Standing Ovation for 'The Fatherland': A Musical Tribute to Dr TT Cholo that Everyone Must See
Anti-apartheid activist celebrated
Liberation struggle veteran Dr Tlou Theophilus Cholo's incredible life has been celebrated through a musical that came to a resonant close at the weekend at the South African State Theatre in Pretoria. Cholo was also recently bestowed by his party, the African National Congress, with its highest award, the Isithwalandwe/Seaparankoe Award.
Image: My ANC
Pretoria’s Opera Theatre shook with song, spirit, and pride as The Fatherland bowed for the last time on Sunday.
The audience didn’t just watch, but actively participated. The auditorium sang along, some patrons screamed and recorded every "unforgettable moment" of a production that reminded the world that African stories, told through African artistry, can command the global stage.
Written and directed by Aubrey W Sekhabi, this monumental musical is a love letter to liberation hero Dr Tlou Theophilus "TT" Cholo, also known as Comrade Ranka. It is a story of resistance, love, exile, and triumph — told with emotional power and artistic excellence rarely seen on any stage, anywhere.
The live band — dressed in crisp black and white with cross-belts and bow ties — was electrifying, mixing local African rhythm with a touch of reggae, choral harmony, and cinematic scoring. The auditorium erupted in cheers and ululations after nearly every song.
Terrence Ngwila’s portrayal of Cholo was breathtaking — raw, soulful, and precise. He embodied the man, capturing not only his struggle but his humour, his music, and his unwavering spirit. His chemistry with Minenhle Sikhosana, who played his wife with a voice that could melt steel, was the heart of the show.
Rhythm of Revolution
The production featured powerful cameos — Ntsika Ngxanga’s haunting vocals as Sisulu, Dingalethu Maphithela’s fiery Chris Hani, and the unforgettable Tshallo Chokwe, whose brief but intense betrayal scene left the audience gasping.
The projection design transported audiences from Limpopo to Moscow to Robben Island, while the ensemble carried the rhythm of revolution through dance and song. The snow in Russia, the helicopter descent, and the ship Aventura were not mere effects — they were metaphors for endurance and hope.
By the time Cholo’s real video appeared on the backdrop — his 100-year-old self laughing and thanking the cast — the theatre was already on its feet. It was more than applause; it was gratitude.
“The Fatherland” deserves to travel beyond Pretoria — to China, Russia, Mozambique, and the world — not just as a South African story, but as a universal testament to courage and humanity.
As the lights dimmed, one thing was clear: Aubrey Sekhabi has once again redefined the boundaries of African theatre. The Fatherland is not just a show — it is a revolution, sung into being.
Aubrey Sekhabi, whose musical The Fatherland proved to be one of the most ambitious and emotionally charged productions ever staged in the country
Image: Photo credit: Buhle Mashazi.