Lize Ehlers is undoubtedly a force in Namibia’s arts scene, blending her talents in music, theatre, and activism. She’s a singer-songwriter, actress, poet, playwright, director, and DJ, known as Rise Elders, whose creative journey began in the small town of Mariental (in the south of Namibia). From discovering her passion for performing at age three, Ehlers has often used her platform to inspire change. Offstage, she founded Song Night Namibia, a free mentorship program and live singing show that has nurtured many emerging performers.
Lize Ehlers is also the co-founder of Drag Night Namibia (a regularly held drag show), where she uses her platform to celebrate and support LGBTQ+ identities.
With a professional career of more than two decades, Ehlers tells us she is not just performing—she’s creating change, championing the voices of her community, and showing Namibia what it means to be truly unforgettable.
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One of her most significant works, Boet & Sus (brother and sister) is led by two main characters, Boet, a drag queen played by Adriano Visagie, and Sus played by herself. It is set up as a talk and drag show with theatrical flair and it attempts to capture the true essence of being a Coloured person in Namibia, distinct from other post-colonial and multiracial groups around Southern Africa. Ehlers explains that this was “a personal story of deeply feeling somewhere in the middle as a Coloured/mixed race person in Namibia.”
Going into it she hoped her production would invigorate audiences with “the comedy and drama of the Coloured and Baster* story mixed with the kaleidoscope of drag and queer culture.”
They recreated many of her original songs for this stage. This gave the production a major boost as Lize is so naturally creative, allowing multiple elements to come together. The sound is so authentically Namibian too.
Boet & Sus opens with a musical number, as Sus, the host of a talk show, steps on stage and then takes a seat where she has a moment of introspection. She invites us to understand and celebrate Namibian Coloured culture and experience the unique world of drag, performance art from a community that is so often misunderstood. Through some humorous satire, Ehlers aimed to highlight the challenges and complexities of identity.
Sus makes the joke, “Ek is die oros nadat die oros twintig keer aangemaak is” (“I am the oros after it’s been mixed twenty times”), in reference to the layered identities of Coloured individuals in Namibia. The bottom line, it’s not as black and white as you’d think.
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Sus then invites the glamourous Boet onto stage and the two got to chatting. Visagie, who is also a mainstay in Namibian radio and television completely disappears into his character, exuding an air of elegance and sass.
Boet, Sus, and the supporting characters Miss Mavis (Rodelio Lewis) and Gigi (Roberto Meneguzzo) who brought in the added interjections, remarks and dancing, explore stereotypes, social judgments, and cultural pride, which they often feel is a complex issue in the Namibian context. Grounded in real issues, the dialogue reflects on how history and race shape their identity and affect their lives.
The recurring line, “Iewers in die middle” (Somewhere in the middle), encapsulates a feeling that echoes throughout the play of never fully fitting in.
Sus speaks on her struggle to define herself, especially in a culture where traditional labels fail to capture the nuances of being both Coloured and queer. Ehlers’s choice to frame this story with humour allows her to address sensitive issues in an accessible and fun way.
Boet on the other hand laments on their experiences pushing the boundaries of gendered clothing and living outside the proverbial “box”.
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In a memorable scene, Sus reflects on how the Coronavirus pandemic forced many people to confront themselves, their identities and their values, saying, “Ek het nie geweet wat dit actually beteken nie, tot en met Covid-19 vir ons gesê het: ‘Gaan huistoe my keend, was jou hande, kyk na jou familie, wees dankbaar vir wie jy is en wat jy het en wees TROTS jouself!’” (“I didn’t know what it actually meant until COVID-19 told us, ‘Go home, my child, wash your hands, look after your family, be grateful for who you are and what you have, and be PROUD of yourself!’”). This scene, while humorous, underscores a key message of resilience and pride in one’s roots.
Queer culture is also woven throughout the play, from Boet’s drag persona, to the celebration of varying identities, an inclusion Ehlers felt was important.
Blending Coloured and queer narratives, Boet & Sus expands beyond racial identity, embracing acceptance and self-love. “There was a deep need for us to be seen amidst everything that was happening in the world and is still happening today,” Ehlers explains.
The production’s strengths lie in its authenticity and relatability, feeling like a real conversation between friends and family. Ehlers describes the creative process for this as “nostalgic and invigorating,” saying, “I wrote and rewrote the script like my life depended on it! It was so much fun to hear about the core similarities between Coloureds and Basters and to reflect on our differences.” Her dedication is evident, as Boet & Sus reflects Ehlers’s own journey and resonated with me as a viewer.
A challenge the playwright noted in bringing this piece to life, was performing without an actual audience due to social distancing protocols at the time of filming it.
“To perform such a heavily reliant-on-audience piece of theatre into a camera with only a few audience members was challenging,” Ehlers reflects, noting that a full house might have amplified the energy and interactivity integral to the show’s format.
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Because theatre productions rely so heavily on this energy inside the amphitheater, it did affect the performance and is noticeable on screen. They did, however, have the benefit of being able to play around with camera angles and bring the vantage point a lot closer than is typical.
This one-hour production is funny, educational and musical, and it is a reminder of the power of storytelling, particularly for communities on the margins.
Looking ahead, Ehlers emphasizes the importance of mentorship and inclusive spaces for future theatre makers, writers, producers, actors, singers, poets and dancers.
She says she is committed to using her gifts to foster inclusivity, empathy, and dialogue, envisioning a future where Namibian theatre is fully supported and celebrated.
She also envisions Namibians cultivating a creative industry where artisans can focus on their craft without the burden of fundraising, stating, “Imagine what could be possible with a fully funded theatre and WORKING actors!” This is often a challenge as Namibia’s population of 3 million often means turnouts can be low and public support is not always guaranteed.
This is in line with Ehlers’ vision for her legacy and Namibian theatre as one of celebration, resilience, and truth. “The legacy is our stories,” she says. “I want future Namibians to say Lize Ehlers was a Namibian storyteller and creative freedom fighter.”
*Basters are a mixed-heritage ethnic group found in Namibia, with origins tracing back to the colonial period in Southern Africa. They emerged from unions between Khoekhoe women (indigenous to the region) and European men (including Dutch, German, and British). The term “Baster” comes from the Dutch word for “bastard”.
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