The Fall

10/14/18 - 11/25/18


As the statue of imperialist Cecil Rhodes was dismantled at the University of Cape Town, eight students wrote The Fall, charting their experiences as activists who brought down a statue and then grappled with decolonizing what was left standing in its wake: the legacies of race, class, gender, history, and power 24 years after the official end of Apartheid. Political and deeply personal, vibrating with song, dance, and the energy of youth, The Fall comes to DC with the urgency of history being told as it’s created, resonating with America's debates about falling monuments, rising tuition, and “appropriate” ways to fight for long-promised equality.

Play Name

Show Information

Runtime: This performance will run approximately 1 hour and 20 minutes with no intermission. 
Environmental Warnings: Please note that this performance features water-based haze, violence, and sudden loud noises.

The Fall is generously underwritten
by Susan and Dixon Butler.


The Artists

Production Team


Thando Mangcu

Thando Mangcu is an actor and theatre-maker born in New York and raised in Johannesburg. She studied and completed her BA (Hons) in Theatre and Performance at the University of Cape Town (UCT). She is currently completing her Master's degree in Dramaturgy at UCT after having completed a six month exchange program at the University of Amsterdam (UvA). In her final university year she created LüderitzThe Credit Gone Away Affair (Supervised by Mark Fleishman) and co-wrote Don't Shoot The Harbinger (supervised by Mark Fleishman and Clare Stopford) which won the 'Most Promising Writers' award at the 2015 National Grahamstown Arts Festival. Her directing includes Pieces, a Fleur Du Cap nominated play (‘Best New Director') that was devised during her time as a TAAC Emerging Director's Bursary recipient (supervised by Caroline Calburn). She has also collaborated with Sizwesandile Mnisi and Sihle Mnqwazana to create Delayed Replays, which was performed at the Centre for African Studies (CAS) Gallery in 2017. Most recently, she has worked alongside Welsh playwright Chris Harris as a textual dramaturg for his play, Loving You in a Single Brain Cell staged as a reading in the University Theatre at the UvA. In 2016 she co-wrote and co-curated The Fall, which was produced by and staged at the Baxter Theatre Centre. In 2017 the play won the ‘Encore’ award at the Fleur Du Cap Theatre Awards and toured internationally at the Edinburgh Fringe Festival, the Royal Court Theatre in London and St Ann's Theatre in Brooklyn. In this time the play has been shortlisted for the Amnesty Award and won The Scotsman Fringe First and The Stage Edinburgh Cast awards.


Kgomotos Khunoane

Kgomotos Khunoane is an actor and creator whose work includes The Fall (Baxter Theatre Centre, writer and original cast). A 2015 graduate of University of Cape Town, Khunoane performed in The Segull and Cincinnati directed by Jacqui Singer; Monna Ga Se Nku directed by Sizwesandile Mnisi; Woza Albert!, West Side Story, and No Good Friday directed by Gareth Dry; Wale Nation directed by Rone Herbst; Mephisto directed by Chris Wear; and Welcome to Thebes directed by Clare Stopford, who served as the facilitator for The Fall. He was also in the film Whip the Chef.


Clare Stopford

Clare Stopford’s directing career spans 35 years. Under the mentorship of Barney Simon, she established a signature as an emerging director and feminist. She was Resident Director of the Market Theatre Johannesburg in 1988 and 1989 and later appointed to Associate Artistic Director in 1997. Auteuring most of her early work primarily around women’s issues in The Patchers and The Last Trek, Stopford then went on to create some landmark productions at the Market Theatre like A Doll’s House, Burn This, Hysteria, The Heidi Chronicles, Skylight, Scenes from an Execution and Kafka Dances by Timothy Daly, the latter two winning her the Best Director awards provincially and nationally. In the last 16 years, Stopford has largely dedicated herself to developing new South African plays by directing them as often as she can. She was responsible for the first production of Mike van Graan’s successful and much studied Green Man Flashing, the first version of Lara Foot’s Solomon and Marion (then called Reach) and Bongi Ndaba’s Shreds and Dreams which became a television drama. Recently for the Baxter Theatre, Stopford directed Purgatorio, Blue/Orange and Scenes from an Execution. In 2014, she was appointed Senior Lecturer in the Department of Drama at the University of Cape Town. She has directed students in The Crucible, Threepenny Opera, Welcome to Thebes, Widows, Black dog/InJ’Emnyama, Langalibalele, and the self-written Bands of Women.


Puleng B. Mabuya

Puleng B. Mabuya is a senior stage manager currently working for the Baxter Theatre and living in Cape Town, South Africa. Her work in Theatre includes Child Made of Love at the Tron Theatre (United Kingdom), Cooking with Elvis at the Tron Theatre (United Kingdom), The Umbilical Cord at the Debate Chambers (United Kingdom), Black History Month at Old Fruit Market (United Kingdom), NONGOGO and Fishers Of Hope in South Africa, Vienna Arts International Festival (Austria), Edinburgh International Fringe Festival (United Kingdom), Grahamstown International Festival (South Africa), and International Dance Festival (Democratic Republic of the Congo). Television credits include Scandal - E TV; Isidingo - South Africa Broadcasting Cooperation, SABC3; and Gaz' Lam - SABC1. Mabuya is a graduate of The Royal Conservatoire of Scotland in Glasgow (United Kingdom), and studied at the Teaterhogskolani Lulea (Sweden) and Market Theatre Laboratory (South Africa). She is the recipient of OISTAT World Congress of World Stage Design in South Korea: 2009 (Seoul). 


Kelsey Sapp

Kelsey Sapp has been Studio’s Assistant Production Manager and Company Manager since October 2017. She is an AEA Stage and Production Manager. She has worked as a Production Manager at Rubicon Theatre and Kingsmen Shakespeare Festival in California. She also served as the Artistic and Rehearsal Coordinator at Houston Grand Opera. In the UK, Sapp worked as a Production Manager at The National Theatre, Hijinx Theatre, and the Richard Burton Company. As a Production Stage Manager, she has worked at Forestburgh Playhouse, Texas Repertory Theatre, and Millbrook Playhouse. Sapp is the AEA Stage Manager for the Studio X production of The Fall. She has a BFA from Sam Houston University and has her Masters from the Royal Welsh College of Music and Drama.  


Michael Maxwell

Michael Maxwell’s theatrical career started at the Market Theatre in 1976, where he worked in many capacities: stage manager, production manager, international tour manager, actor, lighting designer, and acting teacher at the Market Theatre Laboratory. Between 1992 and 1996, he was the Manager of the Market Theatre Company where he produced many award-winning productions and collaborated on many of the late Barney Simon’s productions. He has been nominated for and won numerous Best Lighting Design Awards, of which highlights include: Kafka DancesScenes from an ExecutionYelenaWoza AlbertTriptych, and Sezar and Molora. As an actor he has worked extensively in theatre, film, radio and television. Theatre acting credits include Hello and GoodbyeBroken GlassRoyal Hunt of the SunBrighton Beach Memoirs, Caucasian Chalk Circle, The Dybuk, MacbethJulius CaesarThe Lady’s Not for Burning, and Arms and the Man among others. Film roles include Athol Fugard’s Master Harold and the Boys. He won a Johannesburg Critics’ Circle Award for his performance in Brighton Beach Memoirs, and was nominated as Best Actor at the Naledi’s for Hello and Goodbye at the 2009 Naledi Awards.  


Marisa Steenkamp

Marisa Steenkamp studied at the University of Stellenbosch and later worked there as junior lecturer and technical assistant in theatre. She is the deputy stage production manager at the Baxter Theatre Centre with extensive experience as senior stage and production manager, a position she has held since 2012. While freelancing at the Baxter in 2003 she worked on productions such as Bootjie and the Oubaas, Amadeus, Betrayal, and The Syringa Tree. Steenkamp has toured with various productions to most of the South African arts festivals and other theatres in the country. These include John Kani’s Missing… and Shirley, Goodness and Mercy at the Market Theatre, William Kentridge’s Magic Flute at Artscape and the Joburg Theatre. At the Fugard Theatre she stage managed Athol Fugard’s The Train Driver, Bird Watchers, Die Kaptein se Tier, and Broken Glass. Internationally she has toured with productions of Lara Foot’s Hear and Now; Reach; the Baxter and RSC collaboration on The Tempest; Showboat; Mandela Trilogy with Cape Town Opera; and John Kani’s Missing…, . Recent productions include Remembering The Lux, Aunty Merle The Musical, Blue/Orange, Marat/Sade, The Fall, and Endgame. She styled the costumes #JustMen, Fishers of Hope, Blue/Orange, Authori(s)e and The Fall.


Patrick Curtis

Patrick Curtis is a multi-award-winning lighting and stage designer with a career in the theatre that spans over three decades. In 2012 alone, Curtis was nominated for three separate Fleur Du Cap awards in set design for Did We Dance: The Sinking of the Mendi, Doodsnikke, and Mies Julie as well as for lighting design for Did We Dance: The Sinking of the Mendi. He has also toured extensively to renowned theatres around the world with Baxter touring productions as a designer and in his role as Baxter Theatre Production Manager. He designed Scrooge, Missing… , Fishers of Hope (for which he received a Naledi Award), Blue/Orange, Born in the RSA, Karoo Moose, The Inconvenience of Wings, Scenes from an Execution, Aunty Merle The Musical, #JustMen, and Endgame.


You’ll appreciate the sensation that you were there, too, at a flash point in the tortured evolution of a troubled land.
The Washington Post
Razor-sharp cast
Washington City Paper
Each action is thrillingly precise.
Broadway World
Emotionally expressive and powerful.
DC Metro Theater Arts
Driven by the earnestness of young revolutionaries, the ensemble powerfully—and often quite humorously—offers a behind-the-scenes look at the dawning of a movement.
DC Theatre Scene

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