THE opportunist waiting for more: A hyena steals the moment in ‘n Voorlopige Begrafnis.
GHOULS READY TO pilfer your soul residing at the bottom of the garden, superstition and ritual and a septic wound are the ingredients that give ‘n Voorlopige Begrafnis (a Provisional Funeral), Albert Short’s Afrikaans radio drama which broadcasts this Thursday evening, a healthy dollop of the unexpected. Blended with his careful and nuanced, cruel yet fond portrayal of the characters with all their foibles and asides makes this a dark comedy which you won’t forget in a hurry.
Jan (Robbie Wessels) is a sheep farmer with a penchant for telling ghost stories. His wife, Esther (Janine Opperman) duly does her loving wifely duty, and all is well, but then a chance wound inflicted and a spontaneous visit from the in-laws become a cipher for bad and hysterically funny things.
The story has several gloriously bizarre twists in its tale, but you come away with a sense of moral rectitude and value. It’s far from sunshine and roses all the way, and encapsulates a madness of thinking and the opportunism of a hyena amidst a singing of hymns over death rituals that are improvised based on their need.
Featuring violin that skitters between being ghostly and feeling amateur, the work has a strong and well developed sense of local texture. It’s clearly structured and well articulated, giving you a provocative sense of the farm, its context and all its challenges and of the scenario that represents the denouement and its dark hilarity. All in all, it’s a lovely piece of work which will make you laugh, as it will make you a tiny bit hysterically queasy, yet sober, as it unfolds.
‘n Voorlopige begrafnis (A provisional funeral) is written by Albert Short, winner of the 2017 Sanlam Afrikaans radio drama competition. Directed by Christelle Webb-Joubert, and featuring technical input by Bongi Thomas and Patrick Monana, it is performed by Eswé Bruwer, Janine Opperman, Rian Terblanche, Karen Wessels and Robbie Wessels with Carla Redelinghuys on violin. It debuts on RSG on May 3 at 8pm, will be rebroadcast on May 7 at 1am and is also available on podcast: www.rsg.co.za
AT the helm of the theatre of the mind: Kobus Burger, RSG’s executive producer for radio drama. Photograph courtesy RSG.
“WOLWEDANS IN DIE skemer (the popular afternoon serial by Leon van Nierop) was my programme, as a child,” says Kobus Burger, executive director for drama on Radio Sonder Grense (RSG), South Africa’s Afrikaans-language Public Broadcasting Service, which is under the aegis of the SABC. “If I missed an episode, it was a very serious matter.” Radio is alive and well in this society, or is it? Burger chatted to My View about the station’s upcoming season of radio dramas, which starts on March 30 as well as the challenges of the medium.
Drama has always been close to Burger’s heart; he’s enjoyed stints as an art critic and a teacher of writing skills in his career trajectory. Indeed, he initiated the RSG Kunstefees, an arts festival all on radio, in November of 2014. It was a fascinating initiative which brought theatre fare into your life through the wireless. No jackets required. Sadly, the festival was put on a back burner, last year.
“It was budget that put this project on hold,” he says. “It was a lovely project but not part of our mandate. It was part of our innovation strategy, but not a must have. Last year we followed it up with a smaller boutique festival, called RSG Skatkis. And hopefully, if there is funding, RSG Kunstefees will be back.”
Curiously, RSG’s listenership comprises people who might not be fluent Afrikaans speakers. Burger explains that they listen because it is good quality programming and there’s something for everyone. Built on a model which evokes Springbok Radio (1950-1985), it’s a medium which warms the cockles of people’s hearts and hits on the nostalgia button, every time.
“Audio is so amazing, particularly in South Africa,” he adds. “Video is much more expensive and inconvenient because of the priceyness of data. The research says radio is still the most accessible, because people don’t always have access to TV.
“It’s immensely creative and completely non-visual. And with these kinds of limitations, you can do amazing things. You can go anywhere, do anything. It’s never a budget issue, because with audio you can literally travel to the moon, and back.”
From March 30 (Good Friday), a season of 14 Afrikaans plays will grace your radio. A play is broadcast each Thursday evening at 8pm – after Easter Friday, that is. The season begins with an Easter play by Helena Hugo – which is part of the station’s mandate. Then, with the exception of a translation of Henrik Ibsen’s A Doll’s House, directed by Suzanne van Wijk, the season is rich with brand new names and fabulous yarns written by winners of the radio drama writing competition which has been sponsored by Sanlam for the past 22 years.
The competition generates between 120 and 130 new plays each year. With a purse of R100 000 for all the winners collectively, it’s not a bad incentive. If you win first prize, you’re looking at R37 000. And that’s for a piece of sustained writing of between 40 and 50 pages.
Growing playwrights is not uncomplicated, but it can be very rewarding, he continues. “You have to nurture your writers. New and original drama scripts can be a challenge with some Afrikaans theatre festivals. That’s probably why we see so many translations and adaptations of novels. And sometimes playwrights get precious about their work and won’t take criticism. Some insist that their first draft is the final draft. With our writers, we’re very strict in terms of enabling the best possible work to develop out of an idea. And luckily most of the radio writers like the suggestions and are excited about taking another look at their script.”
Over the next 14 weeks, My View undertakes to bring you reviews of and links to the plays comprising this year’s season of RSG winners, as we did toward the end of last years, with such remarkable works as an Afrikaans translation of Pirandello’s The Man with the Flower in his Mouth, and Dalene Matthee’s exquisite Judasbok, as well as Marion Erskine’s chilling Akwarius, among others. We’re in for another delightful rollercoaster of diversity.
The playwrights responsible for these works include: Sophia van Taak, a magazine journalist and TV presenter who brings Springgety to air; Lee Doubell, with his work Rommel, Rommel (Rubbish, rubbish) has written before for SAfm; Albert Short, the playwright responsible for ‘n Voorlopige begrafnis (A provisional funeral), is in the finance world, then there’s a new science fiction work by seasoned writer, Schalk Schoombie.
“Hittegolf (Heat wave) by Martyn le Roux is about the ozone layers breaking up – it’s a small family drama which takes on a surrealist madness. Martyn’s very interesting and he’s won a lot of acknowledgement so far in English and Afrikaans. At the moment he is developing one of his RSG radio drama scripts into a full-length feature film. It’s called Die Pelsloper and its scheduled to be screened in 2019. Martyn’s grown remarkably and he’s eager to develop with criticism. He might very well be the new generation’s PG Du Plessis.”
So what else is on the radio theatre horizon? There’s a murder mystery with nudist elements, a translation of an old folk tale which sees a father making the ultimate sacrifice when his son is trapped in a borehole. There’s a tale about the damage that gossip can bring and another is an ode to poetry and literature through the eyes of the elderly. The season is wide, the pickings are there for the listening.