It’s a great rarity when you are privileged enough to see a play so ununtterably perfect that you feel were you to never see a play again, it would suffice. Fairly low-key, Dop is unequivocally a play of this standard. Premised on the clichéd honest friendship between a man, his drink and his barman, the work reaches into the subtleties of Beckettian nuance as it boldly celebrates the priceless legacy of Afrikaans balladeer Johannes Kerkorrel.
Indeed, Dop is a play with prescience, dealing as it does with the schism between South Africa’s white Afrikaans-speaking contemporary youth, bruised and damaged by fear and immigration, and the previous generation. Frank Venter (André Odendaal) was born on February 29, 1960, and his father was so mean that he only ever got a birthday present every four years. And at that, it was something manly and utilitarian, like a screwdriver or a spanner. Tim (Wilhelm van der Walt), the barman is a ‘laaitie’, born in the 1990s, but he too has suffered the pain and conflict of love and bias and uncertainty, and he’s quite content to not speak of it.
The brandy nurtures an easiness between the two. And the melding of set and lighting, text and nuance as Frank gets drunker and drunker, pulls you, in the audience, into the vortex of the honesty and fragility that comes of inebriation. It’s happy inebriation in the most part, something that sees Frank’s “Puppies” – his Hushpuppy shoes – left behind, but it opens a level of unbiased brave freedom that finds both men pondering their own broken dreams, but also love, loss and humanity in a way they probably wouldn’t be brave enough to do by sober light of day.
Beautifully performed, Dop in Afrikaans with a bit of Australian English, is a polished gem, woven through intricately and intimately with the life and music of Kerkorrel and his Voëlvry movement which impacted so significantly on Afrikaans youth of the 1990s, but this is so much more than an historical account. It boasts an internal architecture which contains focal nubs that are touched upon and not laboured, woven with love and never forced. The work is also deliciously peppered with Kerkorrel’s ballads – and a bit of Tom Jones – but the segueing of music and text, socio-political reference, sexual identity and the spinning of the bar is wise and fabulous. And just right. You will laugh with a pure heart at the physical gymnastics and cry with a full one at the tale’s astonishing denouement.
- Dop is written by Retief Scholtz and directed by Sylvaine Strike. Featuring design by Sylvaine Strike and Kosie Smit (set and lighting), Didi Kriel (music) and Madelaine Lötter (costumes), it is performed by André Odendaal and Wilhelm van der Walt in the Studio Theatre, Montecasino, Fourways, until October 23. Visit kosie.biz or www.pietertoerien.co.za