Introduction

In this introduction, I explain how Munyevu's appropriation of conventions borrowed from 'township theatre', a popular form of theatre that entertained and informed, inspired and politicised black audiences who endured racial segregation and abject poverty in South Africa during the Apartheid, including improvisation, music and dance routines, doubling, and the use of sparse props and no setting, inject Shakespeare with fresh relevance and especially poignant messages for contemporary generations of readers and spectators and for younger audiences.