A return with purpose

By Patience Musa

For years, Eunice Ratidzo Tava has been one of Zimbabwe’s quietly
powerful artistic forces—an actress whose presence on stage and screen
has shaped productions and inspired audiences. When she stepped back
from the spotlight, many wondered where she had gone. But she hadn’t
stopped creating; she had simply paused to honour another
commitment.

“I’ve always been a theatre and film person at heart,” she says. “This
year I was working full-time with an organization, so I had to prioritise.
Now that the project has wrapped, I finally have space to return to my
first love—storytelling.”

Even in her quiet season, Eunice’s creative spirit never dimmed. “I had
quite a number of projects cooking in the pot,” she explains. “These are
meant to sustain me in 2026, by God’s grace.”

Her return comes at a time when the Zimbabwean creative landscape
has transformed. Theatre is blossoming through platforms such as
Zimbabwe Theatre Academy and Almasi Arts’ African Voices Festival.
Film is expanding too, with local creators gaining global visibility. It is, in
many ways, the perfect time for Eunice to re-enter a space she has long
shaped.

Her comeback centres on Muchazondida, a production she directs and
which features the talented Edith Masango. Eunice was drawn to the
story because of her deep compassion for persons with disabilities. “I’ve
always had a soft spot for persons with disabilities,” she says. “Working
on this felt like another opportunity to test my potential.”

The heart of Muchazondida, she says, “beats with a gentle urgency.” It
celebrates resilience and encourages society to rethink its attitudes
toward people living with disabilities. The story is tender, lyrical and
driven by a yearning for connection across generations. Edith’s role is
especially profound because the story is rooted in her lived experiences.
Eunice says, “She came up with the idea to express the challenges
disabled persons face. She’s proven to be a powerful actress, so it was
only right for her to be part of it.”

Though not her first directorial role, this production reflects Eunice’s
fearless approach to creativity. She has previously directed works such
as Election Day, Colours of Dreams, Diamonds in Son’s Grave, Past is for
Future and Narratives from the Dark. Moving between acting and
directing is seamless for her: “When I’m in front of the camera or on
stage, I listen to the director. When I’m behind the scenes, I naturally
step into leadership and make things happen.”

As she looks back, roles like Ganyau Express, Heaven’s Diary and
Pregnant with Emotion shaped her on stage, while productions like
Election Day and Narratives shaped her behind the scenes. Yet she is
candid about the realities of the industry. “There’s more vulnerability in
acting than directing,” she admits. “In acting it’s easy for manipulation to
take place, especially for female artists. When you’re directing, you have
authority and there’s no room for abuse.”

Beyond her artistic gifts, Eunice’s most profound work happens off the
stage. She has opened her home to orphans, extending love, stability
and belonging to children who need it most. It is this
compassion—quiet, steady and determined—that reveals the true depth
of her character. She doesn’t just tell meaningful stories; she lives them.

Eunice’s return is more than a professional comeback. It is a
reaffirmation of purpose, a merging of courage and compassion, and a
reminder that some voices, even when silent, continue to shape the
world. Now, as she steps back into the creative spotlight, she carries
with her not just talent, but a wisdom and humanity that promise to
leave an even greater mark.

Eunice isn’t just back—
she is becoming.