Black Theatre

Jeffrey Mosser connects with Willa Jo Zollar, who is founder, chief visioning partner, and MacArthur Genius at Urban Bush Women. Together they talk about touring, the festival circuit, and strategy necessary to sustain a company for thirty years.

This week, Kelundra Smith sits down with Yura Sapi to discuss building her own table as a playwright and shares the process and inspiration behind some of her latest works. Topics for this episode include affirmations, changing hierarchical structures, and moving beyond a sense of urgency.

Recently named Edward Medina Prize winner Brittani Samuel joins Yura Sapi to share about her experience building her own table as a theatre critic. Topics in this episode include choosing joy every day, being a child of immigrants, and a shared meditation practice. This episode is dedicated to theare artist and critic Edward Medina, honoring his legacy which brings us all together today.

Abundance Zaddy joins Yura Sapi to talk about creating Cause Reign, an oral history project that connects Black people—with a focus on Black trans and queer folks—to their histories through dreamwork, the practice of remembering, recording, and activating the healing potential of dreams. Topics in this episode include prioritizing love and sweetness, transcending time, and asking for consent.

Theatre for development, which uses theatre to foster civic dialogue in communities, is quite popular in Malawi. Fumbani Innot Phiri, Jr. sits down with theatre for development practitioner Vitu Gwambaike Zgambo find out what commercial theatremakers in Malawi’s cities and towns can learn from the community-based practitioners creating theatre in villages around the country.

Jack Msumba, creative director of Youth Developers Collaboration Theatre, has big ideas for the future of Malawian theatre. In this interview, he shares his plans to eventually build Malawi’s first theatre house by producing work consistently in schools, communities, and commercial settings.

Lydia Deborah Banda infuses theatre into community initiatives that work toward gender equality, educate girls about menstruation, and provide leadership and support opportunities in schools and prisons. In this interview, she shares her experiences conducting these initiatives in Malawi and touring internationally to Germany.

Maxwell Ciphinga, better known as Max DC, has weathered massive changes in the audience, form, and funding of Malawian theatre throughout his four-decade career. In this interview, he shares his perspective on the industry and discusses his policy and producorial work as the president of Malawi’s new National Theatre Association.

As a scholar, educator, and practitioner of theatre, Roselyn Madalo Dzanja knows Malawi’s theatrical landscape well. In this interview, she discusses challenges Malawian women face when pursuing an acting career, the need for artistic independence from international donors, possibilities for Chichewa-language drama, and more.

Robert Magasa is an experienced dancer, choreographer, and actor who trained in Zimbabwe and now runs UjeNi Dance Ensemble Theatre in Malawi. In this interview, Magasa discusses his career, the economics of producing theatre in Malawi, and his current work to bring a combination of traditional and Afro contemporary dance to schoolchildren in Malawi.