History comes alive as “Dancing the Death Drill” sets Johannesburg alight

Amid the echoes of a forgotten tragedy, a powerful voice has risen from the stage of Joburg Theatre—one that moves the heart and stirs the soul. Dancing the Death Drill is more than a play; it is a stirring act of remembrance, a theatrical lament, and a celebration of lives lost in silence for far too long.

At the heart of this unforgettable production are three visionary artists: James Ngcobo, the director whose deep personal connection to the story fuels its emotional depth; Palesa Mazamisa, who skillfully adapted the work with sensitivity and care; and Luyanda Sidiya, whose choreography breathes movement into memory. Together, they have crafted a tribute that is both haunting and beautiful—an artistic reckoning with a past we must never forget.

In this touching exclusive interview with Africa Jamz FM News, we speak to the brains behind making this play a success and what inspired it.

Inspiration to bring the story of the SS Mendi to the stage

Director James Ngcobo shares the deeply personal inspiration behind bringing the story of the SS Mendi to the stage, and reflects on how he navigated the delicate balance between honouring its sorrow and celebrating its spirit.

“I was really driven by the historical angle of this story. We sometimes bask in too much amnesia in this country—a failure to pause, look back, and pick up some symbolic nuggets that are part of our history. It was a commitment to celebrate the lives of these men who perished there. To celebrate Fred Khumalo’s writing, to make a historical production that is totally designed for the contemporary audience,” said James.

Staying true to facts while crafting a compelling narrative

Palesa Mazamisa, the adapter of the production, opens up about the delicate task of adapting such a significant and emotional historical event—sharing how she stayed true to the facts while shaping a narrative that resonates powerfully with today’s audiences.

We had to be creative to navigate a fine balance between historical fidelity and narrative power, while also respecting Fred’s distinct voice. As such, there were three main considerations that we agreed to adhere to:

1. Using the protagonist’s journey to humanise the epic:
   “We decided early on that the story we were telling was that of Pitso. This helped us focus on a clear and distinct narrative storyline. Pitso’s experiences are a composite of truth. He allows the audience to experience the broader historical narrative through a single, relatable human lens. His personal journey—from his childhood, his reasons for joining the corps, his experiences of racism within the military structure, to his survival and trauma—is the vehicle that makes the massive scale of the tragedy personally comprehensible.
   
   “Pitso’s emotional truth—while he is a fictional character, his emotions are real. The fear, the camaraderie, the injustice, the loss—these are the universal human experiences that connect a 21st-century audience to a 1917 event. We may not know the exact words spoken between two men on the deck, but we can truthfully represent the spirit of their courage and despair.
   
   “So, essentially, the historical record gave us the what, but fiction and theatre gave us the who. Fred Khumalo’s genius was creating Pitso to serve this exact purpose, and we were able to exploit this to humanise such an impactful historical event.

2. Anchor the narrative in documented truth:
“The historical facts of the SS Mendi tragedy are non-negotiable and form the bedrock of the play. Straying from them would disrespect the memory of the victims. However, Fred gave us creative licence to add elements to the play that we felt would serve the story better. An example is the creation of the Wind characters, which are not in the novel.

“Certain aspects of the novel were omitted, primarily because you can’t stage an entire novel, which is largely exposition. We also understood that the core events are sacred, and we needed to be exact in conveying the details. For example, the date (February 21, 1917), the collision with the SS Darro in the English Channel, the inadequate response from the Darro, the courageous actions of Reverend Isaac Wauchope Dyobha, and the tragic loss of over 600 men of the South African Native Labour Corps are all immutable facts. We knew that we had to depict these events with the utmost gravity and truth—no creative licence.

“Fred adhered to this in the novel, where he took the facts of the events and created a fictional narrative around them.

3. Highlight themes that resonate with contemporary audiences:
“The facts of the Mendi are not just a historical footnote, they are a lens through which we can examine urgent modern issues. The adaptation makes these themes explicit:

• The erasure of black history: The play doesn’t shy away from the fact that this is a forgotten tragedy. The narrative itself is an act of remembrance, directly speaking to today’s conversations about whose stories are told and memorialised.
• The hypocrisy of colonialism: The men of the Labour Corps were fighting for a British Empire that denied them full citizenship and rights back in South Africa. This stark contradiction remains powerfully relevant in discussions about nationalism, service, and the unequal treatment of Black people—both then and now.
• The universality of trauma: Today, we speak openly about PTSD and the psychological wounds of war. Pitso’s story is a profound exploration of survivor’s guilt and trauma. By focusing on his psychological journey, the play connects with modern understandings of mental health, making the historical event feel immediate and visceral.

“Throughout, we sought to honour the legacy of the SS Mendi. Every creative decision was filtered through one question: Does this serve to honour the memory of the men who died and the plight of those who were forgotten? What we hoped is that if this theatrical adaptation helps a modern audience understand the scale of that loss more deeply, then it is in service of a greater truth,” explained Palesa.

Using movement and choreography to capture emotions

Luyanda Sidiya, the choreographer behind the production, speaks about how he used movement to embody the emotions and untold stories of the SS Mendi’s passengers, and the challenges he faced in translating such a profound piece of history into the language of dance.

“I believe the decision regarding movement choices was straightforward; it is embedded in our DNA. We are not telling a foreign or alien story; instead, we directly represent our ancestors. We are the sacrifice. This work allowed us to reconnect with our roots, exploring the richness of our ethnic groups, languages, and indigenous forms. The initial point of reference became a compelling process of remembering, revisiting, and invoking the memory and spirit of those who came before us. The challenge was continually finding ways to harmonise the transitions between different ethnic movements without compromising their true essence while striving to be creative in our approach and choreography,” said Luyanda.

This powerful production of Dancing the Death Drill is now showing at Joburg Theatre and will run until 28 September 2025 on the iconic Mandela Stage.

Tickets are available for purchase at WebTickets and at Joburg Theatre Box office and online at www.joburgtheatre.com

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