By Jonathan Mbiriyamveka
He is the sizzle on the steak. The drizzle in the salad. The shizzle.
But for all his swagger, Dr. Julian Pinimidzai Simango—a brilliant cardiothoracic surgeon in Edinburgh—is a man on the edge. And when he recognizes a patient as a face from a traumatic past, his world implodes.
Ordered by his NHS Trust to either surrender his medical license or check into rehab following an altercation with that very patient, Julian embarks on a harrowing journey through savage humour, rage, and grief.
He is forced to confront the childhood trauma that has held him hostage for decades—the historic sexual abuse he suffered as one of hundreds of thousands of boys at the hands of Catholic clergy.
This is the searing, one-man tour de force that is Petina Gappah‘s Yellow Dog Dingo, and it comes to the Theatre Upstairs at Reps Theatre in Harare for one night only on 26 September 2026, as part of the Mitambo International Theatre Festival.
At the heart of this storm is actor Munyaradzi Chidzonga, who delivers what critics have already called a “revelation” and a “phenomenal” performance.
Stage and screen actor Munyaradzi Chidzonga
The Weight of a One-Man Show
For Chidzonga, stepping onto a stage with no fellow actors to lean on is both the ultimate challenge and the ultimate freedom. The actor, who turned 40 last December, admits that preparing for a solo production required a complete mental and physical recalibration.
“When you’re a lead in any production—theatre, television, film—the pressure is on you. Your energy carries the production,” Chidzonga explains. “Preparation is essential. The mental preparation is the most important and for me was the hardest. I had to block out a lot of outside distractions, opinions and mental obstacles. The trick was focusing on the work, one line at a time, one rehearsal at a time.”
Physically, the demands were equally steep. “My body has changed and moves differently, so I had to prepare with stretches and toning to get back into the rhythm of theatre.
The poetry of movement is a language on its own. I am still learning that language, but fortunately I have a world-class director and teacher in Tafadzwa Bob Mutumbi.”
A Director Who Sees the Finish Line
Mutumbi, who has been hailed for crafting a “masterpiece,” is described by Chidzonga as a “savant” with an exceptional knowledge of physical theatre. But it is the director’s patience that truly sets him apart.
“Tafadzwa has the gift of seeing the end product before you get there,” Chidzonga says. “And it’s always easy to work with a director who knows what they want and is able to articulate their vision. We didn’t always agree, but we found each other in the end because what is important is always the work.”
In a one-man play, the other “characters” come in unexpected forms. “There were other characters to work with—the music, the sound and the lighting. These were intentionally written in as ‘sonic cues’ and ‘lighting cues’ to help bring out certain parts of the text.”
The Privilege of Bringing Petina Gappah’s Words to Life
To call Petina Gappah a “literary giant” is, according to Chidzonga, an understatement. The award-winning author of The Book of Memory and An Elegy for Easterly has crafted a script that Chidzonga describes as “an actor’s dream play.”
“It is beyond a privilege when an author of her stature writes a play for you. It is not an obligation to perform it—it is a privilege,” he says. “‘Yellow Dog Dingo’ is a rollercoaster of emotion. The key is being able to ground every nuanced emotion so that it lands with the audience. If I can take Petina Gappah’s words, bring them to life, and make you feel something—anything—I’ve done my job.”
Finding His Footing
Despite the glowing five-star reviews already attached to the show—with quotes like “Phenomenal. Don’t miss it”—Chidzonga admits that confidence did not come easy in rehearsals.
“To be honest, in rehearsal I felt nuts! Like, eish… will this work? Or will that work? I hope they like it. It was quite lonely,” he confesses.
That pivotal moment of reassurance only arrived after the first live performance. “That moment only came after we had performed for an audience for the first time. You do the work, share it with the audience, and hope it resonates. I think it did.”
Looking Beyond Harare
While the play has so far only been seen on Zimbabwean soil—with its world premiere on the Reps Theatre stage—Chidzonga is hopeful that this is just the beginning. When asked about the play’s future beyond the 26 September performance, his answer is clear: “I hope it has a life beyond. There are definitely plans to take the play around the world.”
For now, however, the focus remains on Harare. With tickets priced at an accessible $10, the production aims to bring world-class theatre to the people—a mission that aligns with the Mitambo International Theatre Festival’s #TheatreToThePeople mantra.
“Pressure is a privilege,” Chidzonga reflects. “The gift of high expectations is that people have put you on a pedestal already. All you have to do is do the work, show up, and leave the rest to God. Pressure is only a problem when you don’t do the work. I am ready and willing to do the work again. I am ready and willing to earn the praise of the audience again.”
Catch Munyaradzi Chidzonga in Yellow Dog Dingo at the Theatre Upstairs, Reps Theatre, Belgravia, Harare, on 26 September 2026. Curtains up at 6:30 PM. Tickets: $10.
About Author
