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
HAPPILY ever after: Andrea (Donnalee Roberts) and Wynand (Ivan Botha). Photograph courtesy rsg.
GIRL HAS HER heart broken. She goes away to recover and meets someone new. And they all end happily ever after. You think you can hear the chimes of mainstream wedding bells in the near distance. But you’d be wrong – not entirely, but mostly: Ronel Mostert’s Spieëlbeeld (Mirror Image) is an engaging and well defined romantic piece of storytelling in Afrikaans, and it’s a very good reason to stay at home and listen to the wireless tonight.
Featuring performances by Donnalee Roberts as Andrea opposite Cindy Swanepoel, her sister Minka, the work is a love story, but bears and underlying complex message about sibling rivalry, sibling loss and sibling honour. The title of the work reveals a little more of the plot than you might have considered and it becomes a tad predictable as it unfolds, but it will keep you on the edge of your seat: Will Andrea find true love? Will the inimitable Vlooi (Eloise Cupido), the help at a hotel in Camps Bay, and her loose gossipy tongue find its come-uppance?
Ultimately the message of this nuanced and tightly written work is one articulated centuries ago by the Greek philosopher Plato: Be kind, everyone you know is carrying a great burden. But when you lead the life of a busy family doctor, juggling romantic commitments with an ailing mother, and trying to keep a straight and professional face to the world, it’s not that simple.
There are hairpin bends in the story, which bring it to a satisfying and strong sense of closure, one which makes you remember why soppy clichés are very powerful in our society.
Spieëlbeeld (Mirror Image) is written by Ronel Mostert and directed by Christelle Webb-Joubert, with technical assistance by Bongi Thomas and Evert Snyman. It is performed by Ivan Botha, Eloise Cupido, Mandie du Plooy-Baard, Donnagh Lee Roberts, Amanda Strydom, Cindy Swanepoel, Bronwyn van Graan and Karen Wessels, on RSG, tonight December 14 at 8pm. It will be rebroadcast on December 18 at 1am in RSG’s Deurnag programme. It is also available on podcast: rsg.co.za.
TAKE my hand and let me share my humanity: Luigi Pirandello wrote The Man with the Flower in his Mouth in 1922. Photograph by Gianni Ansaldi.
THE MAGIC OF radio theatre, when it is well done, knows no bounds. In the hands of competent theatre makers, the project is unrestrained by the complexities or cost of set or the challenges of lighting or costumes. Armed only with crisply uttered language, delivered with beautiful coherence, the director casts a whole world in the head and sensibilities of a listener. And this is what you get in the Afrikaans translation of Luigi Pirandello’s 1922 play, The man with the flower in his mouth, which debuted on Radio Sonder Grense on November 30 2017, but is available for purchase on podcast.
It’s an extraordinary piece of theatre premised on a simple idea and brought to muscular life with words so beautiful, you will want to eat them, but when you understand the thrust of this short work, you leap back with a realisation that reaches into your very sense of mortality.
Two men (Chris van Niekerk and Anrich Herbst) meet by chance at a bar near a railway station. They’re strangers to one another. The one has missed his train. The other has some things to share. Things that resonate with the idea of being present in the present. Things like the idea of cleaving to the minuscule details and humdrum gestures in the lives of strangers. Things such as the pondering of the substance of the furniture in a good doctor’s waiting room.
Like a character in a Gabriel García Márquez novel, or the implied personage in the William Blake poem, he holds the secret of his mortality hidden, yet close to the surface. He speaks of the joy of boredom and the roots of a lust for life. He has an illness, a tumour – a flower if you will – inside his mouth. Evoking plays of the ilk of Freud’s Last Session, the work deals with the horror and embarrassment of transfiguring illness and imminent death, but it does so in a removed context that forms and mouths and asks questions about the fragility, the preciousness of existence. It’s a work about death, reflecting on it as a logical defining border to life. And it’s a work which offers insight into the values that Pirandello brought to theatre making; gestures which opened the doors to absurdist possibilities and a breaking down and a rebuilding of theatre tradition.
The work in Afrikaans is completely extraordinary – it’s a very fine translation – and within seconds, you’re there woven into the text and surrounded by Pirandello’s black humour cast by a man carrying a very large burden, that is his own, but effectively, the lot of everyman.
It’s a beguilingly simple play that brings humour to the horror of illness, as it gives potency to the simple, complex art of conjuring invisible theatre. On this imaginary stage, presented in the proverbial dark space of radio, it’s a real achievement: an instant Afrikaans classic.
Die man met die blom in sy mond (The man with the flower in his mouth) is written by Luigi Pirandello and translated into Afrikaans by FB Van der Merwe. Directed by Christelle Webb-Joubert, and featuring technical input by Bongi Thomas and Evert Snyman, with Kobus Burger as executive producer, drama, for the radio station, it is performed by Anrich Herbst and Chris van Niekerk, and debuted on RSG on November 30 and is available on podcast: rsg.co.za.
See this interview with Christelle Webb-Joubert which offers insight into the project’s back story.