Isidlamlilo (“The Fire Eater” in Zulu) is an encapsulating one-woman dramatic play inspired by the true story of Zenzile Maseko. She was a political assassin for the Inkatha Freedom Party (IFP) targeting the African National Congress (ANC) in 1980s South Africa. The play follows Maseko (Mpume Mthombeni) as she tells her life’s story from her small women’s hostel room in KwaZulu-Natal. Isidlamlilo, taking place in current South Africa, is written by Mthombeni and Neil Coppen (who also directed it). Mthombeni speaks English and Zulu throughout the play, allowing multiple people to understand whilst incorporating her mother tongue. The play delivers the message that is dangerous to underestimate powerful women.
At the start, Maseko appears to be adressing the audience, but as she looks up, it is revealed that she is actually speaking to uNkulunkulu (God or “the greatest one” in Zulu) and it is to God that she recounts her memories and stories throughout the whole play. It is a powerful and clever approach that shows a fully honest life story and relationship with God. The play begins with Maseko furious and tired of the fact that Home Affairs had declared her dead on their system due to a technical glitch. Their system states she has been deceased for 11 years. Thus, she is hurled into a terrible Kafkaesque reality which compels her to confront her past.
Mthombeni takes the audience through Maseko’s troubled upbringing in rural KwaZulu-Natal. There does not appear to be anything out of the ordinary about her childhood, until she is struck by lightning during a there was a violent thunderstorm one night. This left a massive and intricate scar across her back. Her gogo explains to he that the scar will make her strong and brave, despite any pain she will encounter in life. From then on, Maseko has a fiery passion to fight systemic injustice and men who mistreat her, whilst using crazy methods. Thus, she becomes known as The Fire Eater. Later on, she becomes involved with the IFP through contacts of her late husband and it is them who are looking for more people to fight the ANC. They recognised her passionate fire.
Isidlamlilo takes the style of magical realism where there are elements true to life, yet other parts have been creatively exaggerated. Coppen stays true to the story in the set and costuming. The costuming was straightforward and accurate to what a contemporary South African gogo would wear. Lighting, sound and part of Mthombeni’s acting have been exaggerated. Lighting and sound are used brilliantly in Isidlamlilo. The effects of thunder and white and blue light flashes simulated the atmosphere of a real thunderstorm. n The high quality sound design ensured that the sound effects and Maseko’s words could be clearly heard throughout the playThe audience were incredibly immersed in her anger when Maseko tells us about her assassinations and those who have wronged her. The background music was creatively incorporated with a metal cabinet and whip, creating the sound of gunshots. One lighting effect that was done exceptionally well was the presentation of her scar. Maseko turns from the audience while a light from stage left projects delicate and powerful branchlike images onto her back.
Overall, this play was incredibly captivating. It is exceptionally well-written, acted and directed. Its set and costuming are done simply yet very accurately and enhances how Mthombeni portrays Maseko’s story. Lastly, Isidlamlilo’s sound and lighting were executed without fault. It was 100 minutes of educational, emotional and encapsulating sensations.
By Julian Rael Gordon
