Camden Borough’s Hampstead Theatre in London had the pleasure of hosting Mufaro Makubika’s latest play, Malindadzimu, from 2nd to 30th of October. It’s a piece that focuses on a mother-daughter relationship and their conflict between cultural assimilation and resistance to a white-centred world, and we anticipate its return to UK theatres next year. Kudzai Mangombe stars as Hope, a spotlight role for the young actress. 

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The story begins in Nottingham, where Hope, a teenager struggling with depression, takes an overdose after claiming to see shadows and spirits, symptoms diagnosed as psychosis. On discovering this, Hope’s overprotective single-mother, Faith (played by Shyko Amos), decides to take the family back to her birthplace, Zimbabwe.

The play touches on themes of belonging, the supernatural and the impact of colonialism on African-descendant people today, using the story of Cecil Rhodes and Ndebele King Lobengula to craft the central narrative. In a Western-historic view, Rhodes is said to have made a fair deal with Lobengula to acquire land in Zimbabwe. However, amongst the indigenous people of that area and those with a critical eye, it is seen that Lobengula was tricked by the imperialist and his land stolen by Rhodes. The play takes the protagonist Hope, named Khanya by her ancestors, on a journey to discover the truth and to reconnect with her history through visits from her ancestor King Lobengula (played by Sifiso Mazibuko).

The title “Malindadzimu” means “resting place of the deified ancestors” and denotes the burial grounds of important people, such as tribal kings and chiefs, within the area located in the Matobo Hills in Zimbabwe. It is also the place that Cecil Rhodes decided to be buried, a symbol of the colonial power over the area. Director Monique Touko helps to situate the serious storyline and its historical context within a comedic framework, constructed by jokes between the characters in an on-screen format. This tendency to juxtapose tragedy with comedy is a known creative tool within drama, paradoxically complimenting each other and highlighting the absurdity of the issue: here it’s the absurdity of us believing that the white imperialists could ever make a moral deal with the colonised.

An intimate set created by Zoe Hurwitz holds the theatre production in place. The stage is transformed from an NHS hospital bed to the sandy plains of Zimbabwe’s countryside. The small 41-seater performance room at Hampstead Theatre creates an intimate ground for the audience to feel as if they are immersed in the narrative as they feel the actors brush past them.

The cast is all-Black and all-British, featuring: Shyko Amos, best known for her role as Officer Ruby Patterson in Death in Paradise; the award-winning Hamilton star Sifiso Mazibuko, Zimbabwean-born Tendai Sitima, Natasha Williams, who has been on several popular TV shows, such as The Bill, Eastenders and Doctor Who; and young emerging actress Kudzai Mangombe who plays the show’s aforementioned lead, Hope.

AMAKA sat down with Kudzai Mangombe, learning her thoughts on the play and her role, her journey into acting, and what’s next for the future.

How did it feel to land the role in Malindadzimu?

This is my first professional job coming out of drama school. I was told it was going to be difficult, and a role like Hope may not come my way for another five years! But instead, I am starting my professional career with Hope. I mean, an all-Black cast, a Black writer and a Black female director about Zimbabwean culture are fresh and new and for sure interesting. I know for me, it's raised the bar in terms of expectations.

What is your personal connection to the story?

I would say my personal connection to the story is that it's written for someone who looks like me. The younger version of myself would have loved to have seen this. I mean the sheer fact that Hope is a teenage girl from a single parent background whose mum is intelligent, strong, fearless. It felt so real and so close to home and yet so far away for other reasons. As an actor, I have learned to be adaptable and transform myself into someone believable enough, based on the characters I normally get given. But this was the first time my process didn't involve race, meaning I didn't have to think what would a Black person really be in the middle-class during 1901 Russia. Instead, I was able to just throw myself into the character.

Why is the play so important in the current socio-political climate?

Having come out of Lockdown and having experienced all that we did during it, I believe a play like this at somewhere like Hampstead theatre is the exact change we were asking for. Looking at the landscape of the industry, I believe this play will be part of the conversations we have in future times regarding the practical and tangible changes that were made to give voices to stories we don't normally hear from. I can see things are changing, but I think it's going to be more interesting to see what the change brings about and how long it lasts.

How do we keep our histories alive?

I would say by existing and being the ones who remember and choose to act based on our history. I think it's important to remember rather than stay stuck in the past. As an actor, I want to keep my history alive, but I don't want to keep reliving it. I want to see the beautiful parts the Black community has offered over the years, much more than I want to see how Black people were taken from their land and enslaved. I want to celebrate who we are. That's how I keep our history alive.

What's the experience of being a Black woman in theatre?

The significance is huge. I understand first hand what it means when you see not just one or two but a cast or a story that is told from the perspective or point of view of a Black person. We have stories that we want to tell. I know for a fact, by playing Hope, I am not only making younger Kudzai proud, but I am giving other Black girls something real to see and know is possible. Seeing yourself in a reality you can connect with in shape or another is beautiful. It also feels as if it's a bit of a responsibility. I am not just playing a young Black girl but one whose story explores the reality of mental health issues and what it's like to deal with depression and anxiety. It's a reality within the Black community that does not get spoken about, but now we are talking about it.

Do you face any obstacles?

I am about to sound cheesy, but I don't see obstacles. I see an opportunity to make something or do something. That's not to say that things aren't hard or that they don't frustrate me, but that instead of looking at the situation as an obstacle or hindrance, try and find an opportunity to learn, grow or even better the situation for yourself if not for you then the person coming after you.

What are your plans for the future?

I want to continue telling stories that start conversations that lead to personal change in whatever form that takes, like through Shakespeare or a short film or a film. I know I have a lot of work to do, and I want to do a lot of work. I want to work with others who believe in the power that theatre has in terms of inspiring and motivating, as well as influencing change. I want to help create opportunities that I did or didn't have. I want to do things that make me happy and that I believe in. I ultimately want to do all these things exceedingly well. I want to be the exception. High goals, I know, but you know what they say: 'if your dreams don't scare you, are you really dreaming?'

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This interview has been edited for brevity and clarity.