Gem of a theatrical production
Few plays have dealt with sexual orientation as imaginatively and vividly, writes Beverley Brommert
COMING to terms with one’s sexual orientation is an experience that has inspired many a drama, but few plays deal with it so imaginatively – and vividly – as this sharp two-hander from the pen of Richard Kaplan, whose comedy The Finkelsteins are Coming to Dinner first brought this writer to the attention of theatre-lovers months ago.
Selwyn Aaron Bernstein is a 26-yearold single man living in Sea Point and making a living as a real estate agent. He wakes up in the small hours of a July morning to find what every South African dreads: an intruder in his flat. What is worse, the said intruder is an enigmatic being who seems to have a hidden agenda…
That this stranger is called Gabriel seems innocuous enough until, by the end of the play, his true significance becomes apparent in the light of his revelatory (and redemptive) role in Selwyn’s life; it is no coincidence that a divine emissary in the Bible shares this name. Selwyn’s ordinariness contrasts powerfully with the quasi-supernatural aura of Gabriel, who lays claim to a diverse array of apparently unrelated skills, among them flying.
His ability as an electrician is brought into play as he fixes the fuse-box in Selwyn’s kitchen (it seems the incident that awoke the young man emanated from an electrical dysfunction – or did it?) Flashes of humour punctuate the action. While Selwyn’s persona stays constant – a bit defensive and volatile with bursts of aggression – Gabriel’s moves seamlessly from accusatory interrogator to bureaucrat obsessed with forms-in-triplicate, to soothing therapist, his final and most important role as he coaxes Selwyn to admit the truth about his identity. This all takes place in a set cleverly designed to evoke a kitchen, with the props sketched in detail on the backdrop and a minimum of clutter on the stage in the penumbra.
The pace of Kalil’s direction is brisk and both characters are portrayed with conviction by Brummer and Grootboom, who have a clear grasp of their respective personae. They complement each other in neat counterpoint to keep the audience in thrall to the end.
A theatrical gem.