In the midst of South Africa’s dark apartheid era, when laws forbade interracial marriage and segregation was brutally enforced, one audacious theatre director took a stand against oppression through the power of Shakespeare. Janet Suzman, a white South African actress turned first-time director, daringly chose to stage the Bard’s controversial play Othello at Johannesburg’s Market Theatre in 1987 – a move that would challenge the very foundations of the racist regime.
Othello, Shakespeare’s tragic tale of love, jealousy, and betrayal, centers on the doomed marriage between Othello, a black Venetian general, and Desdemona, a white noblewoman. In apartheid South Africa, where “miscegenation” was not only taboo but illegal, mounting a production of this play was an act of defiance bordering on sedition. Yet Suzman, driven by a deep conviction in theatre’s ability to illuminate truth and inspire change, refused to be silenced.
Casting Othello in a Divided Nation
Suzman’s vision for Othello hinged on finding the perfect actor to embody the titular role – a challenging prospect in a country where black performers were routinely marginalized and overlooked. Enter John Kani, a young black activist and actor of immense talent and presence. Suzman knew immediately that Kani was her Othello, but mounting the production would require more than just artistic instinct.
To proceed with the controversial project, Kani first had to secure approval from Mongane Wally Serote, the exiled culture representative of the African National Congress (ANC). Serote, initially skeptical of Shakespeare’s relevance to the struggle, was swayed by Suzman’s impassioned argument that the Bard’s works were inherently political, shining a light on society’s ills and inequities. With the ANC’s blessing, Kani and Suzman embarked on their groundbreaking collaboration.
A Theatre of Resistance
The Market Theatre, co-founded by Barney Simon and Mannie Manim in the mid-1970s, was a rare beacon of artistic freedom in apartheid South Africa. Situated in the heart of Johannesburg, in the former Indian fruit market, the theatre had become a haven for progressive voices and a hub of multiracial collaboration. It was here, under the Market’s protective umbrella, that Suzman and her diverse cast would bring Othello to life.
Rehearsals crackled with energy and purpose, as the company delved deep into Shakespeare’s text, uncovering resonances that spoke directly to their own experiences of oppression and resistance. Kani’s Othello became a symbol of black dignity and defiance, while Joanna Weinberg’s Desdemona embodied the courageous spirit of white allies willing to risk everything for love and justice.
Opening Night Jitters and Triumphs
As opening night approached, tensions ran high both inside and outside the theatre. The authorities, though surprisingly restrained in their response to the production, nonetheless kept a watchful eye on the proceedings. Suzman and her team steeled themselves for potential disruptions or even arrests, knowing that they were treading on dangerous ground.
Yet when the curtain rose on that historic first performance, something extraordinary happened. The diverse audience, a rarity in itself, sat transfixed as Kani and Weinberg brought Shakespeare’s words to vivid, breathtaking life. The chemistry between the two leads was electric, their forbidden love story a searing indictment of the very laws that sought to keep them apart.
“To have a black and white couple kiss on stage was quite something for the time,” Suzman recalled in a recent interview. “But very few seats slammed up in the auditorium.”
Instead, the audience leapt to their feet in a rousing ovation, tears streaming down many faces as they witnessed the power of theatre to challenge, to inspire, and to heal.
A Legacy of Courage
Suzman’s 1987 production of Othello at the Market Theatre was more than just a milestone in South African theatre history; it was a clarion call for change, a bold assertion of our shared humanity in the face of a system built on division and hate. The production’s success paved the way for a new generation of black actors to claim their rightful place on stage and screen, with Kani leading the charge.
Today, as South Africa continues to grapple with the lingering effects of apartheid and the ongoing struggle for true equality, the legacy of that groundbreaking Othello endures. It stands as a testament to the transformative power of art, and to the courage of those who dared to dream of a better world, even in the darkest of times. As Suzman so eloquently put it: “Theatre gains a whole rack of meaning if you’re doing it in forbidden circumstances. It’s not just another play you’re staging – it’s a step towards freedom.”
The Market Theatre, co-founded by Barney Simon and Mannie Manim in the mid-1970s, was a rare beacon of artistic freedom in apartheid South Africa. Situated in the heart of Johannesburg, in the former Indian fruit market, the theatre had become a haven for progressive voices and a hub of multiracial collaboration. It was here, under the Market’s protective umbrella, that Suzman and her diverse cast would bring Othello to life.
Rehearsals crackled with energy and purpose, as the company delved deep into Shakespeare’s text, uncovering resonances that spoke directly to their own experiences of oppression and resistance. Kani’s Othello became a symbol of black dignity and defiance, while Joanna Weinberg’s Desdemona embodied the courageous spirit of white allies willing to risk everything for love and justice.
Opening Night Jitters and Triumphs
As opening night approached, tensions ran high both inside and outside the theatre. The authorities, though surprisingly restrained in their response to the production, nonetheless kept a watchful eye on the proceedings. Suzman and her team steeled themselves for potential disruptions or even arrests, knowing that they were treading on dangerous ground.
Yet when the curtain rose on that historic first performance, something extraordinary happened. The diverse audience, a rarity in itself, sat transfixed as Kani and Weinberg brought Shakespeare’s words to vivid, breathtaking life. The chemistry between the two leads was electric, their forbidden love story a searing indictment of the very laws that sought to keep them apart.
“To have a black and white couple kiss on stage was quite something for the time,” Suzman recalled in a recent interview. “But very few seats slammed up in the auditorium.”
Instead, the audience leapt to their feet in a rousing ovation, tears streaming down many faces as they witnessed the power of theatre to challenge, to inspire, and to heal.
A Legacy of Courage
Suzman’s 1987 production of Othello at the Market Theatre was more than just a milestone in South African theatre history; it was a clarion call for change, a bold assertion of our shared humanity in the face of a system built on division and hate. The production’s success paved the way for a new generation of black actors to claim their rightful place on stage and screen, with Kani leading the charge.
Today, as South Africa continues to grapple with the lingering effects of apartheid and the ongoing struggle for true equality, the legacy of that groundbreaking Othello endures. It stands as a testament to the transformative power of art, and to the courage of those who dared to dream of a better world, even in the darkest of times. As Suzman so eloquently put it: “Theatre gains a whole rack of meaning if you’re doing it in forbidden circumstances. It’s not just another play you’re staging – it’s a step towards freedom.”
