THEATRE IS TRULY a magical medium. In casting fictional glances at real characters, it can unstitch the raw underbody of a myriad of political what-ifs and set your beliefs on edge. Playwright Jeff Stetson has woven a conversation between US Civil Rights heroes, Malcolm X and Martin Luther King with historical perspicacity and empathy for both sides that is so powerful, you may forget to breathe as it unfolds.
In the hands of a lesser writer, this idea may have degenerated into a simple war of political platitudes and lost its electric edge, to say nothing of its rich balance. Instead, it shines. The characters are three dimensional, and speak with the kind of blood red conviction that will sway your own opinions hither and yon. Under the directorial hand of James Ngcobo, it is a defining theatre experience. The play features an audio-visual sequence projected on each side of the theatre that punctuates the play without messing with its values, as it draws in local and contemporary references with a deft hand and a sure knowledge of how history turns on its own maddening momentum and society sees the same things unfold.
Cast in a similar historical conflation of values we saw in Hinterland by Duncan Buwalda and directed by Caroline Smart in 2015 which pondered an association between Cecil John Rhodes and Sol Plaatjies, and Mountaintop, staged at the Market Theatre in 2013 written by Katori Hall and directed by Warona Seane, The Meeting presents historical what-ifs with an informed perspective. It’s compelling theatre at its very best.
But it is Brendon Daniels in the role of Malcolm X that gives the work the unquestionable authority it warrants. Aubrey Poo as King tends to be pompous and fruity with his Southern drawl which sometimes becomes a bleat, but the words in his mouth exude levity and fierceness. The play counterpoises the desire for peaceful confrontation with that of violence, in the face of a society bruised and scarred with racism, but one which pivots on arm wrestles and a little girl’s rag doll.
Designed on a set which stands at table-height, the work takes place in the anonymous bland comfort space of a 1960s hotel room in Harlem. Almost staged in the round, the work does, however lean more toward the audiences in the front and right of the performance than those on the left.
Religious values flow through the work’s crevices with Muslim prayer and Baptist references that keep the two men respectful of each other’s values, as suspicion is cast around the securitised environment. You’re not exposed to either man’s assassination, but you know, as the characters do, that death lurks everywhere, and that their time to offer their voices to the world will be curtailed.
But more than all of this is how the fabric of the play itself has been crafted to juxtapose violence with non-violence. There are structural nuances that you may not notice on your first viewing of the piece, that feed into a satisfying reflection of the values of these two men. It’s a play through which you will learn to empathise with both potential approaches to society. It’s apt to make you weep, as it presents Black History Month in intelligent unmitigated boldness.
- The Meeting is written by Jeff Stetson and directed by James Ngcobo. It features design by Wesley France (lighting), Nadya Cohen (set), Jurgen Meekel (audio visual) and Nthabiseng Makone (costumes) and is performed by Litha Bam, Brendon Daniels and Aubrey Poo in the Barney Simon Theatre, Market Theatre Complex, Newtown, until February 26. Visit markettheatre.co.za or call 011 832 1641.