The Stable Theatre
The Stable Theatre
115 Johannes Nkosi Street
(formerly Alice Street), Durban, 4001
115 Johannes Nkosi Street
(formerly Alice Street), Durban, 4001
In the mid1970’s Kessie Govender started his own company, the Stable Theatre, the first independent, black-owned theatre in South Africa. The Stable Theatre was named after Kessie’s play Stablexpense (1971).
This production – and the name of the company itself – formed a scathing comment against the authorities of the time who spent the equivalent of the cost of a stable on a house in Chatsworth. However, the stables were more structurally sound than these badly-constructed dwellings. Basing his public comment on his experience in the building trade, Kessie stated it was an insult expecting people to live in a home of such poor quality.
Its first location was on Queen Street, then West Street and it is currently located in Johannes Nkosi Street, in the Durban city centre. Being a builder, Kessie, who was often joined by his brother Shan, renovated the theatre spaces with his own hands, with materials he bought cheaply or managed to scrounge from other worksites. Because the Stable catered to a black audience, and because many of the plays performed at the Stable poked fun at or openly criticized the apartheid system, it was virtually impossible for him to find supporting funds. Ticket sales too were slow in part because those who could not afford to pay were allowed in free. Despite this Kessie’s shows, like Working Class Hero, attracted mixed audiences from affluent and working classes as they both were entertained by sharp dialogue and witty plots that poked fun at their attitudes towards the white minority, each other and the marginalised black majority.
Since its founding, The Stable has been an oasis of cultural diversity and resistance during the Apartheid era. It has helped launch the careers of Ladysmith Black Mambazo’s Joseph Shabalala and playwright Mbongeni Ngema, made famous by his musical Sarafina. Even today, actors, musicians, writers and other members of the performing arts have based themselves there honing their work for local productions and presentations overseas.
This production – and the name of the company itself – formed a scathing comment against the authorities of the time who spent the equivalent of the cost of a stable on a house in Chatsworth. However, the stables were more structurally sound than these badly-constructed dwellings. Basing his public comment on his experience in the building trade, Kessie stated it was an insult expecting people to live in a home of such poor quality.
Its first location was on Queen Street, then West Street and it is currently located in Johannes Nkosi Street, in the Durban city centre. Being a builder, Kessie, who was often joined by his brother Shan, renovated the theatre spaces with his own hands, with materials he bought cheaply or managed to scrounge from other worksites. Because the Stable catered to a black audience, and because many of the plays performed at the Stable poked fun at or openly criticized the apartheid system, it was virtually impossible for him to find supporting funds. Ticket sales too were slow in part because those who could not afford to pay were allowed in free. Despite this Kessie’s shows, like Working Class Hero, attracted mixed audiences from affluent and working classes as they both were entertained by sharp dialogue and witty plots that poked fun at their attitudes towards the white minority, each other and the marginalised black majority.
Since its founding, The Stable has been an oasis of cultural diversity and resistance during the Apartheid era. It has helped launch the careers of Ladysmith Black Mambazo’s Joseph Shabalala and playwright Mbongeni Ngema, made famous by his musical Sarafina. Even today, actors, musicians, writers and other members of the performing arts have based themselves there honing their work for local productions and presentations overseas.