Helicopter Lands on Stage as Aubrey Sekhabi Redefines South African Theatre with The Fatherland

A helicopter flew across the stage, snow drifted from the ceiling, a train steamed in with real smoke, and a boat sailed beneath the lights — the grand opening of The Fatherland at the South African State Theatre was nothing short of a theatrical revolution.

On Sunday afternoon, the 1 300-seat Opera Theatre was filled, with dozens standing in the aisles. The audience came expecting a show, but what they witnessed was history brought to life.

Under the masterful direction of Aubrey Sekhabi, The Fatherland proved to be one of the most ambitious and emotionally charged productions ever staged in the country, reaffirming Sekhabi’s position as South Africa’s finest theatre director.

The production, based on the life of the 100-year-old liberation icon Dr TT Cholo, opened to thunderous applause. As the overture began, a solemn voice filled the air over the orchestra, and a portrait of Dr Cholo was projected on the towering backdrop. Soldiers marched across the stage in crisp military uniform, singing the liberation anthem “Son of the Soil.” 

The moment the train arrived — a life-sized locomotive puffing steam into the air — the crowd broke into cheers. Actors stepped out in vintage suits and dresses, carrying old suitcases that symbolised exile and displacement. The story unfolded through song and movement, blending historical realism with poetic imagination.

The visual design was breathtaking. A washing line hung with wet clothes, a black bicycle gliding silently across the stage, and a real car rumbling in during one scene all heightened the realism. When snow began to fall during the Russian training sequence, gasps echoed through the theatre. Then came the showstopper — a helicopter hovering above the stage, followed by the surprise appearance of a ship, the Aventura, gliding across the stage floor.

The audience clapped and screamed between scenes, overwhelmed by the scale of the spectacle. The set design and projections transformed the Opera Theatre into a living museum of South Africa’s liberation story, while the live band and ensemble singing carried the emotional heartbeat of the show.

At the core of The Fatherland is the remarkable journey of Dr TT Cholo — a freedom fighter who left South Africa in 1962 to join the armed struggle. After training in exile in Botswana, Russia, and China, Cholo repeatedly tried to return home to fight for liberation. Arrested and tortured, he endured years in prison, including 13 years on Robben Island.

The musical captures his pain, perseverance, and unbroken faith in the Fatherland. The performance reached a powerful emotional climax when Cholo, captured and chained, refused to reveal information about his comrades. The scene brought many in the audience to tears.

In a deeply moving moment, Sunday’s performance was streamed live to Dr Cholo’s home in Soshanguve, where he watched from his bed. Though frail, he later sent a four-minute message to the theatre, thanking the cast and crew for honouring his story. “The struggle took my life,” he said softly, “but it gave you freedom.” The theatre fell silent before erupting in applause and salute.

Under Sekhabi’s visionary direction, The Fatherland achieves a rare balance between political truth and artistic beauty. Every performance, every lighting cue, every costume feels meticulously composed. The choreography, though restrained, speaks volumes; the comic moments punctuate the tension; the music, driven by a live orchestra, amplifies the emotional power. The result is an experience that feels both cinematic and deeply theatrical.

When the curtain fell, the entire house rose in a standing ovation. People clapped long after the lights came up, moved by what they had witnessed — not just a show, but a national celebration. Dr Cholo’s 100th birthday is being marked by a piece of theatre that captures his spirit and that of a generation that sacrificed everything for freedom.

The Fatherland runs at the South African State Theatre’s Opera Theatre from 19  October to 2 November 2025, with tickets starting at R150 through Webtickets. It is not just entertainment — it is South African history alive on stage, a monumental salute to courage, memory, and the enduring power of art.

Ngomane, PhD Candidate | University of the Witwatersrand Theatre Practitioner | Researcher | Dramaturge