This week Renee Liang talks to award-winning Kiwi-Zimbabwean playwright Stanley Makuwe, and Australian playwright and festival director Alex Broun.

Read the latest instalment of the Cultural Storytellers series on The Big Idea.

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Last week, in between rushing towards writing deadlines (what’s new), getting my teeth cleaned and seeing my long-suffering accountant, I had coffee with a remarkable man I’ve been wanting to meet for some time.  His name is Stanley Makuwe and although he’s only just beginning to be recognized in Auckland, he is a well established name in his native Zimbabwe as well as receiving international recognition in the form of BBC radio and playwriting awards. 

Talking to Stanley lifted me above the everyday-ness of being a writer.  It made me recognize in myself the reasons why I write: to have a voice, maybe to influence others, ultimately, to make a difference.  For a moment, I stopped worrying about the politics of getting people to come and see my play or give me funding or even to include my name in a newsletter.  I remembered that it’s not really about all that, because if it’s just that then none of us would be writers.  Deep down (although being Kiwis it’s hard to admit it) we write because we want to change the world.  And if we dare, we take risks.

Stanley Makuwe knows all about that.  In 2007 his first play, The Dead Shall Rise Again, made it to the Highly Commended List in the BBC International Playwriting competition. In the same year, his other play, Overthrown, produced and directed by arguably Zimbabwe’s biggest name in theatre, Cont Mhlanga, was banned by the Zimbabwean government on its first night at Amakhosi Cultural Centre after the police made an accusation that the play was meant to embarrass Zimbabwe’s president, Robert Mugabe. Stanley has just returned from another, less controversial trip to Zimbabwe where he worked with school children from his former rural school in a HIV/AIDS awareness production.

Renee:  What motivated you to start writing plays?

Stanley: I have always believed each and every one of us has a story to tell, but the challenge is on how to tell the story. My upbringing has always been an inspiration to my story-telling. I have a desire to tell African stories.

Renee:  What are you working on at the moment?

Stanley: I am currently working on a script titled FOOTPRINTS OF IKA'S HEART, a story about two young African lovers seeking a safe place to love without the fear of war, political instability and family pressure. The story might come out as a love story but to me it is about addressing African problems that have existed for many years. It is about moving to a new country, the challenges of settling down, starting afresh, leaving family and friends, trying to leave the traumatic past behind.

Renee:  What made you move to NZ?

Stanley: Looking for greener pastures, escaping economic difficulties and political instability in our motherland, Africa.

Renee:  Is NZ having much influence on your work at the moment?

Stanley: It's starting to have the influence but it took me a while to take it that way. My mind was always home even though I was physically here. Now that I have accepted the fact that I am here to stay, I can write stories with African and New Zealand connection. A purely NZ story wouldn't work for me.  Nothing much happening here apart from a Sunday at the beach or shopping in Westfield Mall. Can I come up with a story about a walk on the beach? Not sure.

Renee:  What similarities and differences are there between NZ and Zimbabwe?  In terms of kinds of theatre, innovation, themes and ease of getting funding?

Stanley: In Zimbabwe you can write and stage a play within two weeks. In NZ they want a polished product and I don't think any kind of written work will ever be polished. Even the published work can still be rewritten many more times. In Zimbabwe you can stop in the middle of rehearsals to go and see a big plane flying past. In NZ you just have to concentrate on the work at hand. In other words I find it more fun in Zimbabwe than here, but having said that I would rather do it the NZ way because theatre has becoming huge throughout the world and we have to take it seriously. In Zimbabwe the government gives very little or nothing to theatre. Producers have to survive on outside donors. When it comes to themes, Zimbabwean playwrights and producers deal with current issues, things that are happening like right now. Things that are affecting them on that very day. They use theatre to express their views on current affairs, to vent their anger and frustrations, to celebrate success.

Renee: Getting from page to stage in two weeks with no funding, AND having a lot of fun, sounds pretty amazing actually.  What support structures could work in NZ to help us towards that? Or is it more of an attitude thing?

Stanley: I don't think it's us who should change the system. I feel it's in Zimbabwe where they have to start taking a professional approach.

Renee:  Does your work (as a mental health nurse) ever make it into your writing?

Stanley: Yes it does, but I try not to make it too obvious. An example is the story I am writing now is told from a mental hospital bed.

Renee: Have you also explored other genres? What makes you choose theatre as your current genre?

Stanley: I started with short stories and published a book in 2005, UNDER THIS TREE and other stories, which was voted book of the week on TalkBack ZB. I have always loved plays though and I thought that the best way to go is to focus on them so I can improve my skills in that area.

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Speaking of writing plays and improving skills - writer, director and independent theatre company submissions for Short and Sweet close today (Monday 19th Oct).   Short and Sweet is one Aussie import you’ll love – a festival of ten minute short plays with both local and international flavours.  Organisers are hoping to get as many local actors, directors and writers in to participate as possible.  (Applications for actors close on 13th November so there’s still time).  I interviewed the Festival’s head honcho, Alex Broun, by email…..

Renee: How did Short+Sweet start?

Alex: It was started by Mark Cleary at the Newtown Theatre in Sydney in 2002 as a way for local actors, directors and writers to showcase their work. It was then developed by myself in to what has now become the biggest festival of ten minute theatre in the world!

Renee:  In what ways has it grown?  How would you like to see it grow?

Alex: Since it began in Sydney it has now grown to be held annually in Melbourne, Singapore and Malaysia - and in 2009 it started in Canberra and Brisbane – and of course from 2010 in Auckland. We are soon hoping to launch festivals in New York, London and maybe even Paris – which would be very exciting.

Renee: What has been the most unusual Short and Sweet play?

Alex: There have been many unusual plays in Short+Sweet. One about three urinals cakes called “Trough” springs to mind as does one about beached whales and the couple driving to save them, two couples who turn out to have more in common than you may think. But the most unusual is a play by a writer from Chicago, Gregory Hardigan, called 49 stories about Brian Mackenzie, which is a slide show. Not one word is spoken in the entire ten minutes and it’s one of the most amazing pieces of theatre I’ve ever seen.

Renee:  If you were to give three pieces of advice to an aspiring Short and Sweet playwright, what would they be?

Alex: Firstly I’d say the secret to writing a good ten minute play is the same as writing a good play of any length. Strong characters, interesting story and good dialogue. You should also think about theatricality – what makes your play need to be performed on stage - and dramatic tension – which is usually caused by bringing characters into conflict.

Secondly, remember what is the story you are trying to tell – and just tell that story. It’s a ten-minute play. You don’t have time for anything that is unnecessary.

Finally, write what you want – don’t question yourself. If you have a play in your head just write it. If you love the story/situation – others might as well. Let your plays be your passion.

If you want to read some examples of ten minute plays go to www.alexbroun.com and download some of my plays. There are hundreds there and it’s free!

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I recommend going to the excellent website http://www.shortandsweet.org/shortsweet/auckland which is packed full of resources.  And if you are too late, but still want to enter, try dropping the organizers a line.  Word on the street is they are really keen to include everyone.