Nkoli: The Vogue-Opera – a beautiful depiction of queer theatre as an arena for social justice

The multimedia artivism project spearheaded by globally renowned composer and sound artist Philip Miller, together with Welcome Lishivha and Harriet Perlman, honours and celebrates the life and trials of Simon Nkoli, a gay anti-apartheid freedom fighter who was at the forefront of the queer liberation movement in South Africa.

The warmth of the day was not only felt in the weather but also in the spirit of togetherness that was present in the lobby of the theatre. A theatre known to most as the home of protest theatre or ‘Theatre of the Struggle’ here in South Africa, that brings people from all walks of life together under one united roof. The Market Theatre first opened its doors in 1976, operating as an independent, anti-racist theatre during the country’s apartheid regime.

“Theatre exists to show you yourself and show you the world,” internationally acclaimed director Rikki Beadle-Blair said as he welcomed attendees with a few words before the show began. He encouraged excited members of the audience to relax, sit back and immerse themselves in the pioneering homage that was about to take place before their eyes. Contrary to a typical theatre production where audience members are asked to switch off their mobile phones while watching the show, Rikki made it abundantly clear that all attendees should feel free to capture videos and images of the brilliance that was about to parade the runway.

Moments before it was time for the curtains to open, the atmosphere in the room was thick with anticipation and deep curiosity. The part opera, part voguing-ball production boasted a star-studded cast of over 26 talented singers, dancers, voguers and musicians. The entire cast moved and sang as one, allowing for the message and movement of the music to permeate throughout the entire theatre.

Energetic liveliness emanated from a well-lit stage that was showered by additional light from a disco ball that hung from above. Gwijos (or protest songs) such as ‘Senzeni Na?’ and ‘Nongqongqo’ were reimagined with operatic voices and soul-stirring harmonies. The fast-paced drum patterns made for a series of iconic renditions that borrowed from disco beats. These renditions carried with them a whole new head-bopping feel without the essence of the song being lost. The power behind Ann Masina’s deeply resonant soprano voice moved the audience fully and wholeheartedly.

Nkoli: The Vogue Opera has been in the making for four years. With choreography by Llewellyn Mnguni and costumes by designer Mr Allofit combined with multimedia projections by South African filmmaker and celebrated video designer Catherine Meyburgh as well as musical direction by Tshegofatso Moeng with rapper S’bo Gyre as co-lyricist, the show is notable for its stellar showmanship.

The archival footage such as the many letters that Nkoli wrote from prison evoked a strong sense of lament, disguised as hope. Hope that the living, breathing heavy history of South Africa did not occur in vain. The deeply historic yet contemporary production is a loud reminder of one of the many truths that Simon Nkoli firmly stood for: the fact that gay rights have to be seen as part of the struggle for human rights. The production meaningfully and beautifully depicted queer joy, with all its wounds, as the arena for social justice, something people outside South Africa will get to experience next year when Nkoli: The Vogue-Opera tours internationally.

Find out more about the production on Instagram or X @nkolivogueopera.