King Kong
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Introduction to "King Kong"
"King Kong" premiered in London’s West End at the Princes Theatre on February 23, 1961, running for 200 performances. Billed as an “all-African jazz opera,” this South African musical featured music by Todd Matshikiza, a book by Harry Bloom, and lyrics by Pat Williams. After a sensational two-year tour across South Africa, where it played to over 200,000 people, it arrived in London under producer Jack Hylton, starring Nathan Mdlele as Ezekiel “King Kong” Dlamini and Peggy Phango as Joyce. A groundbreaking collaboration between Black and white artists during apartheid, its jazz-infused tale of a boxer’s rise and fall captivated audiences, launching stars like Miriam Makeba onto the global stage.
The Creative Team Behind the Show
Todd Matshikiza, a renowned South African composer, scored the vibrant jazz soundtrack, while Harry Bloom’s book drew from the real-life story of boxer Ezekiel Dlamini. Pat Williams refined the lyrics, stepping in after Bloom’s exit. Directed by Leon Gluckman, with choreography by Arnold Dover, the production was shaped by the Union of Southern African Artists and impresario Ian Bernhardt. The cast boasted talents like Miriam Makeba as the shebeen queen Joyce, Hugh Masekela on trumpet, and Jonas Gwangwa, with Clive Menell’s studio fueling its creation. This interracial team defied apartheid’s odds, crafting a musical that blended township energy with theatrical craft.
A Boxer’s Tragic Triumph
The story follows Ezekiel “King Kong” Dlamini, a Zulu boxer whose meteoric rise in 1950s Sophiatown unravels into chaos. From township champ to Johannesburg star, he wins love with Joyce and fame with his fists. But jealousy and liquor spiral him into gang violence, culminating in Joyce’s murder. At trial, he pleads guilty, craving death, only to receive 14 years’ hard labor. Songs like “Sad Times, Bad Times” and “Back of the Moon” chart his descent, ending with his suicide by drowning in a prison dam. This jazz-driven saga mirrors South Africa’s urban struggles, balancing exuberance with a stark, tragic close.
Performance and Reception
Opening to a buzz after its South African triumph, "King Kong" drew mixed reviews in London. The Times praised its “exhilarating” music and cast, but some found its narrative raw Variety noted its “color and effervescence” amid “poignancy.” Its 200-show run impressed for a foreign import, with Makeba’s shebeen queen and Mdlele’s brooding Kong earning acclaim. Seen by Nelson Mandela on opening night in Johannesburg, it subtly nodded to the Treason Trial, resonating with liberal audiences. A cast album captured its sound, though apartheid tensions and cast arrests during its creation added grit to its polished West End sheen.
Legacy in West End Theatre
"King Kong" broke barriers as South Africa’s first all-Black musical to hit the West End, its 200 performances a testament to its appeal amid apartheid’s shadow. It launched Miriam Makeba and Hugh Masekela internationally, spotlighting township jazz on a global stage. Unlike long-runners like "Les Misérables," its brief run belied its impact bridging racial divides and inspiring works like "Ipi Tombi." Staged later in Australia and Canada, its cast recording and 2017 BBC Radio 3 tribute keep it alive. A cultural milestone, it remains a bold echo of resistance and artistry in London’s theatrical tapestry.