Mongiwekhaya is a polymath. An actor, playwright, theatre-maker, filmmaker, puppeteer, poet and community arts mentor, he is driven by a desire to constantly create. In his 10 plus years as a creative practitioner, he has been involved in excess of 50 film and theatre productions, including being invited to perform with Cirque Du Soleil. He has worked with the Handspring Puppet Theatre Company on Ubu and the Truth Commission, and was artist-in-residence at the University of Western Cape.
His latest production, I See You, at Royal Court Theatre and Market Theatre Johannesburg, is directed by award-winning actress Noma Dumezweni. Based on a real life experience, it tackles the continued cultural and intergenerational divisions in South African society, and police brutality. Performed in English, Zulu, Afrikaans and Xhosa, the play’s London run sold out quickly and has garnered critical acclaim. Mongiwekhaya tells Joy Francis why he wrote the play, how he is inspired to write about what terrifies him and the importance of owning and harnessing our painful past as writers of colour.
What is I See You About, and what inspired you to write the play?
The play is about an encounter between an older South African police officer and a 19 year old law student. On the one hand, it’s about the terrible issue of injustice by the South African police and their role in South African society. It’s also a story of pre and post 1994 South Africa and a youngster who was born into a freedom he didn’t have to fight for. It’s also about those who did fight in 1976. It’s about the older generation who have questions about whether what they fought for has arrived as there is a price to play when you do [instigate] a revolution. At its most exciting level, the writing is about identity and how the language we speak are inextricably linked, and can create barriers and unearth hidden parts of ourselves. The play explores that fact and tries to create that effect on the audience. Although predominantly performed in English, it’s also played in different languages, which was one of our biggest challenges in the writing process. Having that kind of language barrier means strangers in the audience will talk with each other and say: Did you understand that part? What does it mean? I wanted to create a discussion beyond the play and put the audience a little bit at risk.
What impact do you want it to have on London audiences?
That it’s about South Africa now. Let’s talk people. Let’s not talk race. It’s not about the battle between black and white, but about the relationship between generations and people from different backgrounds. Outside of India, South Africa has one of the largest collections of the Indian population. They are part of the quilts which make up our country. The London audience get a picture of what it’s like; that it’s more nuanced and sensitive. The Royal Court said to me, don’t compromise. Tell the story how you want.
Award-winning actress Noma Dumezweni, who was born in South Africa, is making her directorial debut with the play. What was it like to work with her and what did she bring to the table?
I met Noma at the earlier readings two years ago. She is so intuitive. She keys into what the work is doing, and then there’s her charisma. Noma is an incredible star, personality and actress. One of the most important things is how she connects to each person in the room, particularly the actors and how they process their roles. It feels like every single actor on the stage is in command of the story. We had the idea of making the audience part of the story, and she worked with the creative team to make that mind-blowing and visceral. Noma has a promising career as a director.
Based on your creative output, I would imagine you are called a polymath as your skills run into acting, film, theatre, poetry, puppetry, opera and even performing with Cirque Du Soleil. How do you choose what you do and what motivates you to pursue or create a piece of work?
I find that I’m not really living if I’m not creating. If I’m not part of a show, I’m still working. I’m either writing something or I’m acting or I’m directing. The drive is literally the joy of creating, which I hope is something that comes through in the play. I try to choose writing projects by identifying what I’m nervous about. What is it that scares me? When doing I See You, I turned to my better half and said: “What have I unleashed into the word?” This play is based on real events. There is a real Buthelezi in my life who took me through this experience. Just as you can choose your battles, you can choose your battleground. This is my way of dealing with an aspect of our culture that I’m touched by.
What next for you?
I’m puppeteering in a show with Janni Younge Productions called Firebird for a week and then I’m off to Japan before working with the Ukwanda Design Company where I act as a mentor. And, of course, I have ideas about new work I want to do. I just want to expand my knowledge with some people. It’s a smorgasbord.
Any advice for budding theatre-makers of colour?
I met a young writer in London at the play. She said that she found my moniker [Mongiwekhaya] very fascinating. I told her a bit about the story of that name, but ultimately owning one’s name is a central message of I See You. Whatever dark history we find in our past, from the chain of people we come from, it belongs to you. It informs what you can offer the world, and that is often the scariest thing. It sometimes feels safer to be part of the Western culture’s ideals, but you have to recognise that you have values, that your explorations are worthy and the riskiness is why it’s all wonderful. It’s like when Shakespeare wrote Macbeth. The idea of killing his king must have been terrifying, but he trusted himself and what he dreamt. You have to give yourself a chance first.
After its run in the Jerwood Theatre Upstairs, I See You will play at the Market Theatre Johannesburg from 13 April to 1 May 2016.
You can find out more about Mongiwekhaya at mongiwekhaya.tumblr.com.