IT was pleasant to notice that after a long spell, Nkana-Kitwe Arts Society (NKAS) resurfaced a fortnight ago with a play, a serious comedy ‘Husband for Breakfast’ which largely not only needed moral support, but financial too.
Over finances, my customary whimper and cry has been that Government, through the department for culture or and the National Arts Council (NAC), should grant theatre houses or theatre groups, particularly those that are actively engaged in producing plays; a grant of not less than K5000 possibly for ensuring effectual publicity; posters, banners and intermittent radio and television adverts and other logistics such as props.
For instance the presentation of NKAS’ production, and many other plays in theatre houses and other groups, totting up of funds could have made some of these plays big and box office hits – theatre, surely merit support, otherwise we are doing all this; going round and round in circles, making so much great efforts in trying to promote the country’s culture through theatre, but undoubtedly, not succeeding. I feel Government must unquestionably show its presence beyond the department for culture and NAC!
Well, for the past two weekends I am informed NKAS staged Husband for Breakfast, but for last week, I was unavailable, hence one of my associates in Kitwe, a theatre artiste buddy though he is so much into film – George Howard Musonda, acronym GHM, and so we often call him – watched the play and sent me this critique.
GHM writes, “I will start with the audience – there was a fair turnout, believably because NKAS has not frequented staging plays, so this was a fair reward.
“For the play, it was a wonderful performance; no one person walked out, they all sat through and enjoyed themselves to the end. However, some remarks came through, but only that the production was short, the audience craved for more.
Talking to the director of Husband for Breakfast, Barney Kanjela, and GHM wrote, “The director stressed the need for characters to learn lines as this was one pillar in theatre.
“Barney said memorising lines in any play was key, and that in comedy the presentation of sentences was crucial, yet he added that nowadays it was not easy to find good players and so he banked on those he thought would uplift the play without giving unnecessary trouble.
“As a production, the director exposed realistic and theatrical elements; coordination, flair, movement, style and entertainment which seemingly were appreciated by the audience.
“Veteran actress Lydia Mhango as Mailess lived up to her character so well that Nathan Sinyangwe (Moses) an upcoming actor had to keep up with the pace – Nathan was appearing for the second time with NKAS, and showed great talent.
“Godwin Chibanda (Isaiah) amazingly fitted in so well too like one sloshed up by whisky; for one making his debut on stage, I would say hats off! Offstage, Godwin said he has only appeared in a television series Reflections, while Husband for Breakfast was his first-stage play.
“Patience Kabwata and Malambo Kapalasa were fairly impressive. They need to regularly exhibit their talents in more plays if they are to reach the great heights of NKAS’ female bigwigs Lydia Mhango, Pamela Hojane, Vivienne Wamala Silwamba and Freda Nkonde of this world – their level of fluency, flow and acting were nearly flawless.
“Written by Elwy R. Mitchell, Husband for Breakfast is themed around infidelity; the plot revolves around two philanderers and a thief-cum-conman trying to outwit one another- in the non-wittiest ways.
“The conspiracy is that Isaiah is a poor man and owns nothing. Everything in the house is owned by his wife. When he goes for a drink and runs out of money, he tries to sell the house, the brown cow etc but everyone knows that all the property in “his” house belonged to his wife.
“Finally, Isaiah sells his wife to Moses for K50.00 since he has nothing else to sell, to merely buy more beer. Everyone in the bar witnesses the transaction.
“The following day, Pule and Sakala go to Mailesi’s house early in the morning so that they could witness the “wedding,” but Mailesi was neither aware nor told by Isaiah that she was sold, but Pule and Sakala reveal why they were visiting her.
“As far as Moses was concerned, Isaiah was not serious about the transaction, and goes to Isaiah to collect his K50.00. Isaiah tells him that he had no money. Then Mailesi tells Moses since her husband had no money and has been told that she was sold to him, she is prepared to be Mailesi’s husband. This infuriates Moses as she was not in his class.
“For Moses to get out of the despotic fix, he opts to lavish Mailesi with some of his property. By the time Isaiah is waking up, Pule, Sakala, Captain solo are gone. And Mailesi excitedly explains to her husband (Isaiah) how she managed to swindle Moses of his wealth which now had made them richer too.” Many thanks to you George Howard Musonda for the write-up. I hope to hear from you again.
Undeniably, it is pleasant and pleasing to notice that NKAS is back on stage with lots of promise; a couple of plays lined up for performances before the end of the year. Next attractions include prolific Barney Kanjela’s Scripts Socks and Toothpaste, Alfonso Santini and Legacy before the end of the year. Knowing how supportive NKAS chairperson Reuben Chama is, the sky is the limit for all those upcoming actors who need to take up the mettle – be serious and committed.
Meantime, one of the architects of cultural activities in Ndola, Dennis Kabo has died, and was interred on Wednesday, 17th June at Mufulira’s Kansuswa Cemetery, John Lungu a close friend of the late disclosed during the week.
Lungu, the chairperson of Ndola’s Dziwa Dzako Theatre bemoaned the passing on of Kabo, saying the man was a committed community artiste whose distinguished role can be traced with the School Arts Association of Zambia (SAAZ) Masaiti District where he was the chairperson.
Kabo died following an illness. He was deputy head teacher at Masaiti Primary School. MHSRIP.
John.kapesa818@yahoo.co.uk – 0955-067-077-710975.