SOMETIMES YOU MAY be so overwhelmed by the iconic status of the creative team behind a work that you might be blinded as to its merits or otherwise. The Dying Screams of the Moon written by Zakes Mda and directed by John Kani is an intriguing piece of theatre which demands dialogue in its wake. It isn’t, however, the most perfect of plays on stage right now.
You realise you’ve entered a church as you take your seat in the auditorium, and you might have to stultify the urge to genuflect, whether you come from a church ethos or not. But quickly, you realise, this church is down at heel. While the smell of incense wafts in the space, the building has seen more robust days and there’s a frank humility about it which speaks of poverty.
Indeed, this little sacred building used to be a church. These days, it’s a chapel, but still the moniker “… of the broken Christ” as its congregants fondly used to call it, holds. The organist (Ezbie Sebatsa Moilwa) rehearses. And then, a young woman (Masasa Lindiwe Mbangeni) appears. She’s statuesque and poised. She holds a paper bag, but she’s clearly in of distress. As the tale unfolds, it becomes clear that this farm, this church, represent a very fond yet compromised piece of her history, and she is returning home.
Enter another young woman, roughly of the same age as the first (Tinarie van Wyk Loots), and her bolshie sense of ownership takes the fore. As do the skin colours of the two – the first is black, the second, white. This is about land. It’s about men. It’s about the discrepancies of wealth in this pock-marked country in which we live, and the swath of history that has coloured so much of it in blood and hate.
Thus unfolds a conversation that is muscular and pointed. It gives flesh and credibility to what both women say and how their perspective is shaped and moulded. You will not be able to draw your attention from the utterly focused performances of both van Wyk Loots and Mbangeni: they’re beautifully cast and make for resoundingly fine sparring partners.
But the play is a tilted one. From the outset, you instinctively have empathy for the black woman. She’s vulnerable yet strong. Alone, yet equipped with the conviction and the self-belief to articulate her position without fear. Instinctively, you don’t want to support the white woman. She is fierce in her political views, patronising in her engagement with the hapless stranger and so deeply moored in a racist ideology, she cannot recognise the ghastly faux pas she makes.
At the denouement of the play, emotion flows: and one woman seeks succour from her ostensible enemy. But can you empathise with either? You remain coldly unable to. It’s a curious problem in a play of this nature: while you can understand the validity of both of these sketched sides of the South African political spectrum, are there indeed just two sides? Both characters are written too one dimensionally and there is no wiggle room for nuance, or levity, particularly with the white character.
Further to this, while the organist plays beautifully, and has impressive music credentials, he is not a professional actor, an issue which becomes crudely obvious when he is called upon to speak, even if it is just for a word or two. This is a pity and mars the critical credibility of the work. Surely there are performers on our stages who can play music and act?
The Dying Screams of the Moon articulates values, words and ideas that five years ago would arguably have been scorned and frowned upon in audiences. While the approach does seem crude, the nature of the work opens vital conversational doors.
- The Dying Screams of the Moon is written by Zakes Mda and directed by John Kani. It features design by Nomvula Molepo (lighting), Karabo Legoabe (set) and Nthabiseng Makone (costumes). It is performed by Masasa Lindiwe Mbangeni, Ezbie Sebatsa Moilwa and Tinarie van Wyk Loots at the Mannie Manim Theatre, Market Theatre Complex, Newtown, Johannesburg, until August 21. 011 832 1641 or markettheatre.co.za.