Chiedza Rwodzi’s Strangers & Revelations Turns a First Date Into a Cultural Reckoning

Strangers & Revelations is an emotionally charged drama exploring a first date between two Zimbabweans in London that sparks deep conversations around cultural identity, gender dynamics, and shared trauma. Written and performed by Zimbabwean storyteller Chiedza Rwodzi, the show weaves mythology and real-life experiences into a compelling exploration of connection and self-discovery.

We spoke to Chiedza ahead of the show’s Edinburgh Festival Fringe run.

For those unfamiliar with Strangers & Revelations, how would you describe the show in one sentence?

A meeting of strangers becomes a reckoning with myth, memory and shadows whispering secrets from the roots of Zimbabwe.

How much of the play is inspired by your personal experiences, and how much is purely fictional?

As a writer, I draw inspiration from many places, not just my own life or viewpoint, but also from the people I cross paths with, the strangers I meet, my community, and the world around me. Tapping into a wide range of influences helps me to create layered, dynamic characters with their own goals, contradictions, and ways of seeing the world. I always aim to give each character their own unique voice. I like to think of writing as a kind of dance with the characters, one that requires listening as much as creating. It might sound a bit strange, but the more you flesh out who these characters are, what they love, what they fear, what drives them, the more clearly, they start to lead the way, even if they’re far removed from you.

I would say personal experience provides the ingredients, but the cake, the final story is shaped by how everything comes together. What begins with something personal can evolve into something entirely unexpected. That’s part of the magic for me. I also feel you have to maintain a level of detachment to let the story speak for itself, of course I do believe within that there is also creative responsibility we have as writers but it’s about striking a balance of not just saying what you want the story to say, but rather what the story needs to say.

Mythology and trauma are both key themes in the show. How did you find the balance between these elements in your writing?

When I began writing the play, I hadn’t originally planned to include mythology. But as the story unfolded, a particular myth came to mind, and it felt like it belonged. During the rewrite process, I received some dramaturgical feedback suggesting that “it could go further” as if something was still missing. That note confirmed what my instincts had already been nudging at: the myth needed to be there. Now, when I read the work, it feels like the myth was always meant to be part of the world I was creating. It echoed the themes so naturally that it became impossible to ignore.

Once I began researching the myth more deeply, the connections became even clearer. Still, weaving it into the characters’ emotional journeys wasn’t easy, it took a lot of writing and rewriting. The balance came gradually, as I got to know the characters more intimately. The deeper I understood their experiences and inner lives, the more the mythology could live and breathe within the story, not overpowering it but enriching it.

The play premiered at the Kenyan International Theatre Festival before coming to Edinburgh. How did audiences there respond compared to what you expect at the Fringe?

The response at the Kenyan International Theatre Festival was incredibly positive. Some of the audience members approached me after the show to share how deeply moved they were by the work, which was both uplifting and affirming, especially as an emerging writer. I also received thoughtful feedback that highlighted areas where the play could grow, and I’m very grateful for that. It was a privilege to also receive a feature in The East African newspaper which can be found here https://www.theeastafrican.co.ke/tea/magazine/ancient-tales-meet-modernism-in-african-theatre-performance-4824816

The atmosphere at the festival was nurturing and creatively rich, and I feel very fortunate to have had that opportunity to see the work performed at such a vibrant international festival. When I returned to the UK, I had a lot of motivation and determination to revisit the play with fresh eyes, new insights, and a broader perspective. 

I’ve never been to the Fringe before, so I’m going in with an open mind. I have no preconceptions or judgments, just positivity and excitement. I see this as a chance to grow and learn from every moment.

As both writer and performer, how do you navigate switching between the creative mindset of a storyteller and the vulnerability of acting such a personal story?While the themes in Strangers & Revelations feel familiar, they aren’t strictly personal. I draw inspiration not only from my own life but from the people and experiences around me. This helps me approach the characters with a sense of discovery and fresh perspective. I feel it allows me to create diverse, dynamic beings with their own voices rather than simply writing a personal story. Performing my own work is still vulnerable, especially because there are themes,  I deeply empathize with. But once I’m in the rehearsal room, I consciously detach from the writer in me. I’m learning that detachment is a vital skill for me because it frees me to become a curious investigator, focused on understanding the words on the page and what they mean for my character.

That shift into actress mode can be exhilarating because it’s a completely different experience. Of course, it’s not always easy, especially as a perfectionist but to manage this, I set boundaries. I engage with the writer’s role outside rehearsals, and when I’m in rehearsal, I try to really honour the actor’s mindset. I respect both roles deeply, but I’m learning that the two don’t have to coexist in the same space. Knowing when to let go of one to fully embrace the other is essential to pushing the work forward.

If Malcolm and Zodwa were, to go on a second date, what do you imagine would happen?

The second date would be overlooking Mosi-oa-tunya in Zimbabwe. A place full of wonder and meaning. Where unseen forces linger, and uninvited guests quietly watch.

Strangers & Revelations is at Theatre 3 at theSpace @ Surgeons’ Hall, 1 – 23 August (not 10 & 17), 12:05 – 12:55.

Tickets available at: https://www.edfringe.com/tickets/whats-on/strangers-and-revelations