Head to head with a bunny

screen-shot-2018-03-23-at-8.59.14-am
WHO came first: the chocolate egg or the Easter bunny? Photograph courtesy rsg.

THEOLOGY MEETS CHOCOLATE commercialism in this tender little Afrikaans-language Easter comment with a sweet heart and a poignant back story that reflects on purism and the struggles of the elderly. Quintin Roy en die Paashaas (Quintin Roy and the Eastern Bunny) is Radio Sonder Grense’s Easter play which will be broadcast twice on Good Friday this year. It’s a poignant reflection that grows out of a chance meeting between an actor doing the Easter Bunny shtick in a shopping centre and a curmudgeon of a retired priest who lives in a facility for the elderly.

And it’s more than a conflict of chocolate interests. Featuring Francois Stemmet as the decidedly miserable old man called Lodewyck Broderick, and Johny Klein in the bunny suit, the work is an essay on the seriousness of Christian symbols and the platitudes cast in the wake of fertility icons such as rabbits and eggs. Coated all over with a chocolate veneer and a shot of cynicism, this foray into the priorities and dialogues around the table of a home for the elderly, sees an Easter message blossom into fulsomeness.

A little disappointing in the denouement department, the work is sweet and slightly wooden: it promises hilarity with the filching of a whole basket full of promotional chocolate eggs, and the angry conflict between a man in a hurry and another guy in a bunny suit, but the former pastor’s cross sense of conviction keeps the dialogue earnest and discursive and doesn’t allow it to lose its religious edge.

If you’re expecting something that will change your life, Quintin Roy might disappoint, but if you’re looking at a competently developed piece of narrative to stimulate your Easter perambulations, it may be just the ticket.

  • Quintin Roy en die Paashaas is written and directed by Helena Hugo. Featuring technical assistance by Bongi Thomas and Patrick Monana, it is performed by Merlin Balie, Johny Klein, Bertha le Roux-Wahl, Elma Potgieter, Francois Stemmet, Gigi Strydom and Bronwyn van Graan. It will be aired on RSG, 100-104fm at 1pm and again at 7pm on Good Friday, March 30: rsg.co.za

Theatre to stay home for

Kobus
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.

  • Tune in to www.rsg.co.za 100-104fm