South African Theatre at the Royal Court: A Journey Through Apartheid and Beyond

The Royal Court Theatre’s relationship with South African drama is woven through decades of political upheaval and social change. This relationship, more complex and longstanding than often recognised, reflects not only South Africa’s struggles but also the evolving role of theatre in addressing urgent social issues. 

Contrary to common belief, the Royal Court’s engagement with South African theatre predates the famous productions of the 1970s. In 1960, Bartho Smit’s The Maimed marked an early, if perplexing, introduction of South African voices to the Royal Court stage. Set in a fictional West African state, this play examined the psychological impact of racial segregation, exploring themes of hidden racial identity, miscegenation and forbidden love. Its abstract approach and stark portrayal of racial tensions left many theatre-goers baffled, with it ultimately receiving mixed reviews, foreshadowing the challenging conversations that South African theatre would bring to British audiences in the coming years. 

However, it was under the direction of Nicholas Wright and subsequent artistic director William Gaskill that South African theatre truly began to flourish at the Royal Court. The watershed moment came in 1971 with the production of Athol Fugard‘s Boesman and Lena. The two-hander play had a short run in the Theatre Upstairs venue, and sold out to rave reviews. Under Oscar Lewenstein’s direction in the mid-1970s, the percentage of non-white plays in the overall programme increased to 13%, with 6.6% on the main stage – a significant shift for the time. 

Fugard returned to the Royal Court in 1974 to direct Statements After a Arrest Under the Immorality Act along with Sizwe Bansi is Dead and The Island (both 1974), which formed a powerful trilogy that brought the harsh realities of apartheid to the London stage. Fugard’s collaboration with John Kani and Winston Ntshona represented a rare instance of multiracial artistic cooperation in defiance of apartheid laws. The impact of these productions cannot be overstated. They not only increased the visibility of non-white plays at the Royal Court but also changed the theatrical landscape more broadly.  

As the anti-apartheid movement gained momentum globally, South African theatre at the Royal Court became increasingly politicised. Works like The Island and used the power of metaphor to critique the oppressive regime, drawing parallels between ancient Greek tragedy and contemporary political imprisonment. This period also saw the emergence of plays like Uhlanga (1977) by Robert Mshengu Kavanagh and James Mthoba, which explored Zulu identity and resistance, adding layers of cultural complexity to the portrayal of South African experiences. 

The end of apartheid in the 1990s marked a new chapter for South African theatre at the Royal Court. Plays began to grapple with the challenges of reconciliation and nation-building. Gcina Mhlophe’s Love Child (1991) brought women’s voices to the forefront, exploring cultural identity in a changing society. 

The Royal Court’s commitment to nurturing new South African talent became evident in initiatives like the 2013 New Writing Programme. This programme encouraged playwrights to look beyond apartheid, resulting in works that addressed contemporary issues. Plays like Neil Coppen’s NewFoundLand (2014) and Amy Jephta’s All Who Pass (2014) explored themes of memory, identity, and the lingering effects of historical displacement.

The post-apartheid era also saw South African theatre at the Royal Court tackling issues of ongoing systemic inequality and violence. Mongiwekhaya’s I See You (2016) and Brave (2014) confronted police brutality and corruption, reflecting the complex realities of the new South Africa. The collaborative piece The Fall (2017) brought the urgency of student protests and calls for decolonisation to the stage, marking a shift towards more immediate, youth-driven narratives. 

Throughout this journey, the Royal Court has also provided a platform for plays that connect South African experiences to global contexts. debbie tucker green’s truth and reconciliation (2011) and Karen Laws’ Marikana (2018) explored themes of justice and political responsibility that resonated beyond South African borders. 

The evolution of South African theatre at the Royal Court mirrors the country’s complex journey from the depths of apartheid to the challenges of building a democratic society. From Bartho Smit’s early, enigmatic exploration of racial identity to the raw, urgent voices of contemporary playwrights, these works have offered audiences a nuanced, challenging but often hopefully window into the South African experience. 

As South Africa continues to grapple with its past and forge its future, the Royal Court remains committed to amplifying diverse South African voices. This ongoing engagement ensures that new perspectives and urgent conversations continue to find their way to the stage, enriching both South African and British theatrical landscapes.