In Chitumbuka language, bwabwalala refers to a nocturnal bird that has a unique way of flying. Just like an owl, the bird is associated with superstitious beliefs.

Bwabwalala is the title of Waz Arts Theatre’s debut production premiered at Golden Peacock Hotel in Lilongwe on Sunday afternoon. Just like this bird, on Sunday the theatre production flew ceaselessly on the platform of multiple themes.

Mwaungulu (In an armchair) and Sanga engage in a deep conversation

Playwright and journalist Suzgo Chitete told Chill: “It is an interesting bird which is mostly active at night. During the day, it looks quite and innocent. So, we are simply reflecting on what people do in darkness or closed doors.

“Things we take for granted have a lot of meaning. Our societies have people who look innocent but survive on crooked means. Bwabwalala refers to every crooked character in the play.”

Set in a typical rural Northen Region locality, the narrative in the storyline speaks to the traditional beliefs, social ills, current affairs, the economic status and at times comments on the political developments for both past and present regimes.

Many times the audience at Golden Peacock was left with the task of drawing parallels with some realities that have taken place before.

The first scene starts with two brothers Kalambo, played by Chitete and Mzimba played by Jeremiah Mwaungulu. The two are forced to forge an unlikely union as they try to force the hospital personnel to falsify details surrounding the death of their relative.

As they go on to seek options to go on their enterprise, the two conniving brothers engage a prophet, Avogazaya, played by Rogers Siula to try and convince their family members on the legitimacy of their decisions.

They are convinced that their case will be made believable with the presence of the prophet.

Despite being a fake prophet, Avogazaya puts up a brave display during his appearance at the funeral. The flamboyance in his dressing and pose stands out as well.

He often draws examples from current affairs and closely engage the audience. He puts a question to the audience to ask themselves if, according to their deeds, their names appear on Satan’s or God’s list. His emphasis on Satan’s list had people guessing of what he meant.

An act of betrayal soon threatens the thriving camaradarie between Kalambo and Mzimba when the former fails to make good of their agreement as regards the distribution of their ill-gotten wealth.

After being confronted by Mzimba, Kalambo surprises his brother when he openly denies making any agreement with him. Almost mirroring the Tonse Alliance situation.

The production is also full of humour and McDonald Sanga, who stars as Mbawaka, provides plenty of it. At the funeral of his brother, he unashamedly announced the reduction of the mourning period by 25 percent, in an apparent reference to the recent devaluation of the kwacha.

The female cast in the production, led by award-winning Brenda Nselu who played Nyadoda, Dipo Katimba who starred as NyaNdlovu and Mary Chilongo was Nyakanyaso made a good account of themselves too.

Journalist Joab Frank Chakhaza described the performance as a rebirth of theatre in Malawi.

He said:“There is nothing that I can take away from the performance. Everything was on point. The humour, the plot was intricate, thick and perfect, the delivery was perfect and I think the mixture of the languages was well balanced too.

“The genius for me was also the ability to fuse a local theme which happens every day in the village with what is happening at national level.”

Lawyer Wapona Kita said the production took him back the memory lane to the days of Wakhumbata Ensemble Theatre.

He told Chill: “The themes were okay but I would think they were too packed. Even if that play was just half, we could have enjoyed it.

“They need to focus on one theme and carry it through. We have not seen anything such as this in the last two decades. Let them continue.”

Poet-cum-singer Chigo Gondwe lauded the technical aspect of the production although she felt the links between the scenes could have been shortened for seamless transition.

She said: “The content was powerful, relevant and thought-provoking. The script is bold and challenges every Malawian not only to consider but act on the injustices of our society. It is no ordinary play. It is purposed for change.”

Director of the play, Mwaungulu said although they put together their production at short notice, but the response they received was overwhelming. He said what excited them more was the feedback from those who watched.”

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