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Woza Albert!
Woza Albert! is based on one dazzlingly simple idea - that the Second Coming of Jesus Christ should take place in present-day South Africa. This brilliant two-man show from the Market Theatre, Johannesburg, took the Edinburgh Festival then London by storm in September 1982, playing to standing ovations every night. It was also seen in Berlin, Los Angeles, San Francisco, Seattle, Philadelphia and twice on BBC TV.
This edition contains a new introduction by Yvette Hutchison
This edition contains a new introduction by Yvette Hutchison
80 pages, Paperback
First published September 1, 1983
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About the author
Percy Mtwa
2 books3 followersPercy Mtwa is a South African actor, director, and playwright best known for his powerful contributions to anti-apartheid theatre. Born in Wattville, Benoni, he showed early promise in literature and the arts but left school at 17 to support his family. He began his artistic career as a singer and dancer before moving into acting, appearing in Destiny Calls in 1973.
Mtwa joined Gibson Kente’s theatre company in 1979 and later co-founded the Earth Players with Mbongeni Ngema. Together they created the internationally acclaimed play Woza Albert! in 1981, directed by Barney Simon and performed extensively in South Africa and abroad. He later wrote and directed Bopha!, which premiered at the Market Theatre and was later adapted into a feature film directed by Morgan Freeman and starring Danny Glover.
A resident director at the Market Theatre, Mtwa also wrote The African Dream and The Patriot, continuing his legacy of socially engaged storytelling in South African theatre.
Mtwa joined Gibson Kente’s theatre company in 1979 and later co-founded the Earth Players with Mbongeni Ngema. Together they created the internationally acclaimed play Woza Albert! in 1981, directed by Barney Simon and performed extensively in South Africa and abroad. He later wrote and directed Bopha!, which premiered at the Market Theatre and was later adapted into a feature film directed by Morgan Freeman and starring Danny Glover.
A resident director at the Market Theatre, Mtwa also wrote The African Dream and The Patriot, continuing his legacy of socially engaged storytelling in South African theatre.
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Displaying 1 - 11 of 11 reviews
September 6, 2018
THIS WAS SO AMAZING AND FUN TO READ THIS IS WHY I STUDY LITERARY STUDIES HAKDFLHJFDK
October 7, 2021
To study theatrical text is to think through each scene and its nuances, to trace the direction in which each metaphor can travel, to unearth the foregrounding material that may be hidden in the background (as with the politically charged narrative here, made subtle so not to agitate the government of the time).
Woza Albert! is a metaphorical piece about the return of Mandela. First performed in 1981, it follows Percy Mtwa and Mbongeni Ngema as they portrayed society at the time. They each wear a clown's nose on a string around their necks, using them when they portray a White character, usually the security police or baas.
The Black condition is dire. Children sell meat on the street corner instead of going to school, old women eat out of rubbish bins, men are being overworked in the brickyard... but not all hope is lost, because Morena will return on a flight from Jerusalem and disembark at Jan Smuts Airport, to much elation.
What jumped out at me in reading Woza Albert! is just how much expectation Black people had placed on Mandela and his ANC at the time. How much they expected their lives to change with the new dispensation... everyone waiting, eager to make their demands to Morena, the saviour. I think about how this has translated, to a large extent (all things considered), to the victim mentality that South Africans are accused of harbouring. Waiting, demanding... for grants, for houses, for jobs, for opportunities that were due to them with the turn of power.
It's interesting also, to notice the manner in which Morena handles the situation. Returning on a plane, a mode of transport that many Black had never been on at the time, Morena gives audience to his followers - paying a visit to the brickyard to see Bobbejaan and Zuluboy, but it is soon that they all realise that his powers are limited. That he too, even with angels at his disposal, is but mortal.
I am taken aback when Morena laments the New South Africa. "What is this place," he asks. "Did you not know that this would be our fate, oh messiah? That your angels would turn on your people?"
In the end, Mbongeni pleads with Morena to wake up the leaders of old to come forth and remedy the situation. "Morena! Here's our 'L' - Abert Luthuli - the Father of our Nation! Raise him Morena!"
Who do we look to, someone asked recently, now that all the freedom fighters have died? Which made me think of the scene in Sarafina where Leleti Khumalo and her friends have just been arrested. She sits in her cell and reminisces on her passive role in killing a man. "Make me numb, Nelson, Make me numb!" But she is shaken from the daydream by one of her comrades screaming, and continues, soberly: "You're not there, are you? You can't hear me. You can't hear anyone. You've gone away. We just dreamed you. You've been away too long Nelson. You're old now, and your children are dying. And you can't hear us."
Woza Albert! is a metaphorical piece about the return of Mandela. First performed in 1981, it follows Percy Mtwa and Mbongeni Ngema as they portrayed society at the time. They each wear a clown's nose on a string around their necks, using them when they portray a White character, usually the security police or baas.
The Black condition is dire. Children sell meat on the street corner instead of going to school, old women eat out of rubbish bins, men are being overworked in the brickyard... but not all hope is lost, because Morena will return on a flight from Jerusalem and disembark at Jan Smuts Airport, to much elation.
What jumped out at me in reading Woza Albert! is just how much expectation Black people had placed on Mandela and his ANC at the time. How much they expected their lives to change with the new dispensation... everyone waiting, eager to make their demands to Morena, the saviour. I think about how this has translated, to a large extent (all things considered), to the victim mentality that South Africans are accused of harbouring. Waiting, demanding... for grants, for houses, for jobs, for opportunities that were due to them with the turn of power.
It's interesting also, to notice the manner in which Morena handles the situation. Returning on a plane, a mode of transport that many Black had never been on at the time, Morena gives audience to his followers - paying a visit to the brickyard to see Bobbejaan and Zuluboy, but it is soon that they all realise that his powers are limited. That he too, even with angels at his disposal, is but mortal.
I am taken aback when Morena laments the New South Africa. "What is this place," he asks. "Did you not know that this would be our fate, oh messiah? That your angels would turn on your people?"
In the end, Mbongeni pleads with Morena to wake up the leaders of old to come forth and remedy the situation. "Morena! Here's our 'L' - Abert Luthuli - the Father of our Nation! Raise him Morena!"
Who do we look to, someone asked recently, now that all the freedom fighters have died? Which made me think of the scene in Sarafina where Leleti Khumalo and her friends have just been arrested. She sits in her cell and reminisces on her passive role in killing a man. "Make me numb, Nelson, Make me numb!" But she is shaken from the daydream by one of her comrades screaming, and continues, soberly: "You're not there, are you? You can't hear me. You can't hear anyone. You've gone away. We just dreamed you. You've been away too long Nelson. You're old now, and your children are dying. And you can't hear us."
December 30, 2019
Still maddening, still relevant. The cries of the oppressed still looks for a saviour
April 17, 2023
I cannot wait for the day I am able to see this performed live.
October 22, 2023
A good balance of keeping something interesting and getting a message across
February 24, 2025
A little hard to follow at times but wow. This 40 year old play is so relevant today.
November 25, 2025
I cannot wait for the day I am able to see this performed live.
February 7, 2017
Read in high school in Drama class and reading it again for college. Home field advantage? Of course. Had it for Waiting For Godot and will have it for The Great Gatsby.
April 4, 2012
This is hard because it's a judgement call. I liked the style of the play, and was very intrigued by it. I just feel like I didn't get as much out of it as was in the text because I didn't understand the cultural references. And, that's just the way it is. I didn't grow up in South Africa. I don't get it like I would if I did. Unfortunately, this fact played into how well I understood and enjoyed the piece. However, that shouldn't detract from it at all.
October 22, 2014
This book had such an interesting idea. Watching the play helps the content to make more sense but the book itself is a close second.
August 6, 2021
Literally one of the most important pieces of South African literature
Displaying 1 - 11 of 11 reviews