By BRUCE DENNILL
South African musical theatre classic Marabi returns to The Market Theatre, launching the theatre’s year-long 50th anniversary celebrations on a high note. Directed by Arthur Molepo, who was part of the original cast, the play is produced by Mpho Molepo (Molepo Theatre Projects) in association with The Market Theatre. Josias “Dos” Moleele chats about his work in the piece.
In the lead-up to a new production, how do you prepare – physically, mentally, and emotionally?
I prepare by grounding my body and voice. Marabi lives in rhythm, so breath control, vocal clarity, posture and musicality are essential. I work on stamina and precision because this production demands both spoken authority and musical sensitivity. Mentally, I immerse myself in the period and the politics of sound. I study the world of early South African recording studios and the power structures behind them. Understanding how music was curated, controlled and commercialised helps me enter the mindset of someone like [my character] Mr Elocution. Emotionally, I approach the role with restraint rather than sentiment. This character represents a system more than emotion, so I focus on intention, control and subtext. I stay emotionally available but disciplined — allowing the story to speak rather than pushing feeling.
What is the single most influential performance you’ve ever seen – the one that made you feel: “This is what I want to do with my life”?
It wasn’t one specific performance, but moments in theatre where storytelling shifted from entertainment to truth-telling. Seeing performers embody history in a way that reclaims memory and dignity made me realise that this is more than a career — it’s a calling.
What is your favourite aspect of the industry?
My favourite aspect is collaboration — when artists from different disciplines meet in one room to build a shared language. I especially value theatre that interrogates history and gives voice to stories that were once marginalised.
What is one aspect that could be improved?
We need stronger systems of care and sustainability. Artists should be supported beyond the applause — through fair compensation, mental health awareness and long-term development, particularly for emerging voices from township and rural communities.
What has been your scariest onstage or on-set moment so far?
Live theatre always carries risk. One of the scariest moments is when something goes wrong in front of an audience and you must remain truthful and composed. Those moments teach you presence — trusting your craft, your fellow performers and the audience.
Tell us about your role in Marabi the Musical, and what makes your character interesting to play.
In Marabi the Musical, I play Mr Elocution, a representative of Gallo Records. What makes the role compelling is that Mr Elocution embodies authority, gatekeeping, and cultural power. He stands at the intersection of art and commerce — deciding which sounds are legitimised and which are exploited. Playing him is fascinating because he is not overtly villainous. He is polished, articulate and convinced of his own correctness. That subtlety makes the character powerful — and unsettling. Marabi the Musical is not just a celebration of sound; it is an examination of ownership, voice and legacy. Being part of this production at the Market Theatre is both an honour and a responsibility.