Lisa KahimbaaraLisa KahimbaaraLisa KahimbaaraLisa Kahimbaara

Y oung theatre makers need to

watch more plays before they

write their own. This is accord-

ing to judges of this year’s Krêkvars

Student Arts Festival.

Once the judging panel chooses their

winning productions, the pieces might

be shown at Aardklop in Potchefstroom

and the Woordfees in Stellenbosch.

Andries Vrey, CEO of Aardklop,

believes that the best part of winning is

that the students will be exposed to a

variety of theatre at Woordfees and

Aardklop. “Hopefully the students who

go to the festival will watch other pro-

ductions,” says Vrey, “besides having

their own plays showcased; the most

important thing is for them to see what

other people are doing.”

Prof. Marié-Heleen Coetzee, Head of

the Drama Department says the plays

differ from year to year. “This year, the

programme saw a strong emphasis on

identity and social awareness,” says

Coetzee.

Johann Smith, Krêkvars judge for

the Woordfees, emphasizes the im-

portance of good text in a production.

“You need to decide what you are going

to say before you decide how you are

going to say it,” says Smith.

According to Johan van der Merwe,

Krêkvars judge for Woordfees, although

some musicals are good the standard of

this year’s festival is generally weaker

than last year’s. “They need to stop

playing and make decent productions,”

says van der Merwe.

Marguerite Robinson, programme

consultant at Aardklop, echoes van der

Merwe’s sentiment. “Most of the produc-

tions are not appropriate for a festival

audience,” she says. Robinson still en-

courages students to submit their pieces

to Aardklop. According to Robinson the

festival often invests in unknown artists

but the students need to submit the

work. “You need to bleed a little for the

theatre,” she says.

Vrey notes that the majority of the

festival has not been text driven and

focused on physical theatre and dance.

According to Very, South Africa

lacks the audience for physical theatre.

Another problem students have to face

is a lack of theatre culture in Pretoria.

“Pretoria is deprived of good theatre,”

says Vrey.

25 July 2014 grapevinetuks@gmail.com You heard it here first

Jannes Erasmus stands ready as the audience enters the Lier for his performance in Smaarties.

Photo: LIESE-MARIÉ HEYNS

Good stories make good plays Aardklop and Woordfees judges encourage students to watch more theatre

25 July 2014 P 2

FIGHTING FOR EQUALITY: Alphieus Ralepelle (left) and Mduduzi Nhlapo in a

scene from the protest theatre production, Last Breath. Nhlapo plays several

characters in this play about a young man struggling with other people’s intol-

erance of his sexual orientation. He also touches on the bill passed by Ugan-

dan President, Yoweri Museveni, to prosecute homosexuals. The story transi-

tions beautifully between the different encounters he has during his life.

Nhlapo is not shy to show off his body - something that might make some au-

dience members a little uncomfortable. He delivers an extremely powerful

performance. Photo: THELMA NGOMA

REVIEW: Kadawer

I ets voel nie pluis wanneer een van die eksentriese karakters in Ka-dawer jou onheilspellend-

vriendelik die teater binnelei nie. Wanneer jy binnekom, wag twee

karakters op die verhoog. Hulle word daarna per abuis in die lykshuis toe-gesluit toe hulle na ʼn vriendin se lyk wou gaan kyk.

Die gehoor lag gou vir frases soos “dood soos ʼn drol”.

Xandi Christenson (Althea) en Melinda Brink (Chrizanne) het hul rolle oortuigend vertolk. Dit is duide-lik hoekom hulle as hoofkarakters gekies is.

Die enigste swakpunt van Kadawer is die oordrewe gebruik van vloekwoorde, waarskynlik om snaaks te wees. Na ‘n rukkie word dit ‘n bietjie flou en klink dit asof mens ‘n toneel uit TheWolf of Wall Street kyk.

Behind the scenes at the Grapevine...

“Getting to

watch the

shows for free!”

---- Zinhle Zinhle Zinhle Zinhle

KhumaloKhumaloKhumaloKhumalo

“My hoogtepunt van

Krêkvars is om na die

vakansie terug te kom

en die heeldag shows

te gaan kyk. Dis net

lekker!” ---- Erene Erene Erene Erene

OberholzerOberholzerOberholzerOberholzer

“Definitely the huge

glasses of red wine

for ten rand at Oom

Gert’s—got me

through all the

stress!” ---- Aisling Aisling Aisling Aisling

McCarthyMcCarthyMcCarthyMcCarthy

“The one-shot film festi-

val is going to be really

great. All aspiring film

makers and anyone who

loves films should defi-

nitely go to this one!”

---- Sreerupa SanyalSreerupa SanyalSreerupa SanyalSreerupa Sanyal “Working together

with the Journalism

students to produce

something that people

are excited to read.”

---- Thelma NgomaThelma NgomaThelma NgomaThelma Ngoma

“The Hettie en Joggie im-

promptu puppet show for

grown-ups offered much

needed comic relief and a

saucy make-out session

between Joggie and

‘Ouma’.” ---- LieseLieseLieseLiese----Marié Marié Marié Marié

HeynsHeynsHeynsHeyns

“When the power

tripped 30 minutes

before going to print

and we lost half our

work. Good times.”

–––– Lisa KahimbaaraLisa KahimbaaraLisa KahimbaaraLisa Kahimbaara

“He doesn’t know it

yet but meeting my

future ex-husband”

----Christabel Christabel Christabel Christabel

ChisvoChisvoChisvoChisvo

DDDDonnéonnéonnéonné----Louise GroblerLouise GroblerLouise GroblerLouise Grobler

Lag jou dood

25 July 2014 P 3

M oenie ’n soetsappige storie verwag as jy Die Joiner, opge-voer deur Hoërskool

Zwartkop, gaan kyk nie. Die skoliere pak sensitiewe

onderwerpe soos gepoogde verkragting, die dood en kindermishandeling in díe stuk. Dit volg stories van Voortrek-kervrouens en -kinders in die Britse konsentrasiekampe.

Die gehoor sit geboei deur die in-tense tonele wat voor hulle afspeel. Ge-lukkig word die spanning onderbreek deur die jong seun, Dirkie (vertolk deur Ben Blignaut), wat die gehoor laat skaterlag met sy kinderlike mannewales. Gizela Conradie, wat die rol van Dirkie se sussie Magriet ver-tolk, het ook beïndruk.

Die rolverdeling is uitstekend ge-doen, met akteurs wat mens laat glo dat hulle ma’s of klein kindertjies is. Sergeant Smith (Jan-Daniël Kapp) se uitmuntende spel as die booswig laat die gehoor na hul asems laat snak. Pieter Schoeman se spel as William,

Engelsman met ‘n sagte hart, was oor-tuigend al het sy Afrikaanse aksent hom verraai.

Die verloop van tyd, en die karak-ters se gedagtegang, is baie effektief met musiek en beligting uitgebeeld. Ook die kostuums en stelontwerp het

die gehoor vervoer na die verlede in daardie kampe.

Daar is nie een vervelige oomblik in die tragiese toneelstuk nie. Vir ‘n skoolproduksie is dit op ‘n baie hoë standaard. ■ Nog môre in die Masker.

ARGENTINA HAS a long history of theatre as a means of political protest. The highlights of Argentinian theatre were discussed by playwright Lucia Laragione during a public talk to cele-brate this country’s first Culture Week in South Africa.

Laragione, known for Cooking with Elisa, shared some of Argentina’s theat-rical highlights - She was assisted by translator Albano Gomez.

During the late 1970s, a “bloody dictatorship”, as Laragione describes it, lead to the demise of 30 000 people dur-ing the Dirty War.

According to Laragione, many of those who disappeared were authors and playwrights. Five years after the disappearance of such authors and playwrights, a theatre known as Teatro Alieto rejuvenated the drama scene in Argentina. In 1981, the theatre was burnt down by government officials to combat the political movement.

After becoming a democracy in 1983,

Argentinian theatre became a source of entertainment rather than political combat. One of the interesting groups that arose in theatre during democracy is the Grandmothers of Playa de Mayo. This movement aims to find the identi-ty of those who disappeared during the Dirty War. The grandmothers use com-munity theatre to continue to find an-swers of their missing grandchildren, explained Laragione.

Today Argentina theatre comprises of three categories, namely official, com-mercial and alternative theatre. Of the three, alternative is the most popular. Alternative theatre is community-based, taking place in small venues to audiences of no more than 60 people. Themes explored in alternative theatre include dysfunctional families, politics, violence, perspective gender disputes such as gay issues.

Argentinian Cultural Week will be running until tomorrow at different venues across Gauteng. Find more in-formation on the Faculty of Humanities website.

Links: Adrean du Plessis (Lien) en regs Nicola van der Westhuizen (Drieka).

Photo: SHERNELL PATHER

DonnéDonnéDonnéDonné----Louise GroblerLouise GroblerLouise GroblerLouise Grobler

Skool se spel boei

Lucy DaveyLucy DaveyLucy DaveyLucy Davey

REVIEW: Die Joiner

Playwright tells Argentinian theatre tales REVIEW: Ira

Ira too abstract WITS UNIVERSITY’S production Ira depicts how people sometimes give their all, only to have their feelings thrown back at them. We hide our emotions, we protect them, we share them, and we give them away and fight for them. The need to express is always there.

On stage, however, this work is hampered by too much abstraction. It’s open for interpretation and there is seemingly no distinct progression.

The melancholic music and the colours used on set create a sense of sadness throughout. The play consists of what seems like one long scene against the backdrop of stacked black crates and scattered purple cloths.

The four cast members’ movements and facial expressions display their emotions well. By the end of the show, however, you are still left feeling a little unclear about the narrative and the symbolism of the purple cloths. – René VestRené VestRené VestRené Vest

25 July 2014 P 4

BRILLIANCE ON stage is not the only thing that you should clap for. Breath-ing life into theatre is about more than performing at your best. On platforms such as the Krêkvars Student Arts Fes-tival, directors always find themselves wearing multiple hats to ensure the pro-duction is as close to perfection as is humanly possible.

Since Krêkvars runs on a tight budg-et and minimal support systems, direc-tors often have to have an idea of almost all the aspects that go into putting a show together. These include the perfect space and time for rehearsal, to deciding on the costume and knowing the light-ing and sound elements to design the perfect set that fits the story.

Directing is largely people-oriented, so good communication skills are cru-cial. Chandré Botha, one of the directors of the musical theatre production; Mu-sic! – The Musical, says as a director “you have to learn how to read different people.”

This means knowing how to deal with the artists as individuals. “As art-ists, we’re very emotional people. We’re very susceptible to other people’s moods and you need to learn what to say to people or how to get a specific reaction from them,” says Botha.

More than anything, the director’s artistic vision is what breathes life into a production. “The director brings every-thing together. So going in, you really need to have a vision of what you want to achieve,” says Botha.

According to Stephanie Gericke the director of Een Duisend Babas, a direc-tor is nothing without the vision. “If you have a vision and you know exactly what you want to achieve and what you want to say to the audience this changes the energy and truthfulness and every-thing in the play.”

The director of the play Odium Ink, Anrico du Plessis, calls directing a col-laborative effort. This means a director has to be open to changes and input from other people. “Your actors change everything. Your influence changes eve-rything. People you ask to look at your work change everything,” says du Ples-sis. According to him, directing is about “finding a central point where every-thing enhances [everything else].”

Directors need good people skills Lillian SelapisaLillian SelapisaLillian SelapisaLillian Selapisa

Renaldo Botha voor die Masker-teater.

Photo: LIESE-MARIé HEYNS

R enaldo Botha (19) is ietwat bekommerd oor hy deesdae gereeld die boef in die verhaal

vertolk. Die eerstejaar-dramastudent het reeds

vanjaar op die silwerdoek verskyn in Agent 2000: Die Laksman en is ook later vanjaar te sien in Suurlemoen. Soos in een van sy drama-eksamens vroeër die jaar, was hy in albei hierdie films die skobbejak. “Ek gaan nie lieg nie, om die villain te

speel is lekker. Dis scary hoe lekker dit is.” Tog wag hy nou vir die rol wat sy di-

versiteit as akteur ten toon sal stel. Eerstejaar-studente werk agter die

skerms tydens Krêkvars.

Botha het as deel van die tegniese span geleer om meer waardering te hê vir wat dit verg om akteurs en aktrises op die verhoog én voor die kamera te laat goed lyk. Hy sê hy weet hy is verseker op die

regte plek. “Ek haal asem elke keer as ek hier op stel stap.” Botha het groot drome vir Krêkvars

2015. As hy sy sin kon kry, sou hy self ‘n produksie vir die fees inskryf. Andersins hoop hy om ten minste self in een of twee produksies te verskyn. Na sy ervaring agter die skerms by

vanjaar se fees, is Botha nie meer seker of hy nét voor die kameras wil verskyn nie. Hy geniet rolprentwerk en die tyd agter die verhoog ook. “Ek wil my brood aan al twee kante

gebotter hê én dit nog eet ook.”

LieseLieseLieseLiese----Marié HeynsMarié HeynsMarié HeynsMarié Heyns

Jong filmster sien uit na verhoog

“TAAL IS niks as mens alleen is nie.” Só sê Adam aan die engel in Die Beno-eming, ‘n oorvertelling van Adam en Eva se storie. Corné Joubert, skepper van die produksie maak taal die hoofoorsaak van die konflik tussen die twee geliefdes.

Godsiens en genderkwessies word ook angeroer. Adam en Eva wandel saam in die tuin, maar nie sonder rusies nie. Wanneer Eva Adam wil help met

die benoeming, skop hy vas. I Sommige tonele in die stuk laat die

gehoor bietjie dink. Gehoorlede word verras deur die akteurs – en die rolle wat hulle vertolk. –––– Erene OberholzerErene OberholzerErene OberholzerErene Oberholzer

IN THE months following the sudden death of his fiancée, Pat (Keigan Ad-ams) finds himself trapped in haunting memories of his departed loved one, Abby (Jacyn Wilmot). During her lifetime, Abby was Pat’s

pillar of strength. After her sudden death, Pat is confronted by memories of Abby which become toxic for his sanity and his health. Small Talk, written by Keigan Adams

(under the pseudonym Harry van Niekerk) is a masterful play. The fading background music accom-

panying the excellent stage lighting is equally captivating.

–––– Chimwemwe MwanzaChimwemwe MwanzaChimwemwe MwanzaChimwemwe Mwanza

REVIEW: Die Benoeming REVIEW: Small Talk

25 July 2014 P 5

Quick Reviews:

MUSIC AND dance work together to describe common situations in the play, varying from illegal taxi driving to ca-ble theft. The audience sees the value of decision-making and the effects they can have.

The production was work-shopped by a cast of seven actors, each one shin-ing in their individual role.

The venue is effectively used and the actors dress in black to illustrate the different scenes and stories.

The message is strengthened by the inclusion of liberation songs, drum beating in the background and the use of isiXhosa, Setswana, isiZulu and English.

The effect of difficult decisions are portrayed in a powerful, visual man-ner. Afterwards, you know how hard life can be if wrong decisions are made. ----Yandisa SobahleYandisa SobahleYandisa SobahleYandisa Sobahle

Blondelle Blondelle Blondelle Blondelle –––– Jew Girl #2Jew Girl #2Jew Girl #2Jew Girl #2

THINK CONFESSIONS of a Teenage Drama Queen. The Jewish version. Jodie Blondelle explains, very comically, the birth of her new identity, and the events that led to her shedding the “Furman” name.

Jodie Blondelle had audience mem-bers laughing with her portrayal of ste-reotypes such as the overconfident al-most-actress with added chutzpa pranc-ing around on stage, snapping her fin-gers at the under-enthused technical crew for lighting and music.

Tristan McConnell portrays her very obedient best friend, who is under appre-ciated and just never seems to get his chance in the limelight.

Although the text often feels impro-vised, it does serve as light relief amongst some of the more serious plays at the festival.

----LieseLieseLieseLiese----Marié HeynsMarié HeynsMarié HeynsMarié Heyns

Odium InkOdium InkOdium InkOdium Ink

WHEN YOU first meet Warren (Wayne Smith), he appears to be a successful actor, fallen from grace.

As this one man show develops, you realise this is not the whole story. Warren tells tales from squandering money to how he became a criminal.

He speaks of his father’s alcohol-ism and his suspicions that his father is spending money on something be-sides his own family. Anrico du Ples-sis, creator of this play, lets Warren write his own story in “odium ink”, referring to the hatred of someone for their actions.

Although interesting, some scenes describing this process are a little over the top. Through the amusing script and Smith’s array of accents, Odium Ink will make you laugh and make you think. ----Aisling McCarthyAisling McCarthyAisling McCarthyAisling McCarthy

StimelaStimelaStimelaStimela

Wayne Smith plays Warren in Odium Ink. Photo: AISLING MCCARTHY

MavisMavisMavisMavis

Domestic workers are often seen social-ising on grassy sidewalks during their breaks. In Mavis their conversations are brought to life.

Set during a typical weekday, the play focuses on three domestic workers and an immigrant housekeeper.

The four “Mavises” air their frustra-tions by pretending to host their own talk shows.

Though the play is filled with laugh out loud moments, the stories told are honest and heart-breaking. The show’s success lies in its ability to avoid being self-righteous.

Smart dialogue made sure the audi-ence did not feel bored during the 40-minute production.

Mavis is an important play that pro-motes introspection.

–––– Lisa KahimbaaraLisa KahimbaaraLisa KahimbaaraLisa Kahimbaara

The Calabash Runs DryThe Calabash Runs DryThe Calabash Runs DryThe Calabash Runs Dry

WHEN YOU lose the one thing that has been most valuable to you, it could leave you feeling distraught. This is true of the villagers in the physical theatre produc-tion, The Calabash Runs Dry.

This fast-paced piece created by Mduduzi Nhlapo and Sphiwe Malusi explores ideas of spirituality, customs, beliefs and traditions.

The performance is carried by the music and sound effects in the back-ground, even though they can overshad-ow it. The inflated language when the characters speak, is quite cumbersome.

The swift action and powerful move-ment and sounds make this production worth watching.

––––Lillian SelapisaLillian SelapisaLillian SelapisaLillian Selapisa

A Fine LineA Fine LineA Fine LineA Fine Line

A CHANCE encounter at a communal washing line leads to an intimate friendship in A Fine Line.

The acting by Karen van Heerden and Paige Bonnin is exceptional. While there are many layers to the play, the storyline never confuses.

In just 50 minutes the audience is taken on a bittersweet journey of friend-ship that survives despite the odds.

Raw and desperate, A Fine Line’s success lies in its honesty. Although at times the dialogue is a bit clichéd, it is never pretentious.

Time is carefully taken to establish a genuine connection between the two person cast.

----Robyn BaragwanathRobyn BaragwanathRobyn BaragwanathRobyn Baragwanath

Die Kamer Bo Die Kamer Bo Die Kamer Bo Die Kamer Bo

IN SHAREEN Swart se verhoogstuk, Die Kamer Bo, bevind Carla (Melinda Brink) haarself in die bo-vertrek van ‘n verlate huis vol “haglike muurpapier”.

Die stuk speel in Johannesburg tydens die 19de eeu af. Sy is alleen, maar ook nie juis nie.

‘n Mens moet fyn luister om die ver-haal te volg, aangesien die konteks aan-vanklik misleidend mag wees.

Hoewel daar min beweging op die verhoog is, is die vertoning geensins vervelig nie. Die dialoog is sterk, ten spyte van enkele anglisisme. Carla se woorde bots al hoe harder teen die mure, wat haar vermoë tot dramatiese spel onderskryf. –––– Pieter van der MerwePieter van der MerwePieter van der MerwePieter van der Merwe

25 July 2014 P 6

“For me, there were probably two. My play Benjamin Walt had a really good vibe and Anna K was also a

highlight.” Barbara Wedi -3rd year drama student (22)

Een Duisend Babas and Barbe Bleue were amazing. It was good theatre and hard work went into those

productions. Jason Comins - festival technical support (22)

“Just being able to hang out together. When you work you work and when you play you play and its

great.”

Bernadice Egan - festival technical crew (19)

The Krêkvars Student Arts Festival was filled with many highlights this year. From hanging out at Die Bok to all the

amazing performances. Grapevine asked people what their most memorable moments were at this year’s festival.

Many memorable moments...

“Being able to hang out and network with people, especially with other students. I feel there aren’t a lot of

opportunities to meet with peers so for me, the festival was a great way to meet artists from other schools.”

Macmillan Mabeleka - honours drama student (24)

“Everything, from the set up to the shows, to the partying afterward.” José Chung - 3rd year dram student. (21)

GIFTIG IS a beautiful, humorous, heart-breaking and honest portrayal of time: time of losing a loved one by choice and not by choice and the feeling of forever.

Actors Timo Crane and Micia de Wet are phenomenal. Simple stage set-ting and lighting set the tone. Move-ment is important, the characters use the stage completely.

This allows them to create a web with string symbolising the ties that bind us. It highlights that as people we are all connected.

You will be moved by Crane and de Wet’s portrayal of various relationships: between brother and sister, husband

and wife and mother and child. De Wet moves into her roles effort-

lessly, but sometimes ambiguously. She has grace, speaks with confidence and evokes emotion flawlessly. This role could have been written for her.

Giftig is in Afrikaans and English; don’t worry if you don’t understand ei-ther. But the “poisonous” title may be off putting.

Definitely one of the most beautiful, moving plays I have ever seen. Bring tissues. ■ Giftig is at the Lier tonight at 21:00 ---- ZZZZeenat Pateleenat Pateleenat Pateleenat Patel

WANNEER JY die Lier binnegaan staan hulle en wag. Die gevoel van wag en verlies is deurgaans ʼn tema in dié stuk.

Giftig is ʼn eksperimentele toneel-stuk met Timo Crane en Micia de Wet, ook die skeppers. Die twee werk goed saam op die verhoog en beide skep ʼn paar intense, emosionele oomblikke.

Die interessante stelontwerp veran-der aanhoudend. Tou word tydens die stuk regoor die verhoog gespan en vorm later ʼn web. Die tou word selfs ʼn eetkamertafel waar ʼn gesprek plaas-vind tussen ʼn liefdelose paartjie.

Alhoewel sterk emosies geskep word, is die storielyn nie baie duidelik nie. Dit veroorsaak dat belangrike punte verkeerd verstaan kan word. Die akteurs verander van karakter maar dit is nie vanselfsprekend nie.

Die drama, met mede-regisseur Bailey Snyman, is beide in Afrikaans en Engels. Die taalgebruik verander sonder struikelblokke. Giftig is defini-tief die moeite werd om te gaan kyk. ---- Andrea Küsel Andrea Küsel Andrea Küsel Andrea Küsel

TWO REVIEWS: Giftig

Giftig: Beautiful not poisonous

Timo Crane and Micia de Wet perform in Giftig. Photo: THELMA NGOMA

Another view

25 July 2014 P 7

---- Andrea Kusel Andrea Kusel Andrea Kusel Andrea Kusel

Jannes Erasmus in ’n diep gesprek met sy “sussa” in Smaarties. Photo: LIESE-MARIÉ HEYNS

REVIEW: Smaarties

Smaarties vir gesondheid

S odra jy die Lier binnegaan, voel jy die angs en benoudheid van Mnr Lotz, 'n man wat gediag-

noseer is met skisofronie. Hy staan en bewe met 'n laken oor sy kop in 'n psigiatriese saal.

Smaarties is 'n kragtige drama waarin die skepper, Jannes Erasmus, self die rol van Mnr Lotz vertolk. Die eenmanstuk trek jou in by die gedagtes van die karakter. Aan die begin heers daar 'n ongemaklike gevoel van ver-warring, maar later kan jy nie help om emosioneel betrokke te raak nie.

Erasmus se toneelspel is uitstekend. Hy leef hom so in sy rol in dat hy bewe en sy are bult uit sy arms en sy kop uit. Hy is hierdie siek persoon. Sy ver-tolking laat jou verstaan waardeur ‘n

persoon met ‘n geestesversteuring gaan. Die stuk is ‘n 40-minuut-lange

monoloog. Dit is indrukwekkend dat Erasmus die heeltyd toneelspeel sonder enige hulp.

Die storielyn is ook bindend en vol intrige. Die stelontwerp, deur regisseur Quintin Wils, is slim beplan met inter-essante beligting.

Smaarties skakel in by een van die deurlopende temas by vanjaar se Krêkvars Studentekunstefees wat han-del oor disfunksionele gesinne en psigiatriese versteurings.

Dit is definitief 'n stuk wat elke lid van die gehoor op 'n persoonlike basis kan aanraak.

REVIEW: SugarCane Fields

Madiba’s ‘Promised Land’

WHERE DO we go after death? Is there such a place as the Promised Land? These are some of the questions explored in the play SugarCane Fields. The drama features an all-female, three member cast, and is directed by Tselane Mashilo.

In the play, the central character, Fatima (Ntando Tsukwana) believes that Nelson Mandela has visited her in her dreams and told her of a place called SugarCane Fields, where it is “Sunday every day of the week”.

To get to this elusive land one has to catch a train, and the time and place to board this train are known only by Mandela. Fatima’s psychologi-cal turmoil in her desperate attempt to catch this train to her eternal happy-land, touches on the idea of the gen-eral human need for happiness.

With very few props and limited movement on the stage, the 45-minute long performance is quite light-hearted, but equally as thought pro-voking. The two other characters, Kha-ya (Noxolo Dlamini) and Dipuo (Didimalang Moagi), are angels on a mission. They add to the humorous elements of the play with their clash-ing perspectives. The comical aspects of the play are maximised by the use of three languages; English, isiZulu and Sesotho.

If you have ever wondered what it takes to reach the Promised Land then this drama is for you.

REVIEW: Een Duisend Babas

AFRIKAANSE ROLPRENTE maak sommige mense maklik afgestomp tee-noor die karakters se swaarkry.

Dikwels word dié smart in die sto-ries oordryf.

Dit is nie die geval in Een Duisend Babas nie. Wanneer Johannes (André Coetzee) en Karen (Stephanie Gericke) in hul nuwe huis inttrek, verwag ‘n mens ‘n oulike liefdesverhaal. Tog skuil daar iets meer onheilspellend agter hul storie.

Hul verhouding verkrummel op die verhoog wanneer hulle sukkel om swanger te raak. Die lelike goed wat

hulle mekaar toesnou, maak die gehoor ongemaklik; juis omdat hulle weet hulle het dit self al gedoen.

Dan deel jy weer hul geluk wanneer die paartjie geseën word met ‘n bondel-tjie liefde. Maar ouerskap is nie ‘n piekniek nie, en die akteurs beeld ook die ouers se beproewings pragtig uit.

Aan die einde moes die resensent selfs haar bril afhaal omdat die trane dit laat opwasem het.

Hierdie stuk beeld ‘n tragiese ver-haal suksesvol uit. –––– LieseLieseLieseLiese----Marié Heyns Marié Heyns Marié Heyns Marié Heyns

Ouers se stryd bring trane

----Lillian SelapisaLillian SelapisaLillian SelapisaLillian Selapisa

Carla

(Melinda

Brink) is con-

cerned about

the noises in

her new room

and the wom-

an she sees

behind the

wallpaper in

Die Kamer Bo.

Photo: PIETER

VAN DER

MERWE

Althea at-

tempts to com-

municate with

her friend’s

corpse in

Kadawer.

Photo:

DONNÉ-LOUISE

GROBLER

Macmillan Mabaleka as The Messenger in

DieBoek. Photo: ILKA VAN SCHALKWYK

A group of dancers plays out the lustful feelings of the artist in The Life of an Artist.

Photo: RENÉ VEST

Through the lens