AH, SOPHIATOWN. HOME and suburban melting pot of such a rich concatenation of frenetic, beautiful and terrible culture that forms the backbone of who we are as creative South Africans, striving for that precious riff or that elusive line of poetry to make us remember what matters. Ah, the eponymous play, written in the fiery mid-1980s by the members of the Junction Avenue Theatre Company, which included such icons as Malcolm Purkey, Pippa Stein, William Kentridge and others. Thirty years later, has the play stood the test of time? In short, mostly. But in this season, it feels dishonoured.
It was a play that broke the mould of what theatre should be, taking the crust of an idea that was cast into the world by Sophiatown resident, the Drum journalist Nat Nakasa. Written for an English-speaking audience, it filtered a rambunctious slew of everything from tsotsi taal to Hebrew, fahfee codes to dances moves into a multifaceted theatre beast that celebrates and mourns what 1954 meant to so many residents of Johannesburg’s suburb of Sophiatown, which was bought in 1897 as a smallholding by Herman Tobiansky and named for his wife and children.
But more than an essay on forced removals in a suburb that skirted apartheid’s draconian legislation, Sophiatown is a portrait of the people in their time. It’s a fantastic story in which the internal dynamics of a house in Gerty Street comes to diverse and critical life, presenting Ruth Golden, a young Jewish woman, sanctuary from her parents’ Yeoville household, as it offers an understanding of home with all its discontents, desires, disgressions and heart.
But this production of the work is sadly lacking in several key areas. It is scripted with a dialogue that has a very distinctive rhythm and it’s not clear how this young cast has been allowed to overlook this important nuance in the delivery of the work. In any event, the result tramples on the fineness, the humanity and the sparkle of the script, making it difficult to follow and casting a slur of humdrum over the words.
The work’s poignant anti-hero, Charlie (played by Joel Zuma) holds great strength of focus and heartstrings. Hlengiwe Lushaba as Mamariti is clearly the production’s drawcard, exercising her mellow voice and sardonic presence with an authenticity that makes your heart sing, backed as she is by the delightful performances of Barileng Malebye as Princess and Tshepiso Tracey Tshabalala as Lulu.
But the young Jewish woman is played by relative newcomer Christine van Hees. While her singing voice harmonises well with that of the cast, much of this character’s role is acted, not sung. And a more obviously not Jewish Ruth Golden would be difficult to conceive of – it is not clear why the idiosyncrasies of a South African Jew raised in the 1970s with European roots and very specific values has not been given the dignity of proper research.
The highlight of the work remains the music and the choreography: there is acapello work in this production that will give you goosebumps, but there isn’t enough of it. Flaws in the casting and the rhythm of the dialogue knock into rather crude relief the limits of the piece in terms of music, particularly in the second half. If only this work had been more critically tweaked for an audience 30 years older (and ones born in the last 30 years).
- Sophiatown, written by the Junction Avenue Theatre Company, is directed by Malcolm Purkey and features design by Denis Hutchinson (lighting), Sarah Roberts (costume and set), Arthur Molepo (musical direction) and Nhlanhla Mahlangu and Sonia Radebe (choreography). It is performed by Hlengiwe Lushaba Madlala, Barileng Malebye, Nicholas Nkuna, Sechaba Ramphele, Tshepiso Tracey Tshabalala, Christine van Hees, Arthur Zitha and Joel Zuma in a season at the State Theatre in Pretoria until May 21. This review is premised on its season at the Market Theatre in April. Call 012 392 4000 or visit http://www.statetheatre.co.za