The Underground Gang. One of those plays with music in it. A project almost 2 years in conception, and Santu Guild's debut production. A story centred around the concept of us being spiritual beings having human experiences. While only making it's debut run, The Underground Gang certainly didn't disappoint.
The setting was Jasen Mpepho Little Theatre in Eastlea, Harare. An intimate stage, that was transformed to showcase the spiritual realm and the world of the living. A world building effort that was everything to the tale. Our narrator was AneUnhu Gwatidzo, who executed his role with an air of confidence and just the slightest hint of humour.
The beauty of The Underground Gang is in it's presentation of ideas that are not often seen in the mainstream. Indegenous spiritual systems and their intersection with the living. Entirely original, the play had the added flair of unscripted lines for the characters.
The cast had a handful of characters, and at the centre was Jonathan Masango (played by Ben Nhekairo), a somewhat tortured soul who was questioning his existence. Next to him is Ndabezita (played by Elvis Chikiwa), a part of the cocoon crew and a voice of reason or hope rather. These characters are juxtaposed by the underground gang, the voices from beyond. Senzo (played by Bobby Morgan), who's character is deeply rooted in Zimbabwean traditional religion, and Yanaya (played by Min'enhle Mguni), a deity birthed from a Yoruba Orisha and the spirit of manjuzu.
Although the linear narrative is easy to follow, there's a certain disconnect that came with some of the chapters. However the brilliance of the music more than made up of it. Both from the singing of the characters and the band that gave each music piece it's instrumental.
The music was an ode to hip hop, with nods to Kendrick Lamar's diss track turned anthem "Not Like Us," Jay Z & Kanye's album defining "No Church In The Wild," and Blackstreet's classic "No Diggity." Interpolated and delivered with soul.
They were also nods to RnB and pop music, but the appreciation of Zimbabwe's deep musical heritage was what stood out to me. There was the inclusion of folk songs like "Chaminuka," which was made popular by Chiwoniso Maraire and performed by her daughter Chengeto Brown. The ensemble also performed tracks like Leonard Dembo's "Kusatenda Huroyi," paired with Tamy Moyo's song "Handigone." A representation of the consistent juxtaposition of the now and then, throughout the different music regions they explored.
There's certainly much more to be explored with the story that underlies this play, and I'm certainly intrigued to see what the next editions of it bring. While they were more than a few great performances, Min'enhle's potrayal of Yanaya was head and shoulders above everyone else. From the conception of the character, to the execution. I certainly hope to see more of her.
December has been hinted as it's return for a second act, and I for one am eager to see it again.
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