THE DELICIOUS PRESCIENCE of a bit of Brecht in Johannesburg this month, in the wake of the start of the #ZumaMustFall movement cannot be understated, and this complex, political, thoughtful and challenging extrapolation on the surreal humour of injustice and Solomonic solutions in The Caucasian Chalk Circle hits the mark with accuracy, insanity and abandon. It’s a fabulously layered work which brings in great dollops of Brechtian principles, spiced up with a frisson of Alfred Jarry resonance and lots of rudeness, a peppering of contemporary freedom issues and generous sprinklings of slapstick physicality.
It’s a work which allows each one of its large cast to shimmer, with wit and seriously quirky characterisation, but it’s not flawless. This is a problem in the original work, but it’s one that proves unresolvable by this director and cast.
Framed in contemporary times – which would have been roughly the 1940s – it’s a very shoutily performed prologue and is punctuated with service delivery issues and a land grab, that lends it the lingo in contemporary parlance in South Africa. There are two arguments: a business of self-sustainable farming goes head to head with one of farming for profit. It’s goats against potatoes. And the issue gets explored and developed with the tool of a play within a play. Or rather two plays – the first deals with a young woman with noble values and the second with a corrupt judge.
This is all well and good, but this land issue is not revisited at the end of the play. Yes, there’s a metaphorical sewing of associations between the situation of the child in the one tale, and that of the land in the other, but the dots are not connected for clarity’s sake, and you’re left hooting and clapping at the end of the work, but still anticipating a bit more.
Narrative flaws aside, the work does feel long and over acted in parts, and while you can doff your hat to Brechtian values, and wow in admiration of Aubrey Poo’s delightful sense of authority as he sings and embraces the whole stage, sometimes the diction is so loud that it is incomprehensible. Having said that, it’s a rollicking historical essay featuring ingenious set design decisions which comprise a miscellany of wooden crates and some beautiful stark landscape drawings in white chalk on a black ground.
Further, the work is very articulately choreographed and there is an astonishing sense of visual balance in the onstage bizarreness. Koketso Motlhabane plays Grusha, the young woman central to the first tale who by happenstance feels pity for the abandoned baby of the Governor. She manifests an utterly lovely stage presence, an admirable counterfoil to Neka da Costa’s interpretation of the governor’s wife, and her beautiful singing voice lends her role the kind of cohesion which makes you sit up and focus.
Humour and catastrophe segue together in this messy and unsettling tale of intrigue, lifelong promises and justice, compassion and money, which above all, is about the craft of performing.
- The Caucasian Chalk Circle is written by Bertolt Brecht, translated by Alistair Beaton and directed by Lebohang Motaung. It features design by David Sizwe Arends (set), Allan Kolski Horwitz (costumes) and Timothy Le Roux (choreography). It is performed by Neka da Costa, Izak Davel, Marcus Mabusela, Mimi Mahlasela, Koketso Motlhabane, Nyeleti Ndubane, Aubrey Poo and Jacques Wolmarans, and performs at the Fringe, Joburg Theatre complex in Braamfontein until April 23. Call 0861 670 670 or visit www.joburgtheatre.com