People of The Market – How Nomvula Molepo Lit Her Own Path in a Rigged Game

People of The Market – How Nomvula Molepo Lit Her Own Path in a Rigged Game

Twenty eight years ago, a young woman started a journey at The Market Theatre Foundation with only faith, passion and a determination to disrupt how women were viewed in technical spaces.

This year as The Market Theatre turns 50, a milestone that runs concurrently with the June, 16 1976 youth uprisings, Nomvula Molepo reminisces about her journey at South Africa’s iconic cultural institution with a deep sense of gratitude—from being an intern in the mid-90s to her current senior position as Head of Stage and Technical Services.

In this managerial role, Nomvula now oversees broader technical operations, infrastructure and production delivery.

Back as an intern, she recalls assisting stage managers with preparing rehearsals and supported backstage operations during performances, including setting up lights during technical get-ins. Her diligent dedication to her training and impressive willingness to learn set her apart as the future of technical operations. And – unsurprisingly – in 1998 she naturally progressed to a full-time position as Lighting Technician. This opportunity marked the beginning of an exciting journey in live performance under the highly sought after mentorships of Mannie Manim, Declan Randall, Wesley France, the late Aubrey Ndaba,  Jacob Mogale and many others.

“Their guidance played a pivotal role in shaping my career and deepening my understanding of lighting design within the performing arts sector.”

The road wasn’t easy for Nomvula as a young, Black woman in a space many men felt entitled to.

She narrates, “I have navigated a male-dominated technical environment in the early stages of my career, where there were very few Black female lighting technicians and designers. I have experienced workplace dynamics where female practitioners were at times undervalued or discouraged, particularly around feelings of the physical and technical demands of lighting work.”

These misconceptions did not discourage Nomvula, but challenged her to intentionally train a new and diverse generation of technical practitioners to create balanced demographics. Today, her products can be found at many cultural institutions, a legacy she’s deeply proud of.

She also focused on her personal, career and leadership growth, equipping herself for the changing cultural landscape, including the nature of work. “I have progressed through a full professional career growth within the organisation, advancing from Intern to Lighting Technician, Lighting Designer and later Head of Lighting. I have benefited from organisational support for continued professional development, with the institution funding my studies to strengthen my technical and leadership capabilities.”

Among Nomvula’s many highlights in her nearly three decades’ career was when she served as Assistant Lighting Designer under the mentorship of Stan Presler from the UK. This milestone was a result of a major international collaboration between The Market Theatre Foundation and Stockholm’s stadsteater for a production titled The Blacks, which brought together South African and Swedish artists.

“I played a key role in supporting the lighting design process, technical implementation and execution across venues. The production successfully toured internationally, with performances in Sweden and South Africa, providing valuable experience in adapting lighting designs to different theatre infrastructures and touring conditions,” says Nomvula.

What do people often misunderstand about her job?

“That it’s purely technical,” she replies.

The role, she clarifies, sits between artistic vision and technical execution. This is both a strategic and tactical position that translates bold creative concepts into high-quality productions, delivered on time and within the allocated budget.

Nomvula adds that a significant part of the job is about leadership, mentorship and accountability.

“Once a show opens, the job is done.”

But the job is far from being done for Nomvula Molepo. Not only is she looking forward to clocking 30 years at The Market, but she’s also excited for the Theatre’s crucial 50th anniversary.

“Reaching the 50-year milestone of The Market Theatre Foundation is significant for me personally. I am so proud to still be contributing to the MTF’s legacy.”

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As The Market Theatre Foundation pursues a bold archival strategy to secure its legacy, it continues to treat its most important resource – employees – as custodians of its decades-long institutional memory.

One of the anchor points for The Market Theatre’s 50th anniversary celebrations, said Artistic Director Greg Homann, is honouring the many people who have embodied the ethos of the space, across its hierarchy. “It took brave theatre-makers, volunteers, workers and patrons to hold space for a truly free, democratic, non-racial South Africa while it was still just a dream, so that when it became a reality, we all knew its familiarity,” Homann noted as he unveiled the 50th anniversary artistic programme.

The Market Theatre was just about two decades old when Motlalepule Makhate, in her late twenties, walked down its corridors to train as a stage manager. Thirty years later, now as a Senior Stage Manager, she beams with joyful pride for still being here as The Market Theatre marks 50 years of fearless storytelling. In her signature sense of humour, she quips that she has become something of an ancestral figure, which – jokes aside – is a testament of the organisation’s intentional retention of great talent.

Motla points out the wealth of memory that she carries as she reflects on what The Market Theatre’s 50th birthday means for her. “It means I hold significant institutional  knowledge and cultural DNA. It is a testament to longevity and a positive career choice for me who was given an opportunity to pass on the skill to young, up-coming, future stage and production managers.”

It’s a rare moment, she notes, to be part of making history at the very same institution that provided her with security and growth for many years.

“My interpersonal skills improved,” she says when asked about her best highlights, further citing “opportunities to study” as one of the many ways The Market Theatre Foundation has impacted her.

She wishes people could understand that working behind the scenes isn’t as easy a job as it seems. In practice, it requires a detail-oriented, highly organised and flexible person.

“You need to grow an extra layer of thick skin, a lot of patience and calmness, discipline, time management. Communication is very vital (verbal and writing). You must be able to think on your feet and troubleshoot, be a team player and able to organise and lead, work on a very difficult and challenging task, and be able to work under pressure.”

For a career so grounded, it’s difficult to shortlist one’s favourite shows of all time. But Ways of Dying, through which Motla had her first international tour to Amsterdam, and the star-studded The Suitcase, are top of her mind.

Another standout moment for her is when she, in 2013, technically led more than five productions to the National Arts Festival in Makhanda as MTF’s acting  production manager.

“It was challenging  though, but also fun. Wonderful lessons were learnt. I travelled with colleagues that always do a great delivery of different tasks, professionally and effectively.”

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