By Naledi Nakuta
As I sat in the dimmed auditorium of the National Theatre of Namibia, something shifted within me. God of Women wasn’t just a play unfolding onstage, it was a mirror held up to our history, our customs, and, perhaps most powerfully, our silence.
God of Women is more than an adaptation taken from pages of its book written by Prof. Sifiso Nyathi. It’s a reflection of tradition life in a rural monarch Namibia and speaks directly to young Namibians navigating the weight of tradition in a world that demands transformation. It’s set in a rural Namibian monarchy. Staged in April at The National Theatre of Namibia, the play explored complex themes of identity, self-discovery, cultural norms, patriarchy, and the strength of women in society.
Directed by Keamogetsi Joseph Molapong, the play dove deep, balancing suspense and humour with a raw emotional truth that’s hard to shake off. I found myself clutching onto certain lines. The language used was true to a Shakespearean style, yet the context was Afrocentric.
Kuzajatu ‘Solve X’ Maamberua’s words lingered with me, “God of Women is not just fiction; it is a reflection of many pockets within the Namibian society.” Watching the cast give breath to these characters felt like sitting in a communal storytelling circle, one where uncomfortable truths weren’t just told but honoured.
I would be doing the production a disservice if I don’t mention the cast’s chemistry and command of the stage. Mervin Claasen powerfully embodied Chief Lewanika, with Toucy Tjijombo and Askar B. Onyiego portraying Ma Inonge and Ma Ilenge respectively. Nguundja Kandjii brought Nsala to life, while Tjiurimo Kandjii stirred tension as the new wife, Joyce. Veteran thespian, Chrisjan Appolus acted as Seer/Neo and Maamberua as John delivered captivating performances. Philia Alfred stood out as the youngest cast member in the role of Inonge. Percussionist Christiaan Eiseb brought a unique rhythm into the rural setting, evoking heritage through the evocative beat of traditional drums.
After the show, Ruth Shipale, a local art enthusiast remarked,
We aren’t always aware of the pain embedded in rural customs. This play sheds light on the injustices many women face in polygamous marriages.
For generations, African women have endured mistreatment and abuse in the name of tradition. While not every story is one of suffering, far too many still are. God of Women pays homage to those women, it gives voice to their pain, challenges what we’ve accepted as normal, and demands that the audience see, feel, and question.
For me, God of Women is a reminder of why local theatre matters. In a country still carving out its post-colonial voice, theatre is not merely entertainment, it is a tool for education, healing, and social transformation. Productions like God of Women challenge cultural narratives and amplify marginalised voices. Supporting local theatre is not just an artistic choice, it is a national duty. Our stages must reflect our complexity, our contradictions, and our courage. Supporting this kind of work isn’t just about applause, it’s about preserving stories that might otherwise be silenced.
As a young Namibian woman and storyteller, I left the theatre feeling seen, shaken, and hopeful. And isn’t that what great theatre is supposed to do?
Photo credits: God of Women cast and crew
Contributed by: KC Art Photography.
