Writer: Mthokozisi Mthethwa | Photograph: Supplied
In the middle of our yard at home eMondlo, northern KZN, stands an old steel table—a strong, square-shaped, one-legged structure planted firmly into the earth. This piece of steel, which we simply call insimbi, has been standing for over forty years. It is more than just a structure; it is a monument to our family’s history. Over the years, it has served many purposes: a gathering place where elders discussed matters of family importance, a surface for card games and rounds of ispini, a coin-tossing game we played as children. We have even used it as a sacred space where cows were tied and slaughtered for family rituals. Whenever I go home for the holidays, it is the first thing I look for—the sight of it reassures me that I am truly home.
There have been debates among family members about removing the steel table, but I have always been among those who strongly opposed it. That piece of steel is more than just an object; it holds memories, a link to our past, and a reminder of the stories that shaped us.
I usually review theatre productions with objectivity, avoiding personal stories and experiences. However, when a historical play is staged, the most common question is, Why is it relevant to today’s society? And if the play comes from outside our borders, the added question is, How does it fit within the South African context?
The Piano Lesson is currently showing at Joburg Theatre, and after watching it, I felt an undeniable connection. I opened this review with the story of the steel table in my family’s yard, but my connection to the play goes beyond that. Themes of sibling rivalry and the ongoing struggle over land resonated deeply with me. I am almost certain that audiences across generations and cultural backgrounds will find echoes of their own families and societies reflected in this powerful story.
In this theatre piece, playwright August Wilson presents important questions, allowing audiences to interpret and engage with them in their own way rather than dictating what is right or wrong. The story revolves around two siblings, Boy Willie and his sister Berniece, who are at odds over a family piano in the home of their uncle, Doaker Charles, in 1930s Pittsburgh. Wilson anchors his script in their dispute over this sacred instrument, which is decorated with original carvings made by an enslaved ancestor.
While Boy Willie wants to sell the piano to buy the land where their ancestors were once enslaved—seeing it as a way to build wealth for the family—Berniece refuses, believing the piano is the only tangible connection she has to their ancestors. Boy Willie sees it as a tool to move forward, while Berniece views it as a sacred link to the past, a piece of their family’s history that cannot be sold or forgotten. Their contrasting perspectives reflect a larger, complex debate about how best to honour one’s heritage.
James Ngcobo has once again proven himself one of the country’s artistic visionaries, not only in his ability to select powerful plays as the artistic director of Joburg Theatre but also in his skill at presenting historical texts to modern audiences. Ngcobo has an eye for exceptional talent, and the diverse cast he assembled for The Piano Lesson is a testament to this. Lerato Mvelase, playing Berniece, is a dynamic force, her energy perfectly complementing Katlego Chale’s portrayal of Boy Willie.
Presented by arrangement with Broadway Asia, the production is part of the August Wilson Season at Joburg Theatre, which began with Fences in 2023.
The play is being staged for South African audiences at a time when the ongoing land debate has once again captured global attention, adding another layer of relevance to its themes of land, identity, heritage, and ownership.The Piano Lesson runs on the Mandela Stage at Joburg Theatre until 16 March. Tickets are available through Webtickets and the Joburg Theatre box office.
