Theatre and identity: Rajesh Gopie on the Red Mango Arts Festival

As South Africa prepares to commemorate the 165th anniversary of Indian arrival in Natal, a vibrant new event, the Red Mango Arts Festival, is set to showcase the power of theatre in reflecting complex identities and histories. 

The festival, from today until Saturday, serves as a cultural resurrection, aimed not just at celebrating a significant historical milestone but also reigniting interest in the arts post-Covid-19. The idea for the Red Mango Arts Festival was the brainchild of internationally-acclaimed actor and acting coach Rajesh Gopie.

In this Q & A, Gopie speaks to Candice Soobramoney about the festival, the theatre scene and his training academy, Actorwize.  

Q: When did the idea for the Red Mango Arts Festival come about and how did you go about curating what productions should be included? Also, why do you think the productions - Roti Queen, Out of Bounds, and Letters of Suresh - are apt as we prepare to mark the 165th anniversary of the arrival of Indians to Natal? 

A: Curation is always a challenge, especially given the severe budget constraints facing the arts today. To create entirely new work specifically around the “arrival of Indians” would require significant time and resources; luxuries we don’t yet have in launching a first-time festival.

That said, the festival pays direct homage to the 1860 arrival in other ways through initiatives like the 1860 Exhibition, Find Your Roots by Selvan Naidoo of the 1860 Heritage Centre, and My Great Family Adventure by Adi Paxton. These elements provide a literal and historical acknowledgment. 

Beyond that, the festival itself marks the 165th anniversary through an act of cultural resurrection: a stand for the continued presence of the arts, a reminder of their power to bring people together, and an invitation for audiences to return to theatre in a meaningful way, especially after the setbacks of Covid.

The productions we’ve selected fit this moment because they reflect layered identities, histories, and contemporary struggles. They may not all speak directly to 1860, but they carry the spirit of migration, memory, resilience, and cultural expression that is central to this anniversary. Within the limited means of a new festival finding its feet, these works are represented with pride. knowing we are doing our best with what is in hand.  

Q: What is the significance behind the name - Red Mango Arts Festival, and is it envisaged that it will become an annual event?

A: The mango is such a strong Durban symbol: familiar, rooted, and loved. A red mango, in particular, signals ripeness, fragrance, and richness. For us, it’s an analogy for what the arts can mean and do: to nourish, be vibrant, and excite the fullness of life.

The name is also deliberately non-aligned, and it isn’t tied to one culture or community, but instead speaks to a wider South African identity. That universality is important, because the festival is about connection and shared experience.

Yes, it is very much envisaged as an annual event. Our hope is that it grows into a lasting platform that celebrates heritage, fosters new voices, and brings audiences together year after year. \

Q: Would you say there is a lull in the theatre scene with regard to Indian South Africans telling "serious stories" - like Out of Bounds and Letters of Suresh - and how do we get back to telling these stories? What's currently lacking, if anything, or does slapstick put more bums on seats?  

A: It’s a complex question. Out of Bounds consistently played to packed houses, proving that theatre of substance can absolutely attract audiences. Letters of Suresh is a delicate, intimate play that unfolds through letters, offering audiences a rare, contemplative theatre experience. It avoids easy tropes, instead evoking memory, loss, and the quiet familiarity of human connection.

I feel that the  real challenge is not that audiences don’t want serious stories, but that artists creating such work have had very little support at state level. This is not unique to Indian South Africans. It’s part of a much broader national decline in investment in the arts.

Within our "South African Indian" community, only one or two remain committed to storytelling in a disciplined sense where craft and skill matter. Also, the general public are not aware just how difficult it has been to sustain this work in the face of technological shifts, streaming platforms, and lack of opportunity. 

That said, there is still a hunger for meaningful theatre. And I believe strongly that people will come when the work is strong, relevant, and engaging. That’s precisely why we’ve launched this festival: to inspire a new generation of writers, theatre-makers, composers, and artists to step forward and find a home for their work. This is our hope going forward and our aim is to remind audiences and artists alike that serious stories matter, and that they still have the power to move, unite, and transform our lives as well as that of others. 

Q: You recently ran an acting course via your training academy - Actorwize. While your aim was to hone the craft of actors, what did you learn about the young actors who attended - and about yourself during this process? And when and where are you preparing to run the next course? 

A: Teaching through Actorwize is something I love, and it allows me to share my craft and pass on skills that I believe are vital for any serious actor. What I’ve learned, though, is that there are relatively few students who approach the work with genuine dedication. Too often, the end goal seems to be fame and fortune, which is an unfortunate myth. Many underestimate how demanding and disciplined the craft of acting really is.

That said, the course also reminded me of the joy of working with those who do come with authenticity, hunger, and respect for the process. It reinforced my own belief that real actors are forged through patience, resilience, and a willingness to go deeper than surface-level recognition.

As for what’s next: we’re preparing to run another intensive course soon, building on the last one, and the details of timing and venue will be announced in good time. The aim will remain the same: to provide world class training and develop  actors who are grounded, committed, and truthful in their work. 

Q: Are there any projects that you are currently involved in, and will you be returning to India to continue with holding acting classes, or perhaps travelling elsewhere? 

A: Yes, I continue to teach my students in India online, even coaching some for film roles. We first figured out how to make this work during Covid, and it has remained an effective way to stay connected across borders.

I do plan to travel to India intermittently and deliver training in person and check in on my students, face to face. For now, though, the focus is on balancing that work with projects here in South Africa, including the festival and Actorwize, which keep me extremely busy. 

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