It gives me considerable pleasure to present my annual report for the Speech and Drama Association of South Africa for the year 2025-2026.
“Drama,” Professor Elizabeth Sneddon would declare with authority, “is about human action and the inevitable consequences of human choice. The merit of drama lies in the fact that it bridges the chasm of non-communication that separates the individual from his fellow man, and speech is the tool.”
"And what is speech?" she would ask, and after a few attempts at definition, she would command those present to write the following down: “Speech is integrated audible and visible movement to externalise what one thinks and feels.”
As proof of the benefits of speech and drama, she was fond of retelling an anecdote: “One of the most charming tributes I ever received came from a clergyman who in presenting a token of his appreciation [for helping him overcome his fears of being able to speak in public] inscribed in the book the following: ‘I asked her to teach me to speak. She taught me to think, to feel, to live,’ and concluded with an extract from Ecclesiastes – ‘Judge no man before you hear him speak. For speech is the trial of man.’
Those beliefs have been implicit within the mission of our eighty-three-year-old Association: speech and drama are the means to communicate meaning and feeling, and that, as importantly, the physical control of one’s power to communicate is vital to life in terms of health, in terms of creativity and in terms of the acquisition of knowledge.
If the word drama means – from Greek – “to do”, “action”, then we can all be actors, in our careers, in our daily lives. Drama is for everyone, not just those with a talent in performance. Studying drama empowers us with the skills to “do” and “act”, in the fullest sense of the words, to speak, yes, but also to think, to feel and to live.
Participating in the Speech and Drama Festival is a way to demonstrate ideas in action, of exploring human behaviour and the human condition through action. And because dramatic activities are holistic – involving everyone involved physically, intellectually, and emotionally in a variety of situations – drama enables people to understand themselves, empathise with others, and know the world in which they and others exist.
Professor Sneddon established the Association in 1943. We must continue to uphold our mission, if possible with the same indefatigable energy and relentless persistence that she did, because digital communication has eclipsed the spoken word in work, in learning, and in leisure time. In an age when everyone is connected all of the time, we communicate more with our fingertips than our vocal cords.
A review of the year indicates both what we have achieved, and who has benefited from that mission. I am therefore proud to report that a total of 81 festivals were held during 2025: 4 in pre-primary schools, 67 in primary schools, 7 in high schools, 5 in combined schools, and 2 studio festivals. Although that is five less than in 2024, we will continue to market the Association as much as we can.
The 81 festivals would not have been possible without the involvement of the 21 adjudicators who worked and for the association in that year. We are indeed fortunate to have a loyal and dedicated group of adjudicators who can provide their services throughout KwaZulu-Natal and, increasingly, elsewhere in our country. To each of you, our deepest thanks; you are one of the principle means by which the value of speech and drama is fostered and maintained. So, too, we welcome the following new adjudicators and look forward to a close and fulfilling relationship with you: Dawn Harrison, Shika Budhoo, and Mtho Zulu. Thanks, too, to Rosanne Huly-Coyne for organising an adjudicator workshop on 8 March, attended by eight members.
Five workshops were conducted in 2025, attended by approximately 60 staff, at North Coast Primary, Kingswood Academy, Carlyle College, and Darnall Primary. Our gratitude must be extended to those who so willingly lead the workshops and share their expertise: Ida Gartrell, Philippa Savage, Carmen O’Donoghue, and Di Paterson. Sadly, Ida Gartrell passed away in September, only a week after adjudicating at Eshowe Junior School. Ida was connected to our Association for nearly 50 years. Another stalwart has left us and that is a huge loss to Speech and Drama education in KwaZulu-Natal, and Rosanne Hurly-Coyne sent a heartfelt message of condolence to all who knew and loved Ida.
On 18 September, in response to an invitation to attend and adjudicate Love Howick’s Literacy Festival in Mpophomeni near Howick, Rosanne Hurly-Coyne very kindly represented SADASA and, as a vital component of our commitment to outreach work with NPOs, attended and adjudicated their festival, and I’m sure she made such an impact that we can hope they join the Association.
Gratifyingly, three schools joined the association during 2025, and not only from KwaZulu-Natal: Prescient Primary School, Krugersdorp High School, and Durban High School. And we look forward to festival at two new schools in 2026: Clifton Preparatory School in Nottingham Road, and Clifton Preparatory School in Durban and, as of last week, Reservoir Hills Primary School.
As an indication of the association’s concern that as many young people as possible benefit from participation in the festivals, during 2025 subsidies to three schools amounted to R10 700: R2 700 to Berg Street Primary, R2 600 to Rosehill Primary, and a special mention must be made to Margie Marnewick, who volunteered her adjudication services free of charge to St Raphael’s, which was fully subsidised to an amount of R5 225, including the necessary stationery from our Association.
Likewise, we are pleased that in 2025 we were able to award SADASA bursaries to deserving candidates: Johan Koegelenberg (The Elizabeth Sneddon bursary) from Chelsea Preparatory, Ezekhethelo Sokhabase (The Hazel Meyer bursary) from Glenmore Primary, and Thandekiso More (The Jilian Hurst bursary) from St James Primary. Bursary donations were received from 2 schools, and awarded to Frank Walker (R3 500) from Durban Preparatory Hight School, and two bursaries to Kirav Maharaj (R500) and Siphosethu Zondo (R500) from Westville Senior Primary.
As a NPO ourselves, we have to rely on additional funding to cover the considerable costs that meet all our requirements, and in this regard we deeply grateful to Concord Trust for, again and again, so generously supporting SADASA and understanding the value of our mission. In April, an amount of R400 000 was granted by the Trustees, and I ask you to join me in giving Concord a round of applause. Unfortunately, in February this year, John Swain, Head of Concord Trust, passed away, and of behalf of SADASA, Rosanne Hurly-Coyne sent a message of condolence to the administrators. As she wrote, “His contributions and generosity to so many organisations have made a huge difference in the lives of many people.”
In terms of what we achieve, in 2025 two special events took place.
The first of these was the Primary School Showcase which was held at Westville Senior Primary School on Saturday 18 October. This was, in theatrical terms, a premier, as we had never held such a showcase before. Over an entire morning, in three sessions, 174 learners from 48 schools throughout KwaZulu-Natal presented their items that had been awarded distinctive results. What a joyous occasion, and what a pleasure to see them beaming with delight and clutching their SADASA medals. The showcase took a great deal of organisation, and there are many people to thank: Mrs Patsy Pillay (Acting Principal), Mrs Cheryl Nyman (Convenor of SADASA’s festival at the school) and the management and staff who assisted on the day; for introducing and controlling the presenters, Margie Manewick, Philippa Savage and Irene Govender; SADASA adjudicators, Cathie Brooks-Neill and Shika Budhoo, and Julia Knowler, SADASA convenor at Chelsea Preparatory, for their help on the day, and of course, Rosanne Hurly-Coyne, for all she did to make the event such a success.
The second event was the 21st Bruce Piper Monologue Competition, held at St Anne’s Diocesan College on Saturday, 25 October, adjudicated by myself and Dawn Haynes. We thank Mrs Debbie Martinan (College Head), Ms Lynn Chemaly (Theatre Manager) and Mrs Joslyn Anderson (Head of Dramatic Arts), for hosting the competition once again, and for their input on the day. The standard was of a very high calibre, and the 19 participants represented 7 schools from throughout the province: Grosvenor Girls’ High, Port Shepstone High, Wembley College, King Edward High, St Anne’s and Dundee High. The winner was Shannon Turner from St Anne’s, as was the runner-up, Gotshego Sachane.
Both the Primary Showcase and the Monologue Competition were clear reminders of how much live performance can affect, can move, can fill with one wonder, can never be replicated by technology, by digital communication, by the tools of Artificial Intelligence.
The South African Cultural Observatory released a groundbreaking report at the end of 2024, “Artificial Intelligence: Rushed Revolution or Holy Algorithmic Grail?”. Research revealed that “71% of surveyed creative workers already use AI tools… for enhancing creativity, improving efficiency, and opening new avenues for artistic expression… However, 90% emphasised the need for stronger policy and regulation mechanisms to protect their intellectual property rights, copyright, and creativity.” They also raised concerns about job displacement, compensation for their work, and algorithmic bias. The report mentioned that the domains most impacted by AI “are the audio-visual and interactive media, design and creative services, and visual arts and crafts”. But what of theatre itself?
In an online article, “8 ways AI tools are supporting modern theatre productions”, Jim Allen argues that “When theatre professionals ask AI for assistance, they’re not replacing human creativity – they’re amplifying it.” Before giving specific examples, Allen begins by listing the pressures confronting contemporary theatre as a justification for making use of AI technology:
Shrinking budgets demand creative resource management; audience expectations rival film and TV production values; shorter rehearsal periods [and] accessibility requirements demand multiple format options.
A repeated claim throughout his article is that “AI chat systems address each challenge… the art remains human; the process becomes more efficient while preserving theatre’s essential human connection.” I will return to that claim later.
These are the eight “tools’ he identifies.
In relation to “AI-Powered Script Analysis and Dramaturgy”, instead of extended time on research and analysis of context and character and themes, dramaturgs receive instant insights. One real-world application he cites is that the Oregon Shakespeare Festival saved more than 200 research hours by utilising AI to analyse play selections, and finding unanticipated connections between choices that were used in their marketing strategy for their annual season.
Secondly, AI can provide “Revolutionary Casting Assistance” for directors: it analyses the actor’s vocal and emotional range, their physicality and chemistry, combinations between actors, rehearsal groupings, even their accent consistency. As evidence of these “data-driven insights”, Allen states that “companies report 40% reduction in callback rounds and discover unexpected talent through AI-assisted casting.” One hopes that directors don’t ignore their intuitive emotional responses to individual actors, actors who can be fostered and develop during rehearsals.
As a tool, AI can assist playwrights by “Dynamic Script Adaptation and Dialogue”, without writing their plays. AI can generate translations, variations in dialogue and alternatives in plot, check cultural references, and verify dialogue consistency. As a case study, Allen cites London’s Royal Court Theatre’s use of AI to quickly and efficiently test and apply variations during workshops for playwrights.
AI can also innovate and revolutionise “Set and Costume Design”, by remodelling the methods designers use to conceptualise, plan and budget productions. In response to input, AI can create many initial visual concepts, through to budget-conscious alternatives, it will optimise scene and costume changes, check historical and period appropriate accuracy, even analyse sight-lines. The National Theatre in London employed AI to design the transformations in dress over 150 years, including quick-changes, for its production of “The Lehman Trilogy”.
In terms of lighting and scene design, AI can enhance “Technical Production Automation”; it will analyse a script and create cue sheets, generate atmospheric light- and soundscapes, even balance light circuits and acoustics for different venues. For “Harry Potter and the Cursed Child” at the Lyric Theatre on Broadway, AI was used to synchronise hundreds of light and sound cues to ensure the magical effects required occurred flawlessly.
Behind the scenes, “Marketing and Audience Development” can be renewed with assistance by AI, through social media management, personalising Email campaigning, audience analysis, pricing systems. For example, New York’s Public Theater increased audience engagement by 60%, by employing AI-driven marketing, especially for reaching younger demographics.
AI is also used for “Educational Program Development”, by producing age-appropriate theatre and drama study guides and worksheets, with visual and aural discussions, virtual character interviews, plot analysis games, including braille-ready transcriptions. For example, every year the Shakespeare Theatre Company in Massachusetts interacts with 50 000 young people, with AI educational materials.
The eighth tool Allen describes relates to “Performance Analysis and Improvement”, which ranges from objective real-time tracking of actors’ vocal and physical performance, encompassing monitoring their projection levels, their variations in emotion, evaluation of their stage presence, tracking their blocking consistency, and even their energy levels. As an actor, one could very well suspect ‘Big Brother is watching you’. Audiences could feel the same, as AI can track and analyse their laughter and applause responses, and after the show, AI can track their social media responses, analyse reviews, and even suggest ways to improve the production. But actors do use ChatGPT to assist in preparing for auditions, for memorizing lines, and dialect coaching. In its actor-training and workshops, the Royal Shakespeare Company incorporates AI feedback tools.
In this regard, and with the increasing sophistication of AI tools, although none were held in 2025, virtual adjudications of pre-recorded work need to be carefully considered, as candidate’s vocal and technical performances can be altered and enhanced in a variety of ways by AI. Even though that was the means to continue with festivals during and after the Covid-19 pandemic, and we did send a rubric to assist with mounting virtual festivals, we were always aware of the issues raised. While it meant the Association would not collapse, and although there were and are advantages, such as being able to replay a presentation if necessary, we know that recorded presentation cannot replace the direct, human interaction of live performance.
Allen believes that the issue is not whether theatre companies should use AI or not, but to use it thoughtfully, balancing “technological innovation with artistic integrity”, to amplify theatre’s “power to move, challenge, and transform audiences for generations to come”. To address the issue of AI replacing human creativity, Allen maintains:
The most successful theatre companies view AI as a collaborative partner. They ask AI chat platforms for assistance with repetitive tasks, use ChatGPT alternatives for rapid prototyping, and leverage machine learning for data-driven decisions. Yet the heart of theatre – the live connection between performer and audience – remains gloriously, irreplaceably human.
But theatre workers are concerned, not only about job losses and the future of live theatre (“Soon we won’t be watching humans on stage, it will be avatars like ABBA-Voyage”, states a spokesperson for The Play’s the Thing Theatre Company). More concerning is the lack of legal and ethical assurances around the use of AI, in relation to copyright, ownership and protection of artists’ work. In 2025, in the United Kingdom, in response to a government proposal that will allow AI companies and tech firms to use artists’ work freely and without consent, the theatre industry has joined other creative artists in a “Make it fAIr” campaign. The campaign issued the following statement, signed by more than 50 000 artists in film, television, music and theatre: “The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works and must not be permitted.” In March 2025, the theatre organisation, Equity, the Society of London Theatre and other organisations published a manifesto aimed at protecting workers, including a refusal to allow actors’ “likeness[es] being used by artificial intelligence”. I consulted ChatGPT, and it states that, as of now, no comprehensive law statute has yet been passed.
South African copyright law (mainly the Performers’ Protection Act (1967), and the Copyright Act (1978)) does protect:
specified categories of works where certain conditions are met, including originality. The author of a work is the cornerstone of copyright law. But what if a song or screenplay is generated entirely by AI? Who owns it? The user, the developer, or no one at all?... South Africa does not yet have a dedicated AI framework… Lawmakers must design adaptive frameworks that balance innovation with accountability, protecting both creative integrity and economic opportunity.
What is a positive outlook is that, while AI can generate a wide range of paintings, produce videos, compose music and voices, what it cannot yet have is lived experience, experience emotion, or understand meaning in a human sense, it can only simulate and recombine learned patterns based on data. What of theatre then? As I’ve mentioned above, AI can be used in script writing, set, lighting and sound design, marketing, and virtual performances.
As Lucinda Everett maintains, in a theatrical performance:
There’s the real human connection that comes from a shared experience (no AI companions here); real points of view instead of assertions Frankensteined from every thought on the internet; real mistakes to whip Instagram’s veil of perfection from our eyes; and real variety between performances. And, of course, there are real emotions – on stage and in the audience… no AI will ever be able to stage a play – even one that it wrote, designed and composed music for – without humans. Theatre may just be one of the only art forms to benefit from AI without ever being truly threatened by it. Here’s hoping.
Long before the advent of AI, the author and playwright John Steinbeck stated that:
The theatre is the only institution in the world which has been dying for four thousand years and has never succumbed. It requires tough and devoted people to keep it alive.
SADASA can claim to be composed of and supported by “tough and devoted people”. Important as Professor Elizabeth Sneddon’s vision was of the use of speech and drama as vital to education, a vision is abstract. No vision can be realised in concrete terms without the finances to sustain it, and no vision can last without the right people to support it. Some of those people are present, and I pay tribute to my colleagues on the Executive Committee for their ongoing service to the mission we believe in: Margie Marnewick, our Vice-Chairman, and alphabetically by surname, Les Coull, Irene Govender, Mbali Nguse, Philippa Savage, and Jean van Elden. Thank you so much for your valued support, for your belief in the vision, and for your continuing loyalty and commitment.
And finally, and most importantly, Rosanne Hurly-Coyne, who does more than anyone to fulfil all that I have said of our mission. Rosanne, we are fully aware of your concrete achievements, the meticulous planning and publicizing of meetings and events and workshops, the continuing quality and value of the website and The Platform, the visits you make to schools, the liaison work that is our ultimate connection with the beneficiaries of the vision, the meticulous handling of our finances, but all that is but a part of your ‘job’, because there is so much more that you do for the Association, selflessly and unstintingly. I speak for everyone present and everyone who has had any dealings with you, Rosanne, when I say it is our very special privilege to work with you and to know you, and to state that the Association is indeed fortunate to have a person of your calibre to manage its affairs.
I present this report to you for adoption, and thank you all for your kind attendance and attention.
Mervyn McMurtry
9 March 2026
Sources:
2024. “South African creatives embrace AI while calling for IP protection – new report”, South African Cultural Observatory.
2025. “AI vs theatre: What does Artificial Intelligence mean for the future of theatre?”, The Play’s the Thing Theatre company.
2026. “Protecting our creatives from AI”, The Play’s the Thing Theatre Company.
Allen, J. 2025. “8 Ways AI Tools are Supporting Modern Theatre Productions”, Stage and Cinema.
Dullabh, R., Motebe, A., and Shapiro, C. 2025. “AI in Entertainment: Redefining creativity, ownership and the future of storytelling.” ENSafrica – News.
Everett, L. 2025. “How theatre is holding its own in the age of artificial intelligence”, The Guardian.