This review is part of the LitNet | STAND theatre review workshop. The ten participants each submit a review to the workshop mentors for feedback. The participants will then be able to edit their submissions, receive additional feedback from the mentors and finalise their reviews.
This is the first version of Jane Mpholo-Mehlape’s review.
Unveiling African tales: Ijoloba: The prophecy
Having graduated from the UFS Drama Department, I recently had the pleasure of attending their latest production, Ijoloba: The prophecy. This production left me profoundly impressed with the department’s growth and the incredible talent of its actors.
Ijoloba: The prophecy, directed by Rondo Mpiti with the assistance of the acclaimed Sikhuthali Bonga, was a remarkable showcase of storytelling. The play was entirely in Xhosa and revolved around the struggles of amaDongwe to secure an heir. What made this production stand out was its ingenious use of outdoor space and real-time elements. The performance began with the amaDongwe characters going about their daily tasks in an outdoor setting, creating a serene atmosphere. However, things took a dramatic turn with the introduction of a prophecy warning of impending darkness if a selfless act wasn’t performed.
Throughout the play, a recurring theme echoed: “He who is flawed, made of flesh and blood, must perform a selfless act before the sun sets.” What made this theme so impactful was the clever incorporation of the actual setting sun. As audience members, we became deeply immersed in the story, thanks to the sun’s gradual descent, which added to the suspense surrounding the selfless act.
When the beat of the drums and the voices of the singers filled the air, there was an undeniable sense of unity among the diverse audience. People from different backgrounds came together, sharing laughter during the humorous moments and even forming connections with strangers. The production’s ability to involve the audience in the storyline made us feel like we were part of the tribe’s journey.
The portrayal of elements played a vital role in the narrative. Moving from the fields to the king’s quarters, we encountered three female performers who represented the king and sometimes took on the roles of queens. These characters harnessed the powers of earth and fire in their attempts to conceive an heir, but all their efforts proved to be in vain, leading to the downfall of AmaDongwe. However, it was through water that life emerged. This queen was Ijoloba, a revered African goddess embodying the essence of fertility, purity, love and sensuality. Taking a sip of water from her clay pot gave life to the dead souls. Unlike the other queens, she easily conceives. There’s a twist, however; the birth is not quite what we imagined.
The narrative was skilfully woven through a blend of drama, dance and music. The set and costumes created a distinct atmosphere, transitioning seamlessly between notions of good and evil. From the carefully placed animal horns on stage, to the costumes, the character with a vulture motif on their back, and the intricate face masks, the production exuded an unmistakably African and ritualistic vibe.
My choice of a front row seat in the outdoor set-up allowed me to engage fully with the performance. I could feel the warmth of the fire, experience the occasional splashes of water, and sense the intensity of the bloodbath as emotions ran high. It was as if I were personally going through a process of purifying and cleansing, all while being enthralled by the unfolding drama.
At one point, I instinctively covered my head with a scarf to shield myself from the scorching sun. However, to my surprise, I soon realised that the sun was setting. Sitting on the edge of my seat, I whispered, “Oh, my goodness, the sun is setting,” a sentiment shared by another audience member.
This immersive theatre experience was nothing short of extraordinary, paying meticulous attention to detail while honouring the authenticity of South African stories. It was an experience that transcended conventional theatre, immersing us in the world of amaDongwe.
After the final bow, I had the privilege of conversing with Miss Rondo and Mr Oliver. Their passion for bringing forgotten African narratives to light was palpable, and their unapologetic approach was evident in the production. In my view, they not only succeeded in their mission, but exceeded expectations, leaving an indelible mark on contemporary theatre. Ijoloba: The prophecy was a triumph, a testament to the power of theatre when it explores new territories and illuminates our shared human experiences.
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