Oversentimental Afrikaans family drama with great touches
It would be unfair to write anything scathing about any production at the Market Theatre in Newtown – and this review certainly doesn’t aim to do so. There is no inland theatre space that gives as generously as the Market Theatre. Every South African language and culture is represented creatively there.
Over the years, the Market Theatre has hosted some of the country’s best multilingual plays and productions and there is a mandate in place to ensure this tradition lives on.
The problem is that the latest Afrikaans production, Karel se Oupa, plays unfairly into the hands of a conservative, white audience – and it needs to be discussed.
Starring Tobie Cronjé, pictured, Neels Clasen and Esmeralda Bihl, Karel se Oupa is almost a homage to the breakdown of the American nuclear family. When tragedy strikes, a family is forced to face themselves. Oupa Karel du
Cast:
Tobie Cronjé, Neels Clasen and Esmeralda Bihl. André Odendaal. The Barney Simon Theatre at The Market.
Director: Theatre:
Toit (Cronjé) is a struggling single patriarch after the death of his wife. His pilot son-in-law is always abroad while his daughter is struggling through the last stage of her life while battling cancer.
He is caring for his namesake Karel (Ruben Lombard), a brighteyed boy who also wants to be a pilot. Their relationship is loving and caring. The play opens with the tenderness of that unconditional love between someone still untainted by the realities of the world and someone who has lived through the tough hand life can deal you. Author Retief Scholtz works in humour that makes you invest in these characters and their struggles.
On the eve of his daughter’s death, Oupa Karel’s estranged son Junior (Clasen) returns home to see his sister. Karel senior and junior not only need to work through their tumultuous relationship, they need to find common ground as their family faces another tragedy. Cronjé and Clasen play well off each other in some gripping scenes.
Their conversation will resonate with many families, especially those where interpersonal Marikana – The Musical returns to the national theatre next month. The award-winning adaptation by Aubrey Sekhabi of the novel, We Are Going To Kill Each Other Today, about the 2012 Marikana tragedy that shocked the world, received an unprecedented 13 Naledi Theatre nominations and won six Naledi Theatre Awards in 2015. Meshack Mavuso and Aubrey Poo lead a cast of 30 in a blow-by-blow account of the events that led to the loss of 44 lives at the hands of police. The production uses compositions by Mpho Mckenzi Matome and Zakhele Mabena. It’s on from July 11 to August 12. Tickets at Computicket. The Mystery of Irma Vep sees theatre god Jonathan Roxmouth and Weslee Swain Lauder finally relationships have taken a dive. At the behest of Emma (Bihl), their beloved live-in housekeeper, the two attempt to see eye-to-eye one evening.
Kosie Smit, part of the first Afrikaans theatre season at Montecasino, created the set for the production. The Barney Simon Theatre is the perfect space for the calming orange and turquoise hues of the kitchen (often the heart of the Afrikaner home) that creates a great contrast with the dramatic text of Karel se Oupa.
As the family move in and out of the kitchen, it’s revealed that they want to spare Karel Junior’s feelings about his mother and they need to come to terms with the death of Ouma Ans two years earlier. Emma and Ouma Ans were tied up during a farm attack, leading to the death of Ans.
Emma is like the faithful Southern Mammy who’s purpose in life is to serve the family that feeds and clothes her, creating an uneasy feeling throughout the play. Bihl, however, is the shining star of the play. Her brilliantly text, stern hand and understanding of back together. You might remember their chemistry from Call Me Lee, hell they even worked some magic together in Sweeney Todd, but now they’re finally doing something just between them.
The play is conceived and written by Charles Ludlum with an original score by Wessel Odendaal. On a remote manor called Mandacrest, something is amiss. Between the horrors of a marauding beast terrorising the estate and the looming presence of the recently deceased former mistress Irma Vep, matters become awkward in the extreme for Lord Edgar and his new wife, Lady Enid. In this side-splitting comedy, you’ll be taken from the moors of England to the tombs of Egypt and back again, encountering vampires, werewolves and mummies. Oh, and there’s drag. Lots of it by the look of things!
The production opens on July 5 and runs until July 30 in Johannesburg before moving to Theatre On The Bay in Cape Town from August 2 to 19 August. Bookings through Computicket. a typical family create warmth.
Cronjé and Clasen similarly are able to elevate the cliched text that relies on Afrikaner weak spots like farm murders to create sentiment. The inclusion of cancer and an untimed apartheid revelation seems to be crafted with suburban Afrikaner concerns in mind.
It doesn’t address these issues, merely uses them as plot points to drive over-sentimental drivel catering to an Afrikaner audience.
The Market Theatre has long been a place where all people can get together. This time, it’s only going to be the tears of Afrikaner tannies hitting the floor. But if you’re brave enough, there’s inspired acting, a fantastic wholesomeness and touches of a great family drama.
The child actors Ian Roelofs and Ruben Lombard will perform on alternative nights.
Tickets are between R70 and R215.
The show is on Tuesdays to Sundays.
Tickets from Webtickets.