I have always wanted to experience the award-winning YangThola, I just never quite found the right time. When I came back after my childhood bestie's bridal shower; I came back to a grumpy partner. This is when I thought, "Hmmmm, we got the State Theatre right here, let's do an impromptu date night."

YangThola was the perfect peace offering. 

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After being left with endless reflection, I reached out to writer and director, Mongezi Ntukwana and actor, Alex Sono, on Instagram DMs. I put together the questions on a Google Docs. And scratched my curiosity with these answers here. 

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A coincidence I'm loving about writing this is that I am in a hair salon, someone who was homeless for two months, is doing my hair. And I trust him to do my hair. Would I have been open to him doing my hair back then when he was homeless? Why not? 

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Mongezi Ntukwana:​​

 

Have you ever imagined the play’s direction without breaking the fourth wall?

No I have never. Theatre in my view should always be a confrontational engagement/encounter. It does not make sense to pretend as if the audience does not exist, especially when dealing with urgent issues such as homelessness and substance abuse. 

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Whose story, among the people you interacted with, touched you the most and inspired you to immortalize it in the play? Where are they now?

There are a couple, honestly it is difficult to choose one. My encounters with the homeless have left me in turmoil. These are very vulnerable people in society who always get taken advantage of due to their desperation and lack of agency. Two stories stand out for me; one gentleman (won’t mention names) was kicked out of home because his family did not agree with the course he decided to further his studies in. Another was handed a pair of very expensive safety boots, only to find that they were stolen. He was arrested for this and now has a criminal record.

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What is the demographic of most of your attendees, and how do you feel about that?

It is mostly theatre goers and colleagues in the industry. The social issue/s addressed in this play are national ones. So it would be great to have an audience that covers a wider demographic. It makes me quite frustrated because we always struggle for audiences.  We have worked tirelessly to ensure that the quality of the work is there now we just need bums on seats.

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Where is your most ideal stage to have the greatest impact with this work?

The play is an ode to the homeless and those who are dealing with substance abuse. Our goal is to humanize them. It would be really great to perform this in rehab centres, homeless shelters and community centres.

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How is music used as a tool in the play?

Yangthola! Is an interactive one hander piece. So music is used in the form of call and response to assist the character in transitional moments.

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Years from now, how would you like people to remember this play in relation to the human condition and Black politics?
I want people to remember Yangthola! as a transformative play that encouraged them to have more grace and leniency when encountering homeless people.

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The remarkable Alex Sono, opted for voice notes. ​

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Alex Sono:

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What’s your fitness routine for preparing for the play?

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Which part of the play challenged your moral compass the most, and why?

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Where is your most ideal stage for YangThola, and why?

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In the scene where you opened one of the boxes with three red stripes, was that symbolic of anything?​​

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Your commitment is relentless – in what ways did Mongezi sharpen you? Are there specific things he said that kept ringing in your mind during the rehearsal process?

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Years from now, how would you like people to remember this play in relation to the human condition and Black politics?

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The journeys we walk in this capitalist economy...

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You can still catch YangThola at The State Theatre until 15 February 2026.