Bruce Ndlovu, Sunday Life Reporter
WHEN the Zambezi Express made its debut in the United Kingdom in 2009, it was billed as the “Happiest Show on Earth”.
That year, the Zambezi Express steamrolled through some of the most illustrious stages in the British Isles, rollicking through Glastonbury, Edinburg Fringe and Wiltshire, where the World of Music Arts and Dance (WOMAD) festival was held.
These were stages where few Zimbabwean artistes have ever had the pleasure of performing. This was fitting, as Zambezi Express was the first fully formed Zimbabwean musical that had seemingly cracked the code for international recognition.
Litshe with Saimon Mambazo Phiri (left) and Siyaya members
“It’s a cross between Billy Elliot and Slumdog Millionaire. People come out with smiles all over their faces,” The Times said of the musical.
Created as a collaboration between Siyaya, led by Saimon Mambazo Phiri, and British circus entrepreneur Gerry Cottle, who was inspired by the group’s energy, Zambezi was a runaway success overseas, telling a uniquely Zimbabwean story to starry-eyed audiences.
In a rare feat, Zambezi Express was also a smash hit at home, where it also broke Box Office Records at the Bulawayo Theatre, something unheard of before or after it.
Art made for export is rarely as equally appreciated at home yet Zambezi Express found that sweet spot between foreign appreciation and local affection.
Litshe
At the centre of that lucrative, record-breaking train was Ishmael “Litshe” Muvingi, who passed away recently and was laid to rest last Saturday at Luveve Cemetery.
Litshe was the cornerstone upon which Mambazo built his Zambezi Express.
Inspired by the 2010 World Cup held in South Africa, Zambezi Express told the modest story of Zilli, a young lad battling to become a football star. In this great musical, the hard-to-break Litshe played three roles. He played a compassionate father to Zilli, the wise coach and a gang leader who stood as a possible stumbling block for a young man’s dreams.
It was an indomitable display from a man who understood the rigours of professional performance.
“The most challenging part is to be fit you know,” Litshe told Reuters during the show’s stint in London in 2009.
“(You have) to keep fit, because if I tell you, these shows, if you are not fit I’m sure you wouldn’t make it at all. So you know keeping your health, keeping yourself in good shape, you know eating healthy, it’s a big challenge yeah,” he said.
Years later, after touring a greater part of Africa, Asia and Europe, Litshe told Sunday Life that his life aboard the Zambezi Express was still the pinnacle of his professional career.
“I put Zambezi Express at the apex of all my achievements. I won the best artiste award on the act.”
Last week, after Muvingi’s burial on Saturday at Luveve Cemetery, Saimon Mambazo, the brains behind Zambezi Express, was left to reflect on that iconic performance that powered arguably Zimbabwe’s most successful stage production.
The hearse conveying Muvingi’s casket
“One of my fondest memories is working with Ishmael on Zambezi Express, where he delivered a top performance. He masterfully played three distinct roles: the compassionate Father to Zilli, the menacing Gang Leader, and the wise coach. His remarkable range, energy, and dedication inspired the entire cast. His ability to excel in multiple roles raised the bar, making it impossible for anyone to excuse themselves from mastering their part. In short, he carried the show and he had no understudy, if he was sick there was no show,” said Phiri.
Litshe’s ability to convey the essence of what it meant to be Zimbabwean was a quality that made him stand out, allowing him to bring to life a diverse array of characters on stage.
“Among my cherished collaborations with Litshe, one stands out — our work together in the dance drama, “Thatha”. We sought to infuse Siyaya’s productions with Shona dance elements, and Ishmael was the perfect bridge. Alongside Tabeth from Kadoma, he seamlessly integrated the richness of Shona culture. Their collective creativity and expertise transformed Siyaya into a vibrant, holistic representation of Zimbabwean heritage,” said Phiri.
The Siyaya founder described Litshe as one of the few artistes who were still practicing art for art’s sake.
“He has left a big void, yes, yet a legacy remains. I pray and hope there will be continued inspiration emanating from what he did.
His work, passion, and dedication should inspire future generations. I also hope institutions like Umkhathi Theatre Works, Siyaya Arts, and other organisations that he worked with will carry forward his legacy. I can only hope,” he said.
While in the arts, the stage is regarded as the pinnacle of the craft, sometimes thespians do not get the same recognition that their counterparts on the small and big screen get. It is for this reason that veteran director Raisedon Baya believes that Litshe took joy in his role as Tshuma in the popular series Ihlazo.
“He is someone that I knew initially from a distance because I would see him working with Amajekete, Umkhathi, and Siyaya. He was a very nice person, very sociable and because of that, we started talking. We collaborated mostly on film. I think the last time I saw him, it was on a Saturday and he approached me and said when he was coming over to the set, he had boarded a kombi and they had told him they wouldn’t make him pay because he is Tshuma.
He was enjoying the popularity of the character because it made people see him in the streets, cheer and appreciate him. The character got him the appreciation that he deserved,” said.
Baya described the actor as someone who took pride in his work and upheld the highest standards of professionalism.
“Litshe was professional. He was always on time and ready for his role. I don’t remember any time that I heard him complaining. He was a teacher or a mentor. When he was not shooting himself he would sit down with some young actors and share some tips, and give them advice around how to navigate certain issues around sector.
“He was not arrogant. He was down-to-earth and humble. He was one of the few people that enjoyed being on stage. He enjoyed entertaining people and making them laugh. He enjoyed being an artist and for me, that is what is going to be the hardest gap to fill. It is difficult to find someone who is naturally good and also enjoys what they do at the same time. That was Litshe for me,” said Baya.
For veteran performer Memory Kumbota, Litshe’s performance as Lobengula in Ihloka stands out. For that particular role, the actor dedicated hours to painstaking research, as he sought to bring the Ndebele monarch to life.
While many marvelled at his work on stage, his dedication to his craft before the unveiling of the final product was evidence of his professionalism.
“I liked his respectfulness,” said Kumbota.
“Ishu was an intelligent and listening actor, a pleasure to direct and work opposite. His most unforgettable acting role for me was as King Lobengula in Umkhathi Theatre’s award-winning Ihloka play. A role he got a BAA best actor for. He had consulted about this role and I remember giving him a few pointers that he gratefully took and applied to his role. He will surely be missed. He was one of a few rare breed of performing artists who sang, danced, and acted excellently.”
