Woza Albert! still asks the uncomfortable questions South Africa cannot ignore

Hamilton Dhlamini and Thulani Mtsweni star in the revival of Woza Albert! which is being showcased at The Market Theatre.

More than four decades after it first electrified audiences, Woza Albert! remains as urgent, provocative and emotionally devastating as ever. Its return to The Market Theatre as part of the venue's 50th anniversary celebrations is more than an act of nostalgia; it is a reminder that some of South Africa's deepest wounds have not healed, only changed shape.

Originally created in 1981 by Mbongeni Ngema, Percy Mtwa and Barney Simon, Woza Albert! is a call for ancestral spirits of liberation struggle heroes that were led by Chief Albert Luthuli to provide direction to the lost country. 

Woza Albert! imagined an extraordinary premise: what if Jesus Christ, referred to as Morena, returned not to biblical Jerusalem but to apartheid South Africa? Through this seemingly absurd question, the play dismantled the cruelty and hypocrisy of apartheid with biting satire, humour and heartbreaking humanity.

In 2026, however, the question the production asks feels different. South Africa is no longer governed by apartheid laws, but it continues to wrestle with inequality, corruption, exclusion and growing hostility towards African migrants. In an era marked by recurring outbreaks of Afrophobia and fierce debates over who belongs, Woza Albert! lands with remarkable precision, forcing audiences to examine whether the country's moral compass has truly shifted.

Hamilton Dhlamini, who directs and stars in this revival alongside Thulani Mtsweni, understands that the play's greatest strength lies in its simplicity. There are no elaborate sets, dazzling visual effects or technical distractions. Instead, two actors, a few wooden crates and extraordinary physical performances create an entire nation before the audience's eyes.

It is theatre in its purest form.

Dhlamini and Mtsweni transition seamlessly between dozens of characters – workers, policemen, vendors, priests, mothers and dreamers – using little more than changes in posture, voice and movement. Their chemistry is exceptional, allowing scenes to flow effortlessly while maintaining both comic timing and emotional weight.

The production is filled with laughter, but it is never comfortable laughter. Every joke carries an underlying truth. Every moment of comedy is quickly followed by a painful reminder of systemic injustice. The audience laughs before realising they are laughing at circumstances that remain painfully recognisable decades later.

One of the production's greatest achievements is its refusal to become a museum piece. Instead of presenting apartheid as distant history, Dhlamini's direction continually nudges audiences toward contemporary South Africa.

The parallels are impossible to ignore.

Where apartheid once dictated who could move freely, today's society often questions the legitimacy of migrants seeking refuge and opportunity. Where the original production condemned racial oppression, today's audiences are invited to confront intolerance directed at fellow Africans. The play asks a haunting question without ever stating it outright: if Morena returned today, who would South Africans reject?

This thematic shift gives Woza Albert! renewed relevance.

The production also arrives during a politically significant period, with local government elections once again placing questions of leadership, accountability and public trust at the forefront of national debate. The play's examination of power — who possesses it, how it is abused and whom it ultimately serves — resonates just as powerfully in democratic South Africa as it did under apartheid.

Yet despite its heavy themes, Woza Albert! never loses its humanity.

Its greatest strength lies in celebrating ordinary people. Street vendors, labourers, domestic workers and countless forgotten citizens become the true heroes of the story. Their resilience, humour and unwavering hope transform the production from political theatre into something profoundly human.

Dhlamini delivers a commanding performance, balancing humour with quiet intensity, while Mtsweni proves an equally compelling stage partner. Their physical endurance alone is remarkable as they race through multiple roles without losing clarity or emotional authenticity.

The absence of elaborate production elements ultimately works in the play's favour. Every silence, every movement and every pause carries significance. The audience is left with nowhere to hide, forced to confront the text directly.

The Market Theatre remains the perfect home for this revival. Few productions are as intertwined with the venue's identity as Woza Albert!, and staging it during the theatre's golden jubilee reinforces the institution's historic role as a platform for courageous storytelling and social reflection.

Perhaps the production's greatest success is that it refuses to provide easy answers. Instead, it asks audiences to leave the theatre carrying uncomfortable questions into the streets beyond Newtown.

Have South Africans truly become the society they once dreamed of?

Would liberation heroes recognise the nation they sacrificed for?

And perhaps most importantly, who do we consider worthy of compassion, dignity and belonging today?

More than 40 years after it first challenged apartheid, Woza Albert! continues to challenge democracy itself—not because democracy has failed, but because its promises remain unfinished.

This revival proves that truly great theatre does not simply survive the passage of time. It evolves alongside society, finding new meanings with every generation.

Woza Albert! is not merely a revival of a South African classic. It is a mirror held up to the nation, reflecting both how far the country has travelled and how much further it still has to go.

Woza Albert! is showing at The Market Theatre until 26 July. Tickets are available on Webtickets starting from R110, with special discounts for the preview performance, for groups of four or more, and with all Wednesdays at half-price.