of the future, but vital audiences today, deserving of world-class artistic experiences wherever they live.
The Cradle of Creativity Festival is supported by the Department of Sport, Arts and Culture, the Department of Basic Education, the National Arts Council through the Presidential Employment Stimulus Programme, the Market Theatre Foundation, the Royal Netherlands Embassy, the Performing Arts Fund NL, the Goethe-Institut, the Northern Cape Theatre, the Northern Cape Arts and Culture Council, the Social Employment Fund and the Buz Hive.
The festival is also presented “with the support of the Goethe-Institut and Expertise France, in partnership with Institut français, within the framework of the Connect & Create programme funded by the European Union”.
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Festival Details:
 
Cradle of Creativity Festival, Johannesburg: Market Theatre [John Kani Theatre, Barney Simon Theatre, Ramoloa Makhene Theatre]
31 August to 6 September 2026
Cradle of Creativity On Tour, Kimberley: Northern Cape Theatre
24 -28 August 2026
Ticket Prices:
Adults: R180
Children: R150
Four people attending one production: R400
Block booking for 10 or more people: R85 per person
Block booking for 10 or more people attending two productions: R120 per person
Day Passes at the price of 2 tickets on a single day allow access to the whole festival for a day. 
For reduced price block bookings (of 10 or more) and school groups, contact Anthony Ezeoke (Audience Development Specialist at The Market Theatre Foundation) at AnthonyE@markettheatre.co.za or 083 246 4950.
To sponsor children to attend the festival, go to Backabuddy: https://www.backabuddy.co.za/campaign/the-imagine-nation
Distributed on behalf of Assitej. For media enquiries, please contact
For Assitej : 
The BUZ Hive 
Bridget van Oerle 
bridget@thebuzhive.co.za / media@thebuzhive.co.za 
0832636991 
For The Market Theatre 
Bongiwe Potelwa
Bongiwep@markettheatre.co.za
011 832 1641
079 967 3441
Acknowledgements 
The Cradle of Creativity Festival is supported by the Department of Sport, Arts and Culture, the Department of Basic Education, the National Arts Council through the Presidential Employment Stimulus Programme, the Market Theatre Foundation, the Royal Netherlands Embassy, the Performing Arts Fund NL, the Goethe-Institut, the Northern Cape Theatre, the Northern Cape Arts and Culture Council, the Social Employment Fund and the Buz Hive.
The festival is also presented “with the support of the Goethe-Institut and Expertise France, in partnership with Institut français, within the framework of the Connect & Create programme funded by the European Union”.
The Market Theatre Foundation is an agency of the Department of Sport, Arts and Culture.

Prejudice and Privilege Collide in Amy Jephta’s A GOOD HOUSE

Prejudice and Privilege Collide in Amy Jephta’s A GOOD HOUSE

The Market Theatre presents A Good House, a thrilling and comedic hit play written and directed by award-winning contemporary playwright, writer and director, Amy Jephta.

The play first premiered at the Royal Court Theatre and Bristol Old Vic (United Kingdom) in 2025 in association with The Market Theatre, where it earned rave reviews for being a “superb social satire” (The Guardian) that is “excruciatingly funny” (Financial Times) in its “worthy exploration of prejudice and privilege” (LondonTheatre).

This internationally acclaimed South African play of biting satire now arrives in Jo’burg as a fully home-grown production, running from 6 August – 6 September 2026 at The Market Theatre.

In the quaint suburban community of Stillwater, a mysterious shack springs up from the dust with the inhabitants nowhere to be seen. As speculation abounds, Black residents “Sihle” (portrayed by Nhlakanipho Manqele) and “Bonolo” (played by Lesoko Seabe) are recruited by their white neighbourhood to be the face of a campaign to demolish the shack.

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Christine van Hees, Mary-Anne Barlow, José Domingos and Conrad Kemp complete the impressive cast of this piercing work.

At its core, A Good House is about a couple who discover the limits of good neighbourliness and what is required to fit in. This play – which Jephta was nominated for the prestigious international Susan Smith Blackburn Prize that honours women+writing for the stage – is full of wit, humour, insight and exhilarating tension.

Jephta describes the work as a provocative exploration of the meaning of place, the contradictions of belonging and definitions of community. While complex class dynamics and race relations play out behind high walls, the play raises questions of land, the housing crisis, transformation and racism with tongue-in-cheek honesty.

“These are the shifting terrains that my characters grapple with. The creation of the Black middle class is often spoken about as a post-apartheid policy success, gauged in terms of upward mobility, proximity to whiteness and by implication distance from their often haunted backgrounds. What we haven’t openly interrogated, at least theatrically, is what that kind of assimilation truly costs in the face of long-held prejudices and opportunities conditioned on polishing identities.”

Jephta hopes that the work will live beyond the gated community it’s set in, adding to the ongoing conversation about how the nascent Black middle class – like the couple in the play – find themselves constantly “negotiating their Blackness in spaces where they’re often the first, and indeed only, ones of their kind”.

The Market Theatre Foundation’s Artistic Director, Greg Homann, expresses great excitement and anticipation for A Good House’s South African premiere in the 50th birthyear of The Market Theatre.  

“For us, this work makes the key point that community cannot be understood simplistically. It is much more complex, storied and deeply interconnected in tense but also hearty ways. Through the lens of just one suburb, this play peels the layers off amid raging debates about place and belonging. This is the kind of work that questions who is deemed an outsider and who has the inherent right to claim a piece of land as their home,” Homann says.

Don’t miss this hilarious, joyful and richly themed story of how we live next to each other, how neighbourhoods become communities and how communities make societies. Catch A Good House from 6 August – 6 September 2026 at The Market Theatre.

Tickets are out on Webtickets, with special discounts for the preview performance, for groups of four or more, and with all Wednesdays at half-price.

Affordable, safe and secure underground parking is available at Newtown Junction.

ENDS.

The Market Theatre is a division of The Market Theatre Foundation, an agency of the Department of Sport, Arts and Culture.

 For reduced price block bookings (of 10 or more) and school groups, contact Anthony Ezeoke (Audience Development Specialist at The Market Theatre Foundation) atAnthonyE@markettheatre.co.za or 083 246 4950.

For media enquiries, please contact Bongiwe Potelwa (Publicist at The Market Theatre Foundation) at bongiwep@markettheatre.co.za or (011) 832 1641.