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Thembelihle Moyo

Thembelihle Moyo

Thembelihle Moyo is a writer, director and producer.

Plays by Thembelihle Moyo:
It’s Just Black Hair (2022)
Black hair is more than just strands that unite in kinky solidarity, demanding to be seen and heard. It is more than curls that are tighter than the homies in stereotypical (and often misrepresented) Black gangster films. Black hair is culture, history, ancestors, beliefs, food, strength and weaknesses. This play is based on interviews conducted on mostly Black African immigrants by Maliki, who is a new migrant trying to settle in a new society. The subtle microaggressions that surround Black immigrants everyday are captured in this text.

The Dark Bridge (2022)
Political Background: In 1980 the Lancaster House Agreement was signed between black subsistence farmers and white Zimbabweans of European descent (the latter had previously enjoyed superior political and economic status). The intimidation and violence faced by farm owners as the land was taken away from them caused many deaths of former landowners and their workers. Land reform resulted in a more casual approach to running farms, including the use of child labour. This hurt Zimbabwe’s economy, increased poverty levels and eventually led to starvation and famine. By 2013, most White-owned farms had been taken over or classified for future redistribution. In 2020, the Zimbabwean government announced it was compensating the White farmers with 3.5 billion United States dollars. Some of the former White landowners have been leasing land from the new Black owners in order to survive. Due to farmland redistribution, some black Zimbabweans have been able to access large, formerly commercial farmland and have become engaged in artisanal or small scale gold mining. [condensed from “Land Reform in Zimbabwe”, Wikipedia, and “Artisanal Gold Mining and Farming: Livelihood Linkages and Labour Dynamics after Land Reforms in Zimbabwe” from The Journal of Development Studies, Vol 55, 2019, Issue

The Prophetic Place (2019). Publication- (Canadian Theatre Review) University of Toronto Press, 2022
A story of four modern women with different personalities and backgrounds, who are brought together by fate: they meet in the queue while waiting to be served by a well-known prophet in the city. Lester is a fashion-conscious woman who loves drinking and travelling around the world, while her husband engages in extramarital affairs with young men. Fefe is a middle-aged woman in her late 40s, a teacher who loves her Seventh-day Adventist church dearly, yet she is driven to see the prophet because of her husband’s obsession with young women. Juju is a youth who has been hardened by poverty and feels shortchanged by her circumstances. Forced sexual work has resulted in two pregnancies by two married baby daddies. Last but not least, Sonia is a housewife in her 30s who discovers her voice as she unravels her experience with a paranoid, abusive, and narcissistic young husband. Through laughter and tears, these three women comically share their secrets. At the end of the day, does the prophet change their fate, or will a turn of events give them the answers they need? The play centres on religion, while exploring Third World capitalism, gender, and sexuality.

I Want to Fly (2011)
About an African girl who wants to be a pilot, is anthologized in Contemporary Plays by African Women (Methuen, 2019) and Extracts- Cambridge University Press “Cambridge Lower Secondary English Stage 9 & Pakistan English Textbook ,UK,2020: It had its first Canadian reading online in February 2022, presented by Regina’s Globe Theatre and at the University of British Colombia in June 2022.

Who Said I Don’t Want to Dance, 2017
About a young widow and the challenges she faces after the death of her husband. The latter play was presented by Philadelphia’s Pulley and Buttonhole Theatre in their 2018/19 season.

Thembelihle can be contacted via her email

Country: Zimbabwe/Canada