The lecture about the icon of theatre bra Gib, as he was fondly called was a blast at the colourful Soweto Theatre on Sunday February 25th. The who’s who of the entertainment industry as well as members of the public, descended to the theatre complex that has since been renamed The Gibson Kente theatre, honouring the late showbiz patriarch, to witness a refreshing memoire of decades reflecting arguably what may be termed as the roots of black theatre.
As sultry and pulsating energy climaxing on a stage synonymous with Kente’s plays, the moving and emotionally devastating storytelling that reflected the apartheid dark days in the townships was relived to the audience with captivating songs and imagery masterfully articulating the high tone of the time. The mesmerising tenor voices of the ‘I-complete’ ensemble reverberated authentic sound cushioning the audience on the articulate red décor walls of the main theatre.
For some of us, who were only young kids at the crescendo of Gibson Kente’s superstardom era, heard our folks emotionally describe the theatrical plays of bra Gib and his crew in high spirits whom attended the extravagant shows over weekends. They bubbled over plays like “How long” as if they were part of the cast themselves. Ushered in by General manager of Soweto Theatre Vincent Motau, the Joburg Theatres artistic director James Ngcobo mentioned that the annual event evokes the memory of the icon and that his voice is very much in sync with our current daily lives. “He’s not a relic but inspires the young worksmiths who seek to find their once upon a time! The footprint that saw bra Gib draw talent of theatrical contributors across the country’s provinces. In the current Black History month the stories lived and told collide monumentally with the new offerings of current composers actors and producers.“ He illustrated.
The award winning actor Thembsie Matu who is the darling of our screens mentioned that she met bra Gib at a show in Katlehong’s DH Williams hall, during the 80’s where there were opportunities to audition in stage acting. A break where she and other celebrated actors and directors would meet a father figure who would arm her with the authentic, masterful stage quests, as well as polished showbiz ethics. She mentioned that Kente advised her to become a versatile clay like character that any director can work with. Mastering techniques, musicals, projecting voices without microphones to say the least of abilities that enthroned her reign on stage, small and big screens.
The lecture by Dr Andile Xaba on the “Efficacy of Gibson Kente.” He was a supreme exemplar of the arts and entertainment during his time. The halls in Soweto played a pivotal role hosting the shows and the roles to preserve the rich inherent history. And many other venues where scores of theatre lovers queued for tickets, full houses were order of the day and people being turned away. When the play titled, “She fears the night”, was on show, the Eyethu Cinema was full to the brim, as some patrons camped on the foyer just to make it to the next show. And the joy and pains experienced by the acting crew on a bus that would break down on their way to perform in different provinces.
Dr Xaba could not leave out the Sowetan writers like bra Elliot Makhanya, who scripted the highlights of each era. “Kente the man was larger than life,” he ascribed! “An avid dresser, who wore shades and a hat, spoke with a modulated American accent, very conspicous and drove big German cars, had an animated way of engaging, attuned to urban Soweto culture, but also remained a demanding taskmaster. His plays placed a high premium on emotion and the ontology of his fictional subjects. Kente establishing a theatre in the township was an act of faith and imagination which no one ever dared to attempt! Aspiring actors came from all over the country to audition at his dramatical sets.
Jerry Sokhupe
Soweto Sunrise News
