HOLD tight, it’s a count down, in Martyn Le Roux’s Hittegolf.
WHAT DO YOU do when bad news seems to come in a rolling tsunami? From disappointments at work to unexpected secrets from your children, a wife with an addiction issue and a mother-in-law with a leaking toilet and a mouth that doesn’t let up on the overriding commentary it offers? And all of this in the middle of a relentless heatwave? Tune in to RSG tomorrow evening to hear about Faan Vermaak’s plight, in a beautifully crafted work by Martyn Le Roux.
The narrative of this work is quite straight forward, but it is the manner in which it has been put together, from the gritty texture of the script and its colourful and real expletives, to the interjections of sound effects – from hadedahs to the buttering of toast – to the interweaving of snippets of sung phrases by Freddie Mercury and items from the news, that gives this story life and relevance.
And while the work follows a downward sloping path of catastrophe, there’s a levity to the approach which allows it to not become precious and earnest in its approach. The Vermaak family are real people, trying to deal with the kicks and pricks the world presents. And these come in various forms, including the demon of gambling, a sexy young plumber named Willlem, a history of lies and a box of valiums. Not to mention the yappy dog, Elvis in the house next door.
This dark comedy with its sterling cast will have you laughing at the characters and their impassioned turns of phrase almost till the very end, but it will haunt you because of its sense of realness and its superb reflection on pace. In short, it’s unmissable.
Hittegolf (Heatwave) is written by Martyn Le Roux. Directed by Anrich Herbst, and featuring technical input by Bongi Thomas and Patrick Monana, it is performed by Mandi Baard, James Borthwick, Elize Cawood, Cassie McFadden and Franci Swanepoel, and debuts on RSG on Thursday, May 24 at 8pm on Radio Sonder Grense. There will be a repeat broadcast on RSG’s Deurnag programme, at 1am on May 28, and it is also available on podcast: www.rsg.co.za
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
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
SOMETHING to chill you to the very fins. Photograph courtesy www.rsg.co.za
THERE’S A SERIAL killer loose on suburban the streets of Johannesburg. He has an unabashed penchant for young women with red hair and is impartial whether the colour is natural or from a bottle. He’s nifty in his ways, meticulous in his habits, has a clear sense of detail and he’s cruel in a clinical kind of way. On one level, profiling this guy is just part of another day’s work for police captain Sakkie Joubert (Anton Dekker) and his young side-kick Cassey Davids (Su-An Müller-Marais). On another, this Afrikaans-language radio play is a gripping yarn of pathologies and horror with a fish hook or two in its tail. It debuts this Thursday evening at 20:00 on Radio Sonder Grense (100-104FM).
This hour-long play is everything you demand from the detective thriller genre, and then some. Joubert is an older cop, who’s seen everything; he’s been around the proverbial block several times, and he’s completely focused on his work and on doing it as well as possible. But in doing so, has he overlooked something absolutely crucial? Dekker gives the character, in your mind’s eye, the gravitas of a Detective Inspective Michael Walker – played by British actor David Hayman – in the Channel 4 series Trial and Retribution based on Lynda la Plante novels in the 1990s. He’s something of South Africa’s real life (late) supercop Piet Byleveld. Instinctively, you warm to him. You trust him. You know that he will get the baddie.
You don’t know how it will transpire. Tightly detailed, yet concise, the play presents characters who are convincingly developed in their local context. You listen with horror, instinctively trying to pinpoint the killer. When you realise who it might be, you cringe in horror. Not that person, you whisper, quailing, and unable to turn away from your radio, for even one second. While the final line of the work tends to veer towards a little too much sugar, it is, perhaps what you need, perched as you are on the edge of your seat, pulse racing.
This is a beautifully written piece of work, succinct, scary and direct. It’s about the unnerving reality of what Tinder can bring into your life and it’s about the pathologies you plant in your loved ones while you might be away from them, chasing your own dreams.
Akwarius is an Afrikaans-language radio play written by Marion Erskine and directed by Bettie Kemp. Featuring technical input by Neria Mokoena and Patrick Monana. It is performed by Anton Dekker, Anrich Herbst, Duncan Johnson, Mari Molefe-Van Heerden, Su-Ann Müller-Marais and Magda van Biljon. Kobus Burger is executive producer: drama for RSG.