Theatre / Reviews
Review: Mama Afrika: Hope, Determination and Song, Tobacco Factory Theatres – ‘Feels like a missed opportunity’
Mama Afrika tells the story of the iconic South African singer Miriam Makeba, who emerged from the townships of Johannesburg before being exiled from her homeland for over 30 years during apartheid.
Her life encompassed many hardships and tragedy, not least being dislocated from her family, and she spent many years living in the United States and later across Africa. Reluctant to become politically active, her experience and reaction to events at home finally spurred her on as a powerful advocate for the oppressed.
Makeba, whom Nelson Mandela called “South Africa’s first lady of song”, is played in this one-woman show by Zimbabwean-born singer, musician, and storyteller Anna Mudeka. In four chronologically linear incarnations, Mudeka relates a life told through direct speeches, song and several one-sided phone calls.
is needed now More than ever
The script by Zimbabwean writer Tomas Lutuli Brickhill tells a comprehensive story, but it leaves us not knowing much about what made Makeba tick. Although we learn a great deal about Makeba’s difficult life and her determination to overcome racism, there is far too much telling and not enough showing. The show is enlivened by many of Makeba’s best-loved songs, including Mbube, Pata Pata and Soweto Blues, although these are too often only sung in part and not allowed to soar as high as they could.
The narrative covers a lot of ground, from Mudeka’s marriages to musician Hugh Masekela and black rights activist Stokely Carmichael, as well as her support of Paul Simon during his Graceland tour, but I wanted to hear more than that.
Direction by Tonia Daley-Campbell is straightforward, but I yearned for a more personal interaction with the audience, and a greater degree of stagecraft. Several times Mudeka left the stage to change costumes, and we were left waiting for something to happen. It was only right at the very end of the show that any passion was generated.
Anna Mudeka in Mama Afrika
What did not help the performance was a series of technical shortcomings. The show started 10 minutes late and finished 25 minutes later than advertised. Mudeka’s body-worn microphone repeatedly cut out, was scratchy and did not do justice to her voice. That this has happened before on tour, and was not sorted out during the interval, is unacceptable.
Archive footage of events in South Africa, including the 1960 Sharpeville massacre, helps tell the story, but these also stuttered more than once and in any case were too small to see.
Mudeka is a restrained performer, and when she allows herself to release the lioness within the show comes alive, but too often it feels like a rumble rather than a roar. A poorly recorded backing track does little to help the musicality.
Edith KaNgwenya’s costumes are a delight, however, bringing much needed colour and light to the show.
Although Mama Afrika casts a spotlight on Mirian Makeba, it feels like a missed opportunity, not only because it needs a stronger injection of drama but also because of the intrusive technical failings.
Mama Afrika is touring until November 2025. Find out more at www.annamudeka.co.uk or follow @anna_solo_mudeka.
All photos: Gideon Graylyons
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