Review: Mandela the Musical at the Young Vic Theatre, London

Some of my favourite musicals, from Hamilton to Come From Away (and even Les Miserables to a less direct extent) are based on real people and events. There’s something uniquely powerful about true stories set to music and put on the stage.

So when I saw there was a new musical about the life of Nelson Mandela coming to London, I rushed to get tickets. And I’m glad I did, because seats for this show have been flying off the shelves.

What’s it about?

South Africa, 1960. Apartheid, the system of racial segregation and oppression of Black South Africans under an all-white government, is at the height of its power. Nelson Mandela, a young activist, rallies the people to protest against this injustice.

In 1962, Mandela is arrested and sentenced to life in prison. He will spend the next 27 years there, separated from his wife and children, as the fight for freedom continues across South Africa.

Any content notes?

From the official website comes the following content notice:

“This show contains themes of racism and violence. There is use of prop guns and loud gunshot and bomb blast sound effects. The show also contains scenes with lit cigarettes, fog and haze, flashing lights, and around 20 seconds of total darkness.”

Mandela is recommended for ages 14+.

Mandela: My Review

I’ve been sitting on this review for a week, trying to decide how to talk about this show and ultimately what review score to give it. Because there’s so much to like and praise about it, but it also has some undeniable problems.

Michael Luwoye, best known for playing Alexander Hamilton in Hamilton on Broadway, plays the title role and delivers all the strength and gravitas this role demands. From his accent to his commanding presence as a leader, Luwoye gives a closely observed and assured performance as Mandela.

Luwoye is joined by Danielle Fiamanya as Winnie Mandela, who gets plenty of opportunities to show off her phenomenal singing voice and nuanced, emotional acting ability as this complicated woman. Fiamanya does a beautiful job of portraying Winnie’s pain at such a long separation from her husband, the struggle of raising children alone in such extraordinary circumstances, and the pressures of political activism amidst brutal oppression.

Michael Luwoye (centre) stars in Mandela alongside Danielle Fiamanya (right). Photo: Helen Murray

The scenes showing Mandela and Winnie together, particularly their joyful reunion which quickly turns into an argument, are amongst the show’s most powerful. In this scene, their angry duet interrogates their very different political philosophies and approaches to activism.

The music, infused with South African sounds and rhythms, is a mixed bag but strong more often than not. Amongst the more powerful and memorable numbers are Winnie’s solo after her 16-month incarceration in solitary confinement, and the moment when the unnamed Warden (played by Stewart Clarke) begins to realise that his preconceptions about Mandela—and therefore all his beliefs about apartheid—might be wrong.

Gregory Maqoma’s dynamic choreography is excellent, contributing heavily to some of the most visually engaging and emotionally intense moments in the show.

Danielle Fiamanya (centre) with some of the company of Mandela. Photo: Helen Murray

Conveying large passages of time on stage is notoriously hard and I did not get a sense, watching Mandela, of vast swathes of time passing. Which is a shame, because one of the most powerful elements of the story is the fact that Mandela spent almost three decades behind bars and separated from his family.

My major criticism of Mandela’s writing ultimately comes down to this: it begins too late and ends too abruptly. The show focuses primarily on Mandela’s 27 year imprisonment, which is fine, but I wish there had been much more about his life before (including meeting and marrying his wife, Winnie) and all the incredible things he did afterwards. This might require trimming elsewhere, as the show is already two and a half hours long, but it feels as though everything post-release from prison is glossed over. As a result, the audience doesn’t get to know Mandela the man as much as I would have liked.

Michael Luwoye and Danielle Fiamanya in Mandela. Photo: Helen Murray

Mandela tells a vital story that conveys an essential message, and is led by some outstanding performers. If I was reviewing on the strength of those elements alone, I’d give it five stars without hesitation. The show’s book, though, feels underwritten and still in need of further development to reach its full potential.

Where to get tickets

Mandela runs at the Young Vic Theatre, near London Waterloo, until 4 February 2023. Tickets are available from the venue. Be quick, though, as many of the remaining performances are booked up or filling fast!