No Good Friday

 
 
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Directed by Sandra Chidawanyika-Goliath, No Good Friday was staged at Zimbabwe German Society on the 27th of June 2015. It is a township drama set in Sophia Town in the 1950s. The play grapples with three issues; love, dreams and murder. Rebecca is a young woman in love with Willie, who is on the verge of realizing his dream of becoming a black intellectual by graduating with a B.A degree. Willie realizes that all the benefits that were supposed to accrue to him were just a pipe dream. He loses his mind and his love for Rebecca. He despairs of life, questions the existence of God and the notion that education could be as important as the pursuit of freedom.

THE PLOT

The protection racket run by Shark, the local Mafia boss whose charming exterior belies a violent nature,conducts its operations every Friday evening. There is no ‘happy’ Friday as Shark causes havoc by intimidating every resident into paying a ‘protection fee’. Willie’s pessimism is all pervasive as he questions the notion of “doing good” in an existence that seems not to reward goodness-maybe freedom lies elsewhere? While grappling with this dilemma, a murder is committed right on Willie’s doorstep by Shark. Through the murder of Tobias, ethical and religious dilemmas emerge. Should Shark be reported to the police where he holds ‘shares’ or will there be merely another murder to silence the uproar?

CAST & CREW

Willie | Tatenda Mbudzi
Rebecca | Chiratidzo Saruro
Guy | Jerulah Muchiuro
Shark | Tichaona Mutore
Harry/Moses | Priscilla Mutendera
Pinkie | Handsome Maseko
Tobias | Eddingtone Hatitongwe
Watson/Peter | Brighton Ndlovu
Father Higgins | Arnold Rosslee

Director | Sandra Chidawanyika-Goliath
Mentor Director | Julia Wharton
Stage Manager | Prudence Kalipinde
Operations | KuElizabeth Muchemwa
Accounts | Kudakwashe Kanembirira
Production Assistant | Simbarashe Kanembirira
Publicity | Patience G. Tawengwa
Publicity Intern | Tawanda Mupatsi

RECEPTION




 

A NOTE FROM DIRECTOR SANDRA CHIDAWANYIKA-GOLIATH

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I came to learn, unlearn and relearn

When Patience Tawengwa called me three years ago to ask if I was interested in participating in the inaugural staged reading by Almasi, A Raisin in the Sun by Lorraine Hansberry, directed by American director and dramaturge Julia Wharton, little did I know that this would mark the beginning of a life changing journey for me as a passionate performing artist. With four National Arts Merits Awards nominations for outstanding actress under my belt, two of which I had won, one would assume I had learnt all there is to learn about the art, and was ready to pass it on. But this is far from true. My theatre experience up until then, (with the exception of the two-hander ‘In the Continuum’, written by Danai Gurira ‘Miss Dee’ and Nikkole Salter, and which Danai devotedly flew to Zimbabwe to co-direct with Patience Tawengwa, and Eclipsed, also written by Danai) had been that of collecting my script, going home to work on it myself, and walking in to the first rehearsal to show off how much of my lines I had memorized, ready for action. The Almasi Staged Reading Series changed all that for me, starting with my being selected as a mentee director/actor in the staged reading of ‘Necessary Targets’, our Mentor Julia Wharton equipped us with the tools and techniques needed to eventually be ready to direct a staged reading of our own. Having worked with Julie before, I thought this would be merely another exciting chance to use what I had learnt while gathering more skills, until I realized that in this new role where I was expected to fully participate in the entire rehearsal process, from the analysis of the play, text and characters, I realized I had to put in a lot of work if I was to learn, unlearn and relearn. American Author Alvin Toffler couldn’t have put this better. This involved reading the whole script and letting the text guide me on the world of the play and its characters present and absent, letting go totally after gaining a clear understanding of my character, which was not instantaneous; as with each rehearsal there was always more to discover. I also learnt to be aware that I was part of a creative team with common goals – one of which was to stir the imagination of the audience and to move them to action, and that as an actor what I had to say mattered and I had a role to play in the choices made by my fellow actors and the director. I cannot even begin to describe the sheer delight and sense of accomplishment I felt when on the day of the reading the audience identified with our play as evidenced by the vibrant post reading discussion… CONTINUE READING

 

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