“WHAT MATTERS MOST is how well you walk through the fire”, wrote American poet Charles Bukowski. His passionate, angry words in plain language are woven through Afrikaans-language radio play Springgety (Spring Tides) with wisdom and dexterity. This tale about depression and guilt, suicide and the ultimate (but not always realised) need to claw one’s way back, will haunt you. While it never skirts into crass cliché and casts a wry smile at the need to stay afloat in a world where everything feels broken, it is slightly predictable, but this doesn’t affect its potency or its listenability or how the shock reverberates in your head at its denouement.
Lena Dreyer (Rolanda Marais) is a 26-year-old copy writer, who works for an ad agency in Cape Town. She hates it. She’s also in the process of completing her first anthology of haikus. But her sense of self is tarnished and bruised by the reality of brutal loss and how hard it is to make sense of. Indeed, she carries a full and complicated heart and memories that have suffered a wrenching.
Enter Alex (Wessel Pretorius), Lena’s neighbour. He’s a rugby-playing chap with tattoos and a full box of his own broken things, including his heart. But nothing is as it seems. And this is no love story with a happily ever after. When things became too overwhelming for Lena, an inner and relentless voice tips her over the edge. It is Alex and his dog named Beer that offer the hand that reels her back in, broken pieces and all. Does she want to be back? Of course not. But then there’s Jane (Roelien Daneel): an airhostess fatigued of the superficial lipsticked smile, the faux glamour and the tired mile-high-club of her job. She’s fatigued by much else too, but her front is a brave, almost callous one. And you almost believe in her courage.
There’s a hard-edged yet insufferably brittle nature to this character, and her cynicism speaks to the times: but further to that, there’s a sense of gritty self-possession which might make you think of the debauched but moral energies in a film such as Johnny is Nie Dood Nie, which examines the life and time of Johannes Kerkorrel. It’s an interesting comparison, not the least because Marais performed in that work too.
But Springgety will haunt you for reasons other than the obvious ones. It’s a well crafted work that throws up the urgency with which we cling to life and try to force others to, also. Is it about meddling in other people’s intimacies, or is it about the frail shard of connection that makes each of us understand the one medically described as ‘suicidal’ in ways we haven’t the courage to explain or describe?
Springgety (Spring Tide) is written by Sophia van Taak, who was awarded third place in the 2017 Sanlam young playwright competition. Directed by Ronél Geldenhuys and featuring technical input by Cassi Lowers, it is performed by Susanne Beyers, Joanie Combrink, Roelien Daneel, Rolanda Marais, Wessel Pretorius, Cintaine Schutte, Juanita Swanepoel and Daneel van der Walt. It will be broadcast on RSG on Thursday April 12 at 8pm and again on the station’s all night programme, Deurnag, on Monday April 16. It is also, available on podcast: rsg.co.za
MY suburb my home: Sea Point Mansions is an Afrikaans play which glances at the changing face of the eponymous Cape Town suburb. Photograph courtesy http://www.capetownguy.co.za
SEA POINT. ARGUABLY, still one of Cape Town’s most densely populated suburbs, on the one hand, is a place of paradise with its Atlantic Ocean view. Tucked between the sea and Lion’s Head, a landmark in the mountain range leading to Table Mountain, it’s idyllic to live in. Or is it? It has also, in the last several decades, become the province’s landmark suburb for high rise development, which opens myriads of social doors to property dispute and the kind of grubby values that constitute the complexity of sectional title woes. It is this that comes under the loupe of playwright Annemarie Roodbol in the Afrikaans-language play that debuts on Radio Sonder Grense this Thursday evening: Sea Point Mansions.
It is here that we meet Francois Fick (Johann Nel). He’s an owner in the building, which contains 13 residential flats and six shops. By all accounts, and with passing detail you glean as the work unfolds, the building is one of those magnificent Art Deco examples of architecture, which sits like a succinct poem in the built up landscape of the suburb. It has parquet flooring and a foyer small enough to be repapered with the detritus of wallpaper from someone’s bathroom. The texture of the scenario is captured beautifully.
The characters in the work are constructed so as to reflect on territorial issues as much as they grapple with the melting pot of culture in Sea Point’s flat lands – they’re clichés, but necessary ones. We meet the old Jewish residents – including a pharmacist in one of the shops downstairs – a hip and cool Capetonian, with his characteristic drawl, a gungh-ho and coloured shop-owner, not to forget the Dlaminis in one of the flats, and the Swedish couple, in another.
And then, there’s Dean Roger-Smith (Waldi Schultz), the owner of the building. Given the way in which his shenanigans are described, and the clipped tone of his presence, this chap is one of what may well be considered a Randlord of sorts – a big property owner who has made his wealth on buildings such as Sea Point Mansions, but the gossipy fighting and the sticklers for rules is not quite his cup of tea.
The plot lies around the ways in which rules can be bent – or can they? – in the hurly-burl of social redefinition. It’s 2016 and an ombudsman to deal with sectional title disputes has just been put into legal place. As a play, it unfolds rapidly and with frequent scene changes. There’s a curious use of RSG punts to give you an understanding of the passage of time in the work, but as it ends, you might feel a sense of ho-hum: these kinds of disputes happen all the time: do they really warrant the vehicle of a play?
Sea Point Mansions is written by Annemarie Roodbol. Directed by Joanie Combrink and featuring technical production by Cassi Lowers, it is performed by Dean Balie, Vicky Davis, Johann Nel, De Klerk Oelofse, Waldi Schultz, Frieda van Heever, June van Merch and Nigel Vermaas, and it debuts on RSG on Thursday December 21 at 8pm. November 30 and is available on podcast: rsg.co.za.
It will be rebroadcast on December 23 at 1am in RSG’s Deurnag It is also available on podcast: www.rsg.co.za.