12 Nov 2026

Theatre has the power to bring deeply personal experiences to life, challenge perceptions and reminding audiences of the fragile relationships that define human existence.For Katamelo Reteng, an actor and theatre director, the responsibility became central to his directorial journey through Under Milkwood, a production exploring memory, love and the emotional consequences of dementia.

A final-year Creative Arts and Design student at the University of Botswana (UB), Reteng recently completed directing the play as part of his academic assessment, marking an important milestone in his artistic development.

Originally written by Welsh poet and playwright Dylan Thomas as a radio drama for the BBC, Under Milkwood first aired in 1954 before being adapted for stage and screen.

Reteng’s adaptation drew inspiration from Siân Owen’s work on the National Theatre production, introducing an emotionally charged conflict centred on dementia and the fragile relationship between a father and his son.

At its heart was a young man desperately trying to reach his father, who was gradually slipping away through memory loss.

The production explored the pain of being forgotten by someone deeply loved, using elements of surrealism and realism to portray dreams, lost relationships and the uncertainties surrounding human memory.

For Reteng, directing the production was not merely about bringing a script to the stage but also creating an environment where actors and the technical team could work collectively toward a shared vision. “Theatre is built in collaboration, and collaboration demands trust and professionalism,” he said.

He explained that he had prioritised creating a safe and inclusive working environment where everyone felt respected, valued and comfortable contributing to the production.

His directing philosophy was shaped by the knowledge and discipline acquired through his studies at UB, where lecturers emphasised research, theatrical language and translating ideas into practical techniques.

He described bringing together a large cast and successfully staging the production as his greatest achievement, particularly because he had limited experience working with such a sizeable group.

Looking ahead, he said he hoped to strengthen his technical abilities, particularly in lighting. “I really want to master how to play with lights,” he said. Beyond his personal ambitions, Reteng believed Botswana’s creative industry needed greater support and investment, arguing that artists remained valuable contributors to the country’s economy and international reputation.

“Artists remain assets to Botswana’s economy.

 It is important to support Botswana artists because eventually artists might seek help somewhere else and Botswana might lose valuable people,” he said.

He also called for more theatrical productions and films documenting Botswana’s history, saying there was a need to tell stories about the country’s iconic figures and cultural heritage.

Additionally, he observed that limited access to historical information and biographies has contributed to gaps in public knowledge about Botswana’s past. Reteng believed theatre and film could make such stories more accessible while helping audiences understand and appreciate their cultural identity.

As he prepares for the next chapter of his career, he intends to build a strong professional portfolio, establish industry connections and continue pursuing knowledge and training.

For the young director, Under Milkwood was more than an academic achievement; it was an opportunity to explore the complexities of human relationships and demonstrate how theatre could give emotional experiences a powerful voice. ENDS