Theatre has had a very important role in changing South Africa. There was a time when all other channels of expression were closed that we were able to break the conspiracy of silence, to educate people inside South Africa and the outside world. We became the illegal newspaper.

The exchange rate of the Rand against the dollar, pound or euro makes South Africa an attractive location. The positive side of this is it gives our artists and technicians an opportunity to work.

Before 1994, many South Africans used theater as a voice of protest against the government. But with the end of apartheid, like the artists who watched the fall of the Iron Curtain in Europe, theater had to find new voices and search for new issues.

In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.

Art is universal. When works of art become classics, it is because they transcend geographical boundaries, racial barriers and time.

In 1990 there were about 300 scripts being written demanding the release of Nelson Mandela. And suddenly we watched Mandela walking out of prison. So those scripts had to be destroyed.

Inkaba' is about a feud between two South African families. They have been fighting for years, from one generation to the next. It's like those typical feuds you have in rural KwaZulu-Natal where, after a while, you do not even know why you are fighting.

You found during apartheid a strange occurrence from the white folks themselves. There were those who did make a choice to speak out and stand and be counted in the army of human beings who believed in justice. And then there are those who left.

'Sizwe' is the beginning of protest theatre; 'Nothing But The Truth' is post-apartheid South Africa.