Behind the Scenes at NTN

Theatre breathes life into various art forms, allowing performers to deliver their craft presenting an experience of events, whether reality or fiction, to the delight of a live audience.

The art of theatre finds its origins in the ancient civilisations of Egypt, Greece and Rome. However, the gift of storytelling has lived for thousands of years as nomadic groups around the world often sing and dance around fires, preserving their culture and passing on folklore from generation to generation.

The National Theatre of Namibia (NTN) provides artists with a platform to explore multi-disciplinary arts and give birth to unforgettable productions. The NTN stage has hosted homegrown talents as well as cross-border acts who have brought the world to Windhoek.

Many theatre enthusiasts often just see what is presented on stage and not what goes on behind the scenes. On Wednesday, the public was allowed on a tour through the theatre led by actor and presenter Rodelio Lewis.

NTN public relations officer Desiree Mentor welcomed visitors at traditional eatery Pepata, as she described the theatre as a “house of magic and imagination”.

Mentor briefly described the history of the theatre – one which is bound with the development of the South African Arts Association in then South West Africa, established in 1947. Construction on the original theatre started in November 1959, at a cost of N$104 440.

Further reconstruction started in 1971 and in 1973, the South West Africa Performing Arts Council opened the doors of what was then known as the Windhoek Theatre to the public.

“We are currently celebrating our 30th birthday,” Mentor says. She elaborates that the NTN started operating in the venue from 1989.

Lewis runs the audience through the different aspects of the theatre starting at the foyer, pointing out some of the elements that have been around for 46 years, such as the vintage chandelier hanging from the roof.

“The foyer is where everyone starts out at every theatre, this is where you find the box office where you buy your tickets and get your seat numbers,” he says, adding that the venue is transformable depending on every client’s needs – for example for press conferences or book launches.

Lewis points to the hand-woven carpet that adorns the feature wall of the foyer. This motif symbolises the various forms of artistic expression.

As the actor decodes the theatre, bells ring in the background. “You’ve all heard the bells ring,” he says. “These ring at three intervals. Fifteen, 10 and then five minutes before a show, letting the crowd know to head inside the auditorium.

The tour guide reveals the auditorium hosts 470 seats, a fully functional stage complete with international-standard lighting, sound, backdrops, curtains, stage blocks and an orchestra pit which rises and drops at the director’s will. “Your imagination has no limit here,” he says, adding that the stage can be transformed for any event.

This area is ideal for larger productions ranging from drama, music, ballet, opera, conferencing, presentations, film screenings as well as award ceremonies.

Displaying one of the ways the auditorium can be used, vocalist Jesse Goliath takes to the decorated stage to perform Andrea Bocelli’s ‘Because We Believe’ and Etta James’ ‘At Last’.

Before artists head onto the stage, they occupy the dressing rooms. This is where make-up, dress-up and final preparations take place. Here, graphic make-up artist Renaté Shikongo is set up with a knee that looks like its coming apart at the joint – one of the ways make-up can be used to fool the audience.

Before all the performances can take to the stage, auditions and rehearsals are crucial. This is when the green room comes in. Situated in the basement, Lewis says this venue is ideal for band rehearsals, small presentations, table reads and for planning dance routines.

For bigger dance recitals and showcasing, the dance rehearsal room is the place to be. A few flights up, situated on the second floor is a large studio with great lighting and full-length mirrored walls straight out of the 1980 pop-culture classic ‘Fame’.

“This space you’d book for your dance shows. This venue can be used for launches, panel discussion and workshops,” he says, pointing out that the room can be sectioned off for different purposes.

In the corner sits Lavinia Kapewasha, who is currently part of a dance show as stage manager. Working on the upcoming ‘Rehearsing Mwange/Becker’, she explains this venue is ideal as the production is an experimental performance where the audience will be incorporated in the show.

The main stage is not the only place where magic happens. Backstage can seat 250 people and is suitable for small to medium productions. It can also be transformed for banquets, product launches, concerts and private parties. “We’ll turn this venue into a magical night for you,” says Lewis.

The NTN offers various projects such as the Theatre Zone, a skills development programme aimed at capacity building in theatre; Last Band Standing, a similar programme regarding the promotion of Namibian live music; and the Golden Pen Playwright Competition where winning scripts are published in a book to preserve Namibian plays for future generations.

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