08/06/2026
The Right Stage for the Right Sound:
By Josh Nyapimbi
Some years ago, I found myself in a significant disagreement with the late Yvonne Vera when she was the director of the National Gallery in Bulawayo. At the time, I had secured a booking of the gallery garden for my theatre play during her absence. Upon her return, she was displeased with the decision that had been made in her absence. She argued strongly that the gallery was not a live performance venue, maintaining that hosting such an event posed a risk to the gallery’s permanent collection.
I pushed back against her authority and eventually succeeded in putting on the show. That production broke the gallery tradition, a precedent that remains to this day. However, as time has passed, whether consciously or unconsciously, I have found myself becoming a proponent of the very principles the late Vera raised regarding the suitability of venues for specific art forms.
The Integrity of the Space:
The core of my past conflict with Yvonne Vera was about the purpose of a space. She viewed the National Gallery as a sanctuary for visual art, where the atmosphere and physical environment were tailored to the preservation and quiet contemplation of paintings and sculptures. Introducing the bustle and infrastructure of a theatre production was, in her view, a violation of that sanctuary.
While I won the battle to use the garden, I have since developed a deeper appreciation for her stance. It is not merely about being protective or elitist. It is about recognising that different art forms require different environments to thrive. Just as a library may not be the best place for a rock concert, a space designed for visual art may not be ideal for the high energy and physical demands of live theatre or dance. The integrity of a venue contributes to the integrity of the art it houses.
The Problem with Theatres as Concert Halls:
This leads me to a pressing issue regarding the current use of performance spaces in Zimbabwe. Theatres in Zimbabwe, specifically Reps Theatre and Bulawayo Theatre, are simply not cut out for music concerts. These venues were designed and built for the presentation of dramatic arts, where the audience sits in quiet observation, absorbed in the dialogue and movement on stage.
They were not designed for the high decibels, the standing crowds, and the energetic movement that define a music concert. There is no room to dance. The seating is fixed and restrictive, which stifles the very vibe that makes live music exciting. When audiences are forced to remain seated in rows during a high energy performance, it creates a disconnect between the artist and the crowd.
Financial and Structural Fallout:
Beyond the atmosphere, there is a practical and destructive element to consider. Music concerts in traditional theatres often result in damage to seats. The excitement of the show naturally leads patrons to stand on chairs, dance in the aisles, or treat the venue with less reverence than they would a play. The aftermath is often a trail of broken fixtures and worn out upholstery.
The money generated from such hires is frequently insufficient to manage the restoration of damaged seats to their original and durable state. It becomes a cycle of degradation where the venue slowly loses its grandeur and functionality. The short term financial gain of booking a concert is often outweighed by the long term cost of repairs and the decline of the theatre’s quality.
Questioning the Business Logic:
There is also a matter of ambition and scale for the artists themselves. I do not see the business logic of an artist who has the ambition of filling up the Harare International Conference Centre coming to Bulawayo to perform in a closed venue of fewer than 500 people. It makes little sense for an act with the potential to draw thousands to confine themselves to a space that limits their reach and their revenue.
An artist capable of playing at the HICC needs a venue in Bulawayo that matches that capacity and energy. Squeezing a large fan base into a small theatre does a disservice to the fans who cannot get tickets and to the artist whose earnings are capped by the size of the room. It creates a bottleneck in the market where supply and demand are misaligned due to a lack of appropriate infrastructure.
A Call for Suitable Venues:
It is time for stakeholders in the arts and culture sector to rethink how we utilise our existing spaces and prioritise the development of new ones. We must stop trying to fit square pegs into round holes. Theatres must be protected and maintained for the performing arts they were built to host, while investors and city planners need to step up to create dedicated, large scale music venues in Bulawayo and elsewhere.
Call to Action:
We urge artists, event organisers, and city councils to engage in a dialogue about the future of our entertainment infrastructure. Let us stop damaging our historic theatres and start building the modern, spacious concert venues that Bulawayo and other major cities deserve. Support the preservation of our theatres by using them for their intended purpose, and demand the development of proper spaces for live music.
