After a successful final-year Bachelor of Arts in Theatre and Performance Studies 2025 showcasing at the University of Cape Town, Reaxenia, a play written and directed by Tshiamo Maloka, debuted at Theatre Arts in Observatory in March for The Young Professionals Series 2026 and was recently showcased at Joburg Theatre.

The play is set in the fictional country of Reaxenia, where, on the evening of a groundbreaking newspaper release, a politically charged workshop descends into chaos.

As journalists and power structures clash over competing truths, the gathering begins to unravel, exposing the fragile foundations of corruption in democracy and the deadly consequences of deliberately controlling narratives.

Resident theatre writer Zubayr Charles chats to Tshiamo Maloka about the play.

Zubayr Charles: Tshiamo, firstly, congratulations on being part of The Young Professionals Series 2026. What’s the process been taking Reaxenia from UCT to Theatre Arts? I would assume the show has changed?

Tshiamo Maloka: Firstly, thank you. Being part of The Young Professionals Series 2026 has been an exciting opportunity. The process of taking Reaxenia from the University of Cape Town to Theatre Arts has been both reflective and generative.

Z: You’ve recently starred in the successful How To Train Your Thoughts by Olwethu Mapisa at the annual Zabalaza Festival at The Baxter Theatre, where you were nominated for The Most Promising Actor Award (I must add). Can you briefly explain the difference between acting in the one play and directing Reaxenia?

T: Acting and directing are very different creative responsibilities that can be challenging, but it is possible through a strong work ethic and discipline. As an actor, my focus was on embodying a character within the world of the play. It required a deep attention to the emotional and physical life of the character and responding truthfully to the other performers on stage.

Z: Reaxenia? This is not an easy title on the tongue. Explain where this name comes from? What was your thought process behind this title?

T: It was such a delight hearing people try to pronounce the name of the play. The suffix in the title “Rea” is a word in my home language, Setswana, and it means: We are. And the latter part of the word Xenia is a Greek word that means welcoming. The word Reaxenia is a combination I made that means “we are welcoming,” which refers to the fictional country as a place that is welcoming and hospitable.

Z: As a writer myself, I am always intrigued by any artist’s thought process. Can you talk about writing this play? What were your inspirations? Why did you feel the need to tell this story?

T: When I was writing this play. I felt moved by the literal hunger that citizens experience because of greed and corruption. I created a fictional world that drew from the South African political landscape. This gave me the freedom to exaggerate, question, and reflect on systems of power in a way that invites audiences to both laugh and critically reflect. I felt compelled to tell this story because we live in a time where conversations about democracy and the media feel incredibly urgent, particularly within the context of post-apartheid South Africa. Theatre offers a powerful space to engage with these questions collectively. Reaxenia became my way of opening that conversation with an audience.

Z: Please talk to me about your cast. Who plays what character? What was it like seeing the characters come to life?

T: The ensemble is made up of a talented cast that is disciplined, driven, committed, and cares about their craft. The principal characters are Damon (portrayed by Aasim Ellis), Deputy President (portrayed by Aman Ngema), and The President (portrayed by Dumisane Skhosana). Seeing the characters come to life has been quite an emotional experience, as the cast was committed to detailed, nuanced characters.

Z: Lastly, I am a firm believer that a play, as a piece of art, should constantly evolve, improve, and be seen by different audiences. What is your vision for the future of this show?

T: If I could dream and aim for the stars, I would publish the play and, to take it a step further, see the play being studied and performed in South African schools. I still want the work to be seen by different audiences across the country and engage people in conversations that feel urgent and relevant in our current moment. I believe this play is a contemporary play that grapples with universal issues through the lens of a post-apartheid South Africa. 

After our interview, I realised that the reason I am drawn to Tshiamo is because he reminds me a lot of my younger self – not that I am much older than him. In today’s society, where prospects, funding and spaces are limited for all theatre-makers and artists, I realised how important it is for us, as artists, to uplift one another. We need to help make things easier for those who come after us and are not knowledgeable about the industry, guiding them through funding, acquiring space, and navigating challenges.

I am reminded that if I don’t encourage the success of my fellow contemporaries, then I surely won’t garner success in my own career. With that being said, I wish Tshiamo all the best for his future, knowing he will produce many exciting projects.