JOHANNESBURG, South Africa—The Market Theatre in Johannesburg marked its 50th anniversary this year, a milestone celebrated not just for its artistic contributions but for its defiant history as a haven for subversive expression during the apartheid era. Founded in 1976, just days after the Soweto uprising, the theater quickly became a focal point for resistance, challenging the racial segregation that defined South Africa at the time.
The theater’s origins are inextricably linked to the unrest following the June 16th Soweto uprising, where hundreds of students were killed protesting the imposition of Afrikaans as a medium of instruction in schools. “We opened our doors three days after that event,” says Greg Homann, the theater’s current artistic director. “The Market Theatre has been forged in those days and has really carried the weight of telling the national story of South Africa all the way through the dark years of apartheid.”
The Market Theatre, housed in a repurposed fruit and vegetable market in the city center, distinguished itself by actively integrating audiences of all races – a direct violation of apartheid laws. This integration wasn’t accidental. it was a deliberate act of defiance, requiring creative circumvention of the legal restrictions of the time.
“At one point our bar was sold for one rand, so, you know, the equivalent of 50 American cents, so that it was privately owned,” Homann explained. “Being privately owned meant that audience members of color could stand in that space legally. But if they stepped one meter into the foyer they were illegal by apartheid laws.”
Throughout the 1970s and 80s, the theater hosted productions that directly confronted the injustices of apartheid, attracting the scrutiny – and often the intervention – of government censors. Plays like “Woza Albert,” a powerful allegory about the struggles of Black South Africans, and “Sophiatown,” depicting the forced removal of a multiracial community, became symbols of resistance. The theater also served as a launching pad for prominent South African artists, including actor John Kani and playwright Athol Fugard.
John Kani, reflecting on the theater’s early days in a 2014 interview, recalled initial skepticism about the founders’ vision of a racially integrated space. “I thought these two whities were nuts,” he said, referring to Barney Simon and Mannie Manim, the theater’s founders. “It’s 1975, ‘76… But my entire career fell in place on this stage.”
The theater’s commitment to challenging the status quo often led to direct confrontations with the apartheid regime. Productions were frequently raided, and actors faced potential repercussions for their work. Censors would often attend performances and actively engage in censorship *during* the show itself.
“They would then go onto stage and they would start doing their censorship in front of the audience,” Homann says. “And it almost became like a second act of the production where the censorship was actively part of the work.”
Despite the risks, the Market Theatre continued to thrive, producing groundbreaking works like the musical “Sarafina,” which went on to international acclaim, including a Broadway run and a Hollywood film adaptation starring Whoopi Goldberg. The play, written by jazz musician Hugh Masekela, dramatized the events of the Soweto uprising.
The theater’s legacy extends beyond its artistic achievements. It provided a platform for marginalized voices and fostered a sense of community during a time of profound division. Arthur Molepo, a long-time director associated with the Market Theatre, remembers a spirit of unity that transcended racial boundaries.
“There was no black, there was no white. We were just a whole group, a whole bunch. So we were making things, making theater,” Molepo said.
In February 2024, the Market Theatre staged a latest production of “Marabi,” a play originally written in the apartheid era. The production, directed by Molepo, explores the struggles of a Black family facing forced removal under apartheid laws. The play resonated with audiences, including a significant number of younger South Africans who did not experience apartheid firsthand.
Gabisile Tshabalala, 35, who played the lead role in “Marabi,” emphasized the importance of theater in preserving and sharing South Africa’s history. “Theater is extremely important for young South Africans…especially as Black people…we receive to tell our stories,” she said.
Looking ahead, the Market Theatre remains committed to its mission of telling the South African story, addressing contemporary challenges such as access to education, corruption, and gender-based violence. Homann stated the theater’s continued purpose is to reflect the current realities of the nation. “So during the ‘80s, that was the story of the fight against apartheid. More recently, it’s the challenges of a young democracy.”
