The Moon

The Moon Looks Delicious From Here

Hailed as a masterclass in writing and performance, Aldo Brincat’s ‘The Moon Looks Delicious From Here’ is coming to Jo’burg for the first time after its massive national and international success. The captivating semi-autobiographical story about immigration plays at The Market Theatre from 9 – 27 July 2025. This multi-award-winning piece of theatre is an action-packed exploration of identity, sexuality and heritage.

Told with brave vulnerability and theatrical flair, the play is Brincat’s personal account as a first-generation South African in his family. It is directed by Sjaka Septembir, with music by internationally renowned singer and songwriter, Bongeziwe Mabandla.

‘The Moon Looks Delicious From Here’ won a Standard Bank Silver Ovation Award at the 50th anniversary of the National Arts Festival (2024) and The Special Jury Award at the Bitesize Theatre Festival in London (2024).

In this solo performance, multidisciplinary artist, Brincat, plays an array of characters in and around a fragile young nuclear family – some foreign, some local – all of whom are finding or losing themselves in the ever-changing political landscape.

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Language, religion, ambition, sexuality and political leanings are brought into sharp focus as the show’s two lead characters (both played by Brincat) fight off ‘otherness’, while attempting to assert themselves into a volatile new country. As the effects of apartheid – and its homophobic policies – begin to reach a boiling point, family ties threaten to tear apart.

Brincat says ‘The Moon Looks Delicious From Here’ is a timely intersectional work with relevant themes for our current sociopolitical context. He explains, “This show is universal in its theme, particularly at this time when the intersectional knock-on effects of migrancy, sexuality, heritage and identity are brought increasingly into our consciousness. It makes us question what and who we think belongs, probing our conventional understanding of identity, family, ancestry and nationality.”

As Brincat courageously confronts his personal history, he generously holds space for audiences to revisit their own painful memories, heal their inner child and reconcile with the tragedies of their past.

Tickets for the show are available on Webtickets, with half-price specials on Wednesdays. Special discounts apply for groups of four or more and preview performances.

ENDS.

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

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

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.

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FATHER & I

FATHER & I

The dynamic dance-theatre work exploring South African fathers is back

The heart-warming and beautifully crafted Naledi-nominated dance-theatre piece, ‘Father & I’, returns to The Market Theatre for its second season, after its initial four performances in November, 2024. This year, the show will play from 21 – 31 August 2025, before touring to the JOMBA! Contemporary Dance Festival in Durban.

‘Father & I’ uses personal stories, dance, song and music to explore the relationships between South African fathers and their children. As an interdisciplinary work, it combines song, dance, music and personal testimony to create a theatrical experience aimed at acknowledging the complexity and beauty of fatherly relationships, with all its imperfections.

It is choreographed by Moving into Dance’s Artistic Director, Sunnyboy Motau, with music by Bongile Lecoge–Zulu and Matthew MacFarlane, and direction by Artistic Director at The Market Theatre Foundation, Greg Homann.

This dynamic fusion of real life stories from the cast is created between The Windybrow Arts Centre’s 2024 Kwasha! Theatre Company, The Market Theatre and Moving into Dance.

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In a country battling high fatherlessness statistics, ‘Father & I’ offers a warm and nuanced take at what it means to be a father in contemporary South Africa. The performances are delivered with humour, care and empathy, aimed at facilitating understanding, reconciliation and love. According to the 2024 State of South African Fathers report, only 35.6% of South African children live with their biological fathers. The impact of absent fathers on children, especially boys, is widely documented.

The work goes beyond this concerning reality, and delves into the nuances of fatherhood. While spotlighting the crisis of absent fathers, the show further aims to offer a balanced and honest narrative that celebrates present fathers. The artistic treatment creates an empathetic space that has the potential to lead audiences to a place of honest conversations about healing the father wound, reconciling broken families and inspiring a new generation of fathers to break an all too familiar destructive cycle.

Choreographer, Sunnyboy Motau, emphasises that the dance theatre work attempts to show all sides of fatherhood, especially in a country like South Africa where the role requires added resilience, courage, vulnerability and responsibility.

Greg Homann, adds, “Starting with the personal narratives of the actors and dancers involved, ‘Father & I’ weaves stories of absence and presence, identity, inherited roles, support, and notions of masculinity. Each artist shares their experiences, highlighting the challenges of these bonds—the joys, the struggles, and the fatherly moments that define them. These heartfelt stories invite the audience to reflect on their own relationships with their fathers, sparking dialogue about love, belonging, the act of providing and the deep yearning for connection.”

As ‘Father & I’ makes a comeback, it will sit alongside the upcoming Zwakala Festival-winning production, ‘Fatherhood’, as The Market Theatre’s artistic focus over the next few months centres, in part, on issues relating to fathers.

Don’t miss this new work that will shift your perspective about fatherhood in a daringly heart-stirring way. Tickets via Webtickets start from R170 when booked as 4-or-more. There is also a “Parents Special” when buying two full price tickets, where you get a third ticket for free.

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

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

For reduced price block bookings (of 10 or more) and school groups, contact Anthony Ezeoke (Audience Development) at AnthonyE@markettheatre.co.za or 083 246 4950/081 572 9612.

Barber Shop Chronicles (PG)

Barber Shop Chronicles

It’s time to cheat on your barber as Barber Shop opens in Johannesburg

All men will be free this November to cheat on their barber and never regret it, as The Market Theatre ends the year with staging the renowned “Barber Shop Chronicles” for the first time on African soil. Brilliantly written by Nigerian-born British playwright, Inua Ellams, the international-hit play is directed by Sibusiso Mamba. 

It will run from 6 – 30 November 2025 in the John Kani Theatre.

The play chronicles six barbershops across the cities of Johannesburg, Harare, Kampala, Lagos, Accra as well as London. It’s an insightful exploration of masculinity, vulnerability and connection. Ellams explains, “The narrative unfolds over a single day, connecting the lives and stories of African men. These barbershops serve as sanctuaries where men gather not just for haircuts but for camaraderie, debate and solace, exploring themes of identity, fatherhood, history, relationships, culture, race and masculinity. It also offers a poignant and humorous exploration of the African diaspora experience.”

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Having been loved by audiences internationally, the play’s African premiere marks a surreal moment for Ellams. “The Market Theatre,” he says, “is every progressive theatre-maker’s dream venue. To have my work not just staged on the African continent but at this iconic institution is an honour I wouldn’t have imagined possible. I’m greatly excited for the future ahead, hopeful that this premiere will be the beginning of the production’s intra-Africa tour.”

This highly anticipated piece unmasks men in their complexities, showing barbershops as integral communities in which connection and correction mutually thrive. While culturally prejudiced gazes may have framed barbershops as problematic, chaotic and misogynistic, the play offers an unapologetic counter-framing that highlights the safety, honesty and comedy characterising these spaces.

The play enthusiastically shows barbershops across Africa as dynamic spaces uniquely designed for black men to try make sense of their world, with barbers going beyond crafting eye-catching crispy fades and becoming unofficial therapists, football analysts and relentless comedians, in the process creating unbreakable brotherhood. This charged atmosphere turns the old rule about never cheating on your barber into more than loyalty to the one holding the clippers—it defines the barbershop as a space where a man leaves looking and feeling transformed. The refreshing sense of newness shines through the haircut as it is noticeable in the change of perspective, neatly trimmed by razor-sharp engagements with peers. It’s an unmistakable feeling of having let go of a burden and embracing change.

Director, Sibusiso Mamba, describes the work as a pan-African and diasporic celebration of black masculinities in their various ways of being. “This play confronts the often repeated notion that men don’t have platforms where they can really talk, making a strong case for the babershop as a space for men’s gatherings. The fact that men talk in a language often times misunderstood by the world doesn’t mean there’s no talking happening. Just as no two men’s hair is identical or needs the same cut, the script acknowledges the difference and sensitivity in each one of us and the different forms of masculinity that exist. Barbershops can therefore be sanctuaries that allow men to pour out their hearts, find fellowship and crack jokes without care of societal expectations,” concludes Mamba.

Greg Homann, Artistic Director at The Market Theatre Foundation, is chuffed to programme this powerful and electric theatre piece on the John Kani Stage by one of the leading contemporary playwrights in the world.

“For us, this production deepens our ongoing commitment of being the home of African storytelling by programming works that not only focus on local issues, but the broader continent as well. Arriving at a time of harmful narratives against African immigrants, the play’s infectious humour, witty writing and edgy drama will act as a much needed balm to sooth us into the end of 2025. We’re in a phase of boldly reaffirming the kind of work that we’ve always been known for throughout our nearly 50 years of fearless existence as South Africa’s cultural cornerstone.”

Book your “Barber Shop Chronicles” today and immerse yourself in the energy that fills barbershops. This is the only time you won’t regret cheating on your barber!

Tickets are available on Webtickets starting from R170. Half-price Wednesdays and special discounts for groups (four or more) also apply.

Safe and affordable underground parking available at Newtown Junction.

ENDS

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

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

For reduced price block bookings and school groups, contact Anthony Ezeoke (Audience Development Specialist) at AnthonyE@markettheatre.co.za or 083 246 4950.

A Tribute to Athol Fugard from the Market Theatre Foundation

A Tribute to Athol Fugard from the Market Theatre Foundation

The Market Theatre joins the world in mourning the passing of Athol Fugard, a titan of South African and world theatre whose voice and vision shaped the landscape of storytelling both at home and abroad.

Fugard’s unflinching commitment to truth, justice, and the act of witnessing through theatre resonated deeply within the Market Theatre’s walls, where his plays found a natural home and a passionate audience. His long list of remarkable works – Boesman and Lena, “Master Harold”… and the Boys, The Road to Mecca, People are Living There, Hello & Goodbye, Nongogo among many others – confronted what it is to be human in an imperfect world, and offered a study of relationships that are unsurpassed. His collaborative plays, with the likes of John Kani and Winston Ntshona, like Sizwe Bansi is Dead and The Island challenged injustice and held a mirror to our society that was recognised globally.

As an artist, his words carried the weight of history and the depth of lived experience. As a playwright, his legacy continues to inspire generations of playwrights who strive to tell stories with courage and conviction.

The Market Theatre Foundation acknowledges Athol Fugard’s immeasurable contribution to the stage and to the fight for a more just world. Our theatre and society would be a lesser space without him. His passing marks the end of a life lived so wholeheartedly for our theatre, and his influence will endure with every audience moved by the power of theatre.

We send our deepest condolences to his family, friends, and all who loved and admired him.

RIP Athol Fugard. Your words live on.

 

The Good White

The Good White

The Good White Confronts South Africa’s Non-Racial Project

The Market Theatre in partnership with Suidoosterfees is proud to present ‘The Good White’, a bold new play by acclaimed South African playwright Mike van Graan. Premiering in Cape Town for two performances only on 1 and 2 May at the Suidoosterfees, this gripping drama then runs from 8 May to 1 June 2025 at The Market Theatre in Johannesburg.

Set in 2016 during the height of the #FeesMustFall protests – a time when South African students were demanding free, decolonised education while the country was reeling from political scandals and corruption – the play brings together four sharply drawn characters, portrayed by an all-star cast: Russel Savadier, Renate Stuurman, Vusi Kunene, and Shonisani Masutha. As the characters navigate a volatile social and political landscape, they are each pushed to re-examine what it means to live in a South African society still healing from its divided past.

At the centre of the play is Professor Simon Whitehead, who earned his credentials through his involvement in the anti-apartheid struggle. As a member of university senior management, he now faces a new generation that sees him not as an ally, but as part of the problem. 

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Van Graan’s script, which is his first multi-character work since ‘When Swallows Cry’ in 2018, doesn’t shy away from difficult questions. Instead, it leans into them with wit, honesty, and a sharp theatrical flair. The result is a piece that’s as entertaining as it is deeply affecting – one that challenges audiences to reflect on the idea of non-racialism and the promise of a truly equal society.

Van Graan expresses excitement over his return to The Market Theatre to stage a multi-character play for the first time post-COVID, further stressing the impact of the pandemic on independent theatre-makers like him. Being able to once again stage a multi-character piece is therefore a significant moment for the renowned playwright. “As an independent theatre-maker, I’ve concentrated on recovery through one-person shows that are portable, cost-effective and yet with good income-generating potential. ‘The Good White’ is the first multi-character play I’ve had staged since 2018, so I’m extremely grateful to The Market Theatre, Die Suidoosterfees and the National Afrikaans Theatre Initiative for co-producing it,” states van Graan.

Directed by award-winning theatre-maker Greg Homann, who also serves as the Artistic Director of The Market Theatre Foundation, ‘The Good White’ dives headfirst into the uncomfortable but necessary conversations around race, privilege, and South Africa’s ongoing struggle with inequality.

‘The Good White’ forms part of a powerful theatrical reflection curated at The Market Theatre on the #FeesMustFall movement, now approaching its tenth anniversary. Also featured in this reflection is ‘The Fall’, which is currently on until 4 May 2025. ‘The Fall’ is a collaborative work created by former University of Cape Town students involved in the #RhodesMustFall and #FeesMustFall protests. Together, these two productions offer a layered and engaging look at how a generation of young South Africans is redefining activism and pushing for real transformation.

“Through ‘The Good White’ and ‘The Fall’, we’re creating a space to examine the ideals, the tensions, and the realities faced by young people in post-struggle South Africa. These plays are fiery and heartfelt, with a theatrical pulse that is dynamic and edgy. They speak to anyone who’s ever questioned their place in the country, or wanted to change it,” says Greg Homann.

Homann also points to the historical role of The Market Theatre as a home for protest theatre.

“As we approach our 50th anniversary in 2026, we’re reminded of our roots as a platform for bold, socially engaged storytelling. Just as the theatre was born out of the 1976 student uprisings, we see the Fallist movement as another defining moment that demands our attention – and our artistic response.”

Whether you lived through the protests or are learning about them now, ‘The Good White’ promises to be a gripping and illuminating experience. It invites audiences into a conversation that’s still unfolding – a conversation about justice, opportunity, and what it truly means to build a better, more inclusive South Africa.

Don’t miss this thrilling production. Tickets for the short premiere period at  Suidoosterfees and for The Market Theatre run across May are available via Webtickets. Half-price specials for all Wednesdays apply at The Market Theatre, as well as special discounts for preview performances and groups of four or more.

‘The Good White’ is a co-production between The Market Theatre and Suidoosterfees, with support from the National Afrikaans Theatre Initiative (NATi).

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

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

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

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The Last Country

The Last Country

An immersive theatre production about migrant women finds a home at The Market Theatre in Africa Month

 ‘The Last Country’ is an immersive and deeply moving theatre piece exploring the stories of migrant women. It is set to run at The Market Theatre from 15 May – 1 June 2025. Through the stories of Ofrah from the DRC, MaThwala from Ndwedwe in KwaZulu-Natal, Aamiina from Somalia, and Aneni from Zimbabwe, the audience is intimately immersed in experiences of leaving home and arriving in a South African city. The script carefully weaves together experiences of struggle, pain, humour, hope and resilience in ways that surface our shared humanity, and how the smallest acts of kindness can support and transform the experiences of those seeking sanctuary in our cities.

 The play is created by the award-winning Empatheatre team (known to Jo’burg audiences for the multi-award-winning ‘Isidlamlilo/The Fire Eater’ play). It is co-written by Neil Coppen and Mpume Mthombeni, and directed by Neil Coppen.

Sociologist, Dr. Dylan McGarry, Producer and Co-founder of Empatheatre, alongside Coppen and Mthombeni, sees this production as a work “…that is love made visible”, adding that it “brings audiences into a shared active empathy”.

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‘The Last Country’ is based on a collection of 30 oral histories of migrant women, including South African women who migrated from rural areas into the city, who recounted their journeys as part of the ‘Migration, Gender and the Inclusive City’ research project, led by Dr. Kira Erwin. Funded by the Cities Alliance, the project was carried out in Durban as a collaborative partnership between the Democracy Development Program, the African Solidarity Network, the Refugee Social Services and the Urban Futures Centre at the Durban University of Technology (DUT).

The production has toured the Kwa-Zulu Natal province over the last three years, playing to capacity audiences in hostels, theatres, schools, universities and communities. A revised production featuring a new all-star cast that includes Mpume Mthombeni, Faniswa Yisa, Andile Vilakazi and Nompilo Maphumulo, played at the 2024 National Arts Festival’s main programme to sold-out venues and glowing reviews.

‘The Last Country’ will be coming to Jo’burg for the first time this year, as part of The Market Theatre’s Africa Month programming. The Market Theatre is aptly located in the heart of Johannesburg, a city that is home to many migrants. According to Artistic Director, Greg Homann, the play presents a unique opportunity to engage each other around issues of migration and what it takes for these women to make a new city their home.

Hailing ‘The Last Country’ as a groundbreaking research-based project, Homann said: “This play contributes to a much larger conversation about migration, belonging, hope and resilience. Again, it highlights policy limitations relating to migration in metropolitan areas and reminds us of the fundamental values that have shaped this beautiful nation. The production forms part of our Africa Month curation at The Market Theatre and bringing it to Jo’burg is an attempt at interrogating myths and challenging harmful rhetoric surrounding immigrants and displaced people.”

Don’t miss ‘The Last Country’ at The Market Theatre from 15 May – 1 June 2025 to immerse yourself in these deeply moving and immersive storytelling. Dive into a story that takes you into the lifeworlds of migrant women from across Africa seeking refuge, arriving in our country, the very last country to escape to, and the world they find themselves in.

Tickets are available on Webtickets, with all Wednesdays at half-price. Special discounts apply for preview performances and groups of four or more.

Safe and affordable parking at Newtown Junction.

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The Market Theatre Foundation is an agency of the Department of Sports, Arts and Culture.

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

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

Mantsopa

Mantsopa

New Mantsopa-Inspired Play With Music Celebrates the Resilience of African Women

Following a highly successful staged reading performed at The Market Theatre on 5 October 2024, “Mantsopa”, a play with music written and directed by veteran actor and theatre-maker, Dr. Jerry Mofokeng wa Makhetha, makes a return as a fully developed production, running for 10 performances from 30 April – 11 May.

Mantsopa, whose grave lies at Modderpoort in the eastern Free State, was born in 1793 and died in 1908. A survivor of famine and subsequent cannibalism, she grew to become a trusted advisor to King Moshoeshoe I, correctly predicting victorious battle outcomes for Basotho against colonial settlers and speaking truth to power with unshaking honesty. Mantsopa’s tale is interwoven with the very existence of Basotho, highlighting the immense contributions of women in shaping history. Gifted with sharp foresight and divine wisdom, she stands as a symbol of resilient femininity and a source of hope to many women battling structural limitations.

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In this brand new work, the story of diviner, seer and rainmaker, Mantsopa, is shared through the journey of her fictitious great-granddaughter, Tholoana, who has inherited the gift of song. Tholoana’s blossoming music career coincides with echoes from the spirit world to take her great-grandmother’s gift. As she struggles to reconcile the gift and the calling, Mantsopa’s towering greatness compassionately guides her through the internal conflict. Tholoana’s journey of refusing to be reduced to the entrapments of fame delivers a powerful message for women to claim their power.

Writer and director, Mofokeng wa Makhetha, calls the play with music both a contemporary interpretation of Mantsopa’s legacy using modern musical instruments that will appeal to a broad audience, and a celebration of the Basotho people more than 200 years since King Moshoeshoe I formed the nation.

“This production is a cultural journey into the heart of the Basotho people through one of our most extraordinary icons, Mantsopa, revered by all who witnessed the accuracy of her war-time prophecies and felt the first raindrops as she summoned the floodgates of heaven for rain. It is theatrically realised through a blend of dramatic action and musical storytelling, tapping into the traditions of Basotho as people of narrative, song and dance. The delivery appeals to the current times, allowing audiences to view Mantsopa from a modern perspective,” states Mofokeng wa Makhetha.      

Award-winning multilingual actress, Florence Masebe, takes on the role of “Mma-Tholoana”,  while one of Lesotho’s finest musical exports, Leomile, prepares to stir our heartstrings with soulful notes as “Tholoana”. Additionally, renowned actor Tseko Monaheng’s powerful voice adds depth to the story, with the little dynamite – Itumeleng – challenging him.  Lebohang Banyane returns to the play, after being part of the staged reading during its development phase last year. Accompanying and flavouring the story with music are Mawande Stuurman (on keyboards and musical direction) and the legendary Godfrey Mgcina (on percussion).

Come celebrate the transcendent life of an iconic woman, and the rich history of the beautiful Basotho nation.

Tickets for “Mantsopa” are available on Webtickets, with all Wednesdays at half-price. Special discounts are also available for preview performances and groups of four or more.

ENDS

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

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

For reduced price block bookings and school groups, contact Anthony Ezeoke (Audience Development) at AnthonyE@markettheatre.co.za or 083 246 4950.

The Fall

Protest Theatre Piece – “The Fall” – Arrives At The Market Theatre For #FeesMustFall’s 10th Anniversary

Theatre Duo & Co in partnership with The Market Theatre are proud to present a reimagined staging of the internationally acclaimed protest theatre piece, “The Fall”, in acknowledgement of the 10th anniversary of the #FeesMustFall movement. Originally produced by The Baxter Theatre Centre, “The Fall” will play at The Market Theatre from 9 April – 4 May 2025, excluding the Easter week.

This collaborative piece of workshopped protest theatre is an intense portrayal of the lived experiences of students in the heat of the movement. It was devised by the original cast of Ameera Conrad, Sihle Mnqwazana, Oarabile Ditsele, Sizwesandile Mnisi, Cleo Raatus and Tankiso Mamabolo. The new production of “The Fall” will feature three of the original creators, along with new cast members under the co-direction of Mahlatsi Mokgonyana and Billy Langa, with movement direction by Ernest “Ginger” Baleni.

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When the colonial statue of Cecil John Rhodes was removed from the University of Cape Town, postgraduate Drama students co-wrote this searing and insightful play about the crosscutting roles that race, class, gender, sexism, colonialism and the ideologies of patriarchy have to play in the perpetuation of discrimination in our country—which continues to exist and is more often than not, exacerbated by our country’s history of deep political injustice.

After its premiere in 2016 at the Baxter Theatre in Cape Town, this award-winning piece went on to enjoy multiple outings in Europe and the U.S, receiving commercial and critical acclaim as it sold out venues and earned raving reviews from leading publications such as The New York Times.

This year – 2025 – marks 10 years since #RhodesMustFall, a call that primarily focused on dismantling the statue of Cecil John Rhodes at the University of Cape Town, and later dovetailed with #FeesMustFall to immediately respond to an announced hike in tuition fees across South African universities. Ketsia Velaphi, spokesperson for TheatreDuo & Co, highlights the profound impact of the Fallist movement, as seen by its shift from campus-based politics  to becoming an active national response to complex and intersecting historical and political inequalities.

“It is incredibly crucial that we pay tribute to this movement this year and in doing so, reignite a conversation that really is nowhere close to finished. More especially, it is crucial for this reimagination to be staged at The Market Theatre, given the theatre’s dual historical (and present-day) steadfast and unwavering challenge against injustice,” says Velaphi. 

Highlighting the historical importance of the Fallist movement and its contribution to reshaping post-struggle student politics, The Market Theatre Foundation’s Artistic Director, Greg Homann, shares that The Market Theatre will be showcasing “The Fall” alongside a new play by Mike van Graan, called “The Good White”, both of which create a curatorial conversation that acknowledges the 10th anniversary of #FeesMustFall.

The objective of these two intersecting plays is to show the complexities of race and transformation, following witty, relatable and complicated characters that reflect the lived-experiences of those who were involved in, and impacted by, #FeesMustFall. Homann further states that these creative explorations underscore the historical function of The Market Theatre, reaffirming its global recognition as a landmark for protest theatre throughout its nearly 50 years of existence.

“As we gear up for our 50th Anniversary milestone in 2026, we continue to fulfil our historical role of being a vibrant space for staging entertaining and compelling protest theatre, and showcasing creative explorations that confront injustice. The Fallist movement, much like the 1976 student uprisings in whose wake The Market Theatre was formed, played a crucial role in conscientising us to the hardships of young people in post-struggle South Africa. These two complementary productions are therefore an invitation to a multilayered, nuanced and necessary conversation about access to, and success in, institutions of higher learning.”

Pay tribute to the #FeesMustFall movement and homage to those who put their lives on the line for access to a free decolonial education, by seeing the internationally acclaimed play.

Catch “The Fall” at The Market Theatre from 9 April to 4 May (excluding Easter week). Tickets are available on Webtickets, with all Wednesdays at half-price. Special discounts are also available for preview performances and groups of four or more.

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 The Market Theatre Foundation is an agency of the Department of Sports, Arts and Culture.

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

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

Pieces of Me

A Moving Journey Through Identity, Race, and the Secrets That Shaped a Family

The Market Theatre Foundation, in partnership with ASSITEJ South Africa, presents “Pieces of Me”, a profoundly moving real life story of veteran South African actress, Bo Petersen. This critically acclaimed one-hander is a fiercely personal account, written and performed by Petersen herself, exploring identity, race, the transgenerational trauma of apartheid laws and the unspoken histories that threaten the fragile thread that knit families together. It runs for a strictly limited season of only three weeks, from 9 – 27 April 2025 at The Market Theatre.

At the age of 19, Bo Petersen uncovered her father’s deeply kept secret that could radically change her sense of family as she knew it. From the age of 28, Bo’s Coloured father had passed as a White man in Apartheid South Africa. As a result, he was able to marry the love of his life, Bo’s mother, a White woman who didn’t know her husband’s real identity. Interracial marriages were illegal under apartheid. When Bo found out about her father’s hidden life, she became the custodian of his secret, the two of them becoming collaborators in their knowledge and silence. To avoid falling under the overwhelming weight of shared complicity, Bo began writing “pieces” as a way of trying to understand the myth of her father, his “passing” and in turn, her “passing”.

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Originally staged at the Baxter Theatre in Cape Town, “Pieces of Me” will land at The Market Theatre fresh from the KKNK Festival in Oudtshoorn. After its Jo’burg run, it will go on to play at Suidoosterfees in Cape Town, courtesy of both festivals and NATi. In addition to being nominated for a Fleur du Cap Theatre Award for Best Performance in a Revue, Cabaret and One Person Show, and receiving a Standard Bank Ovation award at the National Arts Festival, the play has been invited for performances in Norway, Sweden, Iceland, and the U.S.A., attracting glowing reviews.

This version of the play is directed by Cape Town-based actor, musician and director, Royston Stoffels, with musical contributions from Christopher Petersen who co-founded The Jazz Yard Academy in Bonteheuwel, Western Cape. 

ASSITEJ South Africa Director, Yvette Hardie, highlighted the significance of Bo’s cousin accompanying her on stage as a pianist. Hardie said, “Bo and her cousin, Christopher, were not able to publicly express their family connection for many years, as she lived in an identity that wasn’t truly hers. This collaboration therefore bears witness to the power of reconciliation and is a physical manifestation of the healing journey in which both are engaged. Chris’s music evokes the rich musical history of Bo’s father, which accompanies her through her reconstruction of the journeys they have taken.”

Greg Homann, Artistic Director at The Market Theatre Foundation, said this riveting piece of theatre is not just Bo Petersen’s personal story, but a common legacy of apartheid’s unjust segregation laws. “This is an exciting work for us to have—a very delicate and personal story reflecting on apartheid, individual relationships, identity and how we understand ourselves in various ways through family and friends in our complex country. Bo Petersen is a stage veteran and storyteller with a voice that echoes across cultures and identities, making this offering a must-see for every South African,” Homann shared.

For Bo, performing pieces of herself in the Barney Simon Theatre, named after the co-founder of The Market Theatre, is a full-circle moment that will also add to the unforgettability of her run in Jo’burg. “Barney was a mentor of mine and a huge influence in my life. I told him my secret all those years ago and he said to me, ‘Your inheritance is so rich. You are a true South African. One day you will be able to share it with everyone’, and now it’s happening,” stated Bo, adding: “These stories are still shrouded in a conspiracy of silence. I can no longer remain silent. The intrinsic damage this ‘secret’ has done to our family and to so many others needs to be seen and heard and hopefully start the journey to healing.”

As a result of the story’s richness and ability to trigger critical conversations, audiences at selected performances will have an opportunity for a talk-back session after watching the play, discussing its themes, their personal connection to the story and the often lonely path to healing and wholeness.

“Pieces of Me” is produced by ASSITEJ South Africa. The keyboard and musical equipment for this run is sponsored by Roland Musical Instruments South Africa. Other sponsors and supporters include and have included The South Bend Theatre, Wise Wheels Car Rental, The Gurley Leep Automotive Family and various generous donors from NYC and South Bend, Indiana.

Tickets for this play are available on Webtickets, with half-price specials on Wednesdays and special discounts for groups of four or more and preview performances.

Talk-Back Sessions and Speakers

11 April – Ruth Jacobs Spector 

Ruth Jacobs Spector is a veteran music and cultural arts educator with wide experience on three continents — Africa, Asia, and North America.

13 April – Sue Pyler-Slabbert

Originally destined for medicine, Sue discovered her passion on stage, embracing a diverse range of roles from Radio Presenter and Stage Actor to Motivational Speaker, TV Host, Voice Over Artist, and Dancer.

17 April – Ilse Klink 

Ilse Klink is a celebrated South African actress and singer, born on 4 March 1972 in Cape Town. A trailblazer, she became the first black graduate from the University of Pretoria’s drama programme. She launched her acting career with the Performing Arts Council of the Orange Free State and gained national acclaim as Vanessa Booysens on Isidingo and other renowned shows later on.

20 April – Neeshan (Shan) Balton

Neeshan (Shan) Balton is the Executive Director of the Ahmed Kathrada Foundation, a position he has held since its founding in 2008. With over 40 years of community and political activism, Shan’s journey spans teacher unionism, youth activism, and both formal and underground ANC activism.

24 April – Phillippa Yaa de Villiers

Dr Phillippa Yaa de Villiers lectures Creative Writing at Wits University, Johannesburg, and is a Distinguished Alumnus of Rhodes University Journalism and Media Studies (2022). An actor and teacher at the Market Theatre Laboratory, she later worked as a television screenwriter for ten years.

27 April – Ruwayda [Wayde] Davy

Ruwayda [Wayde] Davy is a registered Specialist Wellness Counsellor with 8 years of experience providing psychological support to individuals, couples, families, children, and teens.

                                                                                                                                                                   ENDS.

The Market Theatre Foundation is an agency of the Department of Sports, Arts and Culture. 

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

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

MADALA KUNENE & SIBUSILE XABA

MADALA KUNENE & SIBUSILE XABA

Madala Kunene is not just a musician; he is a musical shaman, weaving a tapestry of sound that captures Africa’s heart and the blues’ soul. His journey from Cato Manor to the global stage is a testament to the transformative power of music—a legacy that continues to resonate in the hearts of music lovers worldwide.

Charismatic guitar savant Sibusile Xaba reframes Maskandi and the avant-garde into his own humanist manifesto. Xaba’s music shatters the confines of genre, taking only the fundamentals from mentors such as Madala Kunene and Dr Philip Tabane and imbuing these with a mythology and improvisational intensity all of his own.

In an ever-changing music landscape, Madala Kunene’s music remains a beacon of authenticity and tradition. His ability to uphold his roots while embracing change serves as a guiding light for artists and promoters alike. Kunene’s legacy transcends generations, shaping the future of South African music and inspiring artists worldwide. As a mentor for Sibusile Xaba for over a decade, this project sees them collaborate and present new compositions. The show at the John Kani will be the first performance of these new songs.

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Joining this extraordinary collaboration is a powerhouse trio of percussionists – Gontse Makhene, Tshepo Motswe, and Dennis Magagula – drawing from the rich legacy of Malopo and its role in healing, storytelling, and connection.

Featuring special guest, Buhlebendalo, a visionary artist whose music and stage presence transcend boundaries. Her performances are a breathtaking celebration of her extraordinary talent and divine gift.

This unforgettable show will also honour the legacy of the late Thabang Tabane. His spirit and influence will resonate throughout the performance, paying homage to the profound impact he left on the world of Malombo music.