No Easter Sunday for Queers, a play


Robyn Sassen

A freelance arts writer since 1998, I fell in love with the theatre as a toddler, proved rubbish as a ballerina: my starring role was as Mrs Pussy in Noddy as a seven-year-old, and earned my stripes as an academic in Fine Arts and Art History, in subsequent years. I write for a range of online and print publications, including the Sunday Times, the Mail & Guardian and and was formerly the arts editor of the SA Jewish Report, a weekly newspaper with which I was associated for 16 years.
Robyn Sassen


PANDEMONIUM at the altar in ‘No Easter Sunday for Queers’. Photo courtesy the Market Theatre.

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THE NAUSEATING CLASH of religious dogmaticism and sexualities which contradict hetero-norms is not something new. If you look at the issue of sexuality more broadly and infuse it with an historical glance at the culture and persecution of so-called witches, it simmers and seethes there too. Young playwright Koleka Putuma mines these old realities to create something new, fresh, fearsome and extraordinary in No Easter Sunday for Queers.

Featuring Momo Matsunyane as Napo, opposed Tshego Khutsoane as Mimi, the tale is a simple one, formed with fierce and astonishing language and the spine-chillingly beautiful use of choral elements. The group of 20 first year Market Theatre Laboratory students make excellent use of the passage framed by a wire fence that surrounds the theatre space, and their song and gesture, whispers and presence in a miscellany of flannel skirts, trousers and lacy…

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