Veteran actor Sthandiwe Kgoroge plays iconic Drum magazine editor-in-chief Melody “MM” Makaringe in her latest film project, the comedy-drama Dear Sis Dolly.
Kgoroge spoke to Sowetan about bringing Makaringe’s revered agony aunt legacy to the big screen next Friday alongside her co-stars Didintle Khunou, Natasha Thahane, Dineo Langa, Jerry Mofokeng wa Makhetha, Abigail Kubeka, Solomon Sebothoma and Brighton Ngoma.
What attracted you to the role?
When my agent called and said there was an audition, I immediately said yes. At that stage, you don’t necessarily know the full scope of the project because they’re still casting and piecing everything together. But something about it immediately felt exciting. When I eventually learnt more about the story and the world we were exploring, it became even more meaningful because Sis Dolly is such a recognisable part of SA culture.
How did you prepare for the role?
I looked at women I’ve admired for years. So many incredible black women have held leadership positions in publishing and journalism. I’ve followed their careers for a very long time, and I’ve always been fascinated by that world. I love journalism. I love magazines. I love editors. I love reading editors’ notes and understanding how a particular editor thinks and communicates with readers.
Did you spend time researching how newsrooms and magazines operate?
Absolutely. Most of us experience journalists from the outside. We meet them during interviews, we read their publications or we engage with the work they produce.
But I wanted to understand the leadership side of it. I paid attention to how editors communicate, how they carry responsibility, how they lead teams and how they shape conversations, shape narratives and influence society in many ways.
Why did Sis Dolly resonate strongly with readers?
It gave people a safe space. It became a place where people could be vulnerable, ask difficult questions and receive guidance. In many ways, it functioned as society’s agony aunt, society’s therapist and society’s sounding board. People still need spaces where they feel heard. I hope that younger audiences might watch this film and think about how they can create similar spaces in their own communities.
How do you see the evolution of local entertainment?
I’m extremely proud. When I entered the industry straight out of university and joined Generations, I was fortunate enough to work on projects that were already changing the landscape.
Today, when I look at the quality of our productions, crews, writers and performers, I genuinely believe we stand alongside the best in the world. SA creatives continue to prove themselves over and over again. That doesn’t mean we’re without challenges. There are still conversations around royalties, intellectual property, residuals and fair compensation that need attention.
What are your hopes for the future of African storytelling?
Collaboration. I’d love to see more SA actors working with Kenyan and Nigerian actors and creatives from across the continent. We have extraordinary stories and talent.
What do you do when you’re not acting?
I’m a designer. I’ve always been creating things. I had a shop in Melville for a number of years, and even during my Generations days, I was already designing clothing. Whether it’s fashion, hats, baskets or collaborating with artisans, I’m always making something.
