South Africa's Market Theater hits 50
South Africa's Market Theater, which emerged during the oppressive era of apartheid as a catalyst for change, is commemorating its 50th anniversary.
JOHANNESBURG, South Africa—Since its inception in the 1970s, the Market Theater has staged productions deemed so provocative that they attracted the scrutiny of the apartheid government's vigilant censors.
The theater's audiences, which included both Black and white South Africans interacting freely, represented a radical departure from the norms of a society dictated by racial segregation.
Occupying a former fruit and vegetable market in central Johannesburg, the theater arose during a critical juncture in "the Struggle," the fight against apartheid. Opening just days after the transformative 1976 Soweto uprising, the theater's inception was deeply intertwined with this historic event.
The uprising began when youth protested against the imposition of Afrikaans as the medium of instruction in schools, leading to a violent government response that resulted in numerous fatalities.
"The Market Theater was birthed just three days after that tragic event," states Greg Homann, the current artistic director. "It has embodied the spirit of that pivotal moment and has faithfully chronicled the national narrative throughout the oppressive years of apartheid."
This year, the theater, renowned for launching the careers of prominent South African figures like actor John Kani and playwright Athol Fugard, marks its 50-year milestone.
During its five decades, the Market Theater has produced internationally acclaimed works, such as "Woza Albert," "Sophiatown," and "Sizwe Banzi is Dead," as well as the powerful musical "Sarafina," which explores the Soweto uprising.
"Sarafina," penned by jazz musician Hugh Masekela, transcended the borders of South Africa, reaching Broadway and later becoming a film featuring Whoopi Goldberg.
Initially, there were doubts about the theater's viability. Tony-award-winning actor John Kani recounted his astonishment when founders Barney Simon and Mannie Manim revealed their vision.
"I thought these two white gentlemen were out of their minds," Kani reflected. "I believed it wouldn't succeed, especially considering it was '75, '76, and they proclaimed it would be open to all. I was incredulous."
Despite his initial skepticism, Kani acknowledged, "this stage became the foundation for my entire career."
However, the theater faced significant challenges; it was frequently targeted for raids, putting actors at risk. "The theater was often scrutinized. The presence of government censors was common," Homann remarks, recounting how censors would occasionally disrupt performances.
"They would intervene on stage, imposing censorship in front of the audience, effectively becoming an unwitting part of the production," he adds.
'No Black, no white'
The Market Theater also served as a unique sanctuary where individuals from all races could gather, with the directors employing innovative strategies to navigate the restrictions of apartheid.
"At one time, our bar was priced at one rand, roughly equivalent to 50 cents in US currency, effectively making it privately owned," explains Homann.
This privatization allowed patrons of color to enter the space legally. "However, stepping just one meter into the foyer would render them illegal under apartheid laws," he clarifies.
While the theater's productions promoted the anti-apartheid message both locally and internationally, they also sparked backlash among some white attendees.
"I observed numerous white patrons who would rise abruptly," remembers director Arther Molepe. "You could see a man hastily escorting a woman away during a performance, clearly dissatisfied with the narrative we were presenting."
Yet, Molepe cherishes the early days of the Market Theater.
"There was no distinction between Black and white. We were a collective unit, united in the craft of theater," he reminisces.
This year, Molepe directed a revival of an apartheid-era play titled "Marabi."
The enthusiastic applause and standing ovation from what appeared to be a primarily Gen Z and millennial audience—who have no personal memories of apartheid—demonstrated that the themes continue to resonate powerfully.
The narrative centers on the struggles of a Black family in the early twentieth century, concluding with their coerced displacement under racially discriminatory legislation.
Gabisile Tshabalala, 35, who took on the lead role in "Marabi," acknowledges her upbringing in a liberated South Africa and her lack of direct experience with apartheid.
Nonetheless, she asserts, "Theater holds immense significance for young South Africans... particularly for Black individuals... it allows us to share our stories."
The Market Theater remains committed to evolving beyond its rich heritage.
"It aims to reflect the South African experience," emphasizes Homann. "And that encompasses whatever narrative emerges."
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