Review: AIDA at the Artscape Opera House Is an African-Futurist Masterpiece

AIDA, long celebrated as one of Verdi’s most moving tragic operas, has been performed regularly since 1871 .This adaptation, however, is like nothing you have seen before. Set in 3025, this ethereal production draws on futuristic and visually breathtaking elements, rendering this production out of this world.

Aida, Princess of Ethiopia, is enslaved to Amneris, Princess of Egypt. While Amneris and Aida are both of blue blood, albeit it of different nations, this is not all that they share. They are both deeply in love with Radamès, Captain of the Egyptian Guard. Adding to the complexity is Aida’s divided loyalties - to her father and her homeland of Ethiopia, and to her lover Radamès, leader of the Egyptian army.

As always, Cape Town Opera wowed me. Let’s start with the visuals.

Roman Handt’s costume design is awe-inspiring. Think the otherworldliness of STAR WARS crossed with the opulence found in an 18th century period piece. There are lots of striking metallics – golds, silvers, and electric shades. Amneris’ golden headdress and blue and gold bodice and skirts are sumptuous and regal. I loved her oversized evil-eye ring – indeed, she sees everything. Aida, in a beautiful teal gown and white beads, provides a great contrast.

The priests’ outfits are equally eye-catching – complete with mollusc-esque masks, all in flowy, white garb. I enjoyed the guards’ uniforms – think a combination of stormtroopers and RoboCop.

At the palace where the Egyptians celebrate their victory over the Ethiopians, the partygoers’ outfits are exquisite – lush and varied, with lots of textures and a palette of colours. The effect on stage is visually delicious.

Each (individually excellent) element, when combined causes an explosion of the senses. It is difficult to discuss each element in isolation, without referring to an associated one. The makeup, for instance, perfectly complements the costumes. Clanelle Burger’s makeup design is striking and gorgeous. The High Priest’s third eye and his all-white makeup and contact lenses work well in establishing him as a seer. Amneris’ bold yellow line down her face, electric blue eye shadow and gold lipstick evoke her proud, regal character, and Aida with teal and white eyeshadow and a gorgeous turquoise lip, her face dotted with beads, portray her strength – equal to that of Amneris. These are just some of the beautiful makeup choices.

It would be remiss not to comment on the designs and animations projected onto the stage. These projections are as integral to the show as the corporeal elements of the set and make for excellent world building (literally). These intricate designs are provided by Albino Animations and are detailed, symmetrical and futuristic. I haven’t thought this much about geometry since matric – this time not with terror but with pleasure. The projections are simply beautiful.

The set is elegant and angular, with lots of lines and symmetry. The large set pieces evoke the imagined Egypt in the piece and add to the futuristic, other-worldly quality of the show. We see lots of levels, and austere, imposing and precise architecture made up of large blocks and clear-cut shapes. Indeed, Nadine and Louis Minnaar’s bold set design work in tandem with Albino Animations’ designs, which are projected onto parts of the set, the back of the stage and, sometimes, onto the curtains.

Oliver Hauser’s lighting is exceptional. There’s a scene in which the high priest blesses Radamès before the latter goes off to war. The lighting here, almost white, takes on a life of its own – I was transfixed.  Throughout the production, the lighting is exquisite, adding to the drama and the atmosphere.

Finally, I can get to the performers. AIDA boasts a large cast, with six main characters, an opera chorus, and a dancing chorus. Conductor Kamal Khan leads the Cape Philharmonic Orchestra, whose rendition of Verdi’s score is nothing short of magical.

The performers are incredible. Nobulumko Mngxekeza as AIDA artfully portrays a woman grappling with a conflict of identity, allegiance and love. Her acting and vocal abilities are phenomenal and she commands the stage.

Nonhlanhla Yende is sensational. With her sonorous voice and layered characterisation, she showcases a flawed character – one who is less villain and more human. I loved the tension she showcases, between glamorous powerhouse and a woman grieving the sting of unrequited love.

Lhukanyo Moyake makes an excellent Radamès – strong, yet vulnerable, with a captivating voice and conviction in his portrayal.

Conroy Scott as Amonasro, King of Ethiopia(who I have seen various times on the Artscape stage and of whom I am a great fan), Lonwabo Mose as High Priest Ramfis, and Garth Delport as the Kin fog Egypt are equally strong.

I adored Gregrory Vuyani Maqoma’s choreography – from the modern, slick, voguing guests at the celebration to the uniform, ominous march of the guards (I loved their arm movements). Indeed, the choreography was one of my favourite aspects of the show.

Kudos to director Magdalene Minaar’s exquisite production of AIDA, and to all crew and cast members – it is a tour de force that should not be missed.

AIDA runs at the Artscape Opera House from 23-31 May 2025. Tickets range from R190.00 to R980.00 and are available via Webtickets and Artscape Dial-A-Seat on 0214217695.

South Africa Awards - Live Stats

Best Musical - Top 3

1. JOSEPH (Theatre on the Bay)

38.8% of votes

2. MY FAIR LADY (Artscape Arena)

27.5% of votes

3. THE ROCKY HORROR SHOW (Elizabeth Sneddon Theatre)

18.1% of votes

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