Mhkwanazi asks - Where are the fathers?
IN A Man and a Dog, Nhlanhla Mhkwanazi’s chameleon-like qualities enable the veteran actor to populate the stage space with a host of different characters, all credibly and creatively presented. In his one-person show, he clearly draws on personal experience, as much as pointed observation, to weave a poignant coming-of-age tale, one which features many players – and yes, even a dog.
The production has garnered critical acclaim since it was first presented in 2006, earning Mhkwanazi a Fleur du Cap nomination for Best Performance in a One Hander. It has been “updated” for its current season, with 2014 winner of The Rosalie van der Gucht Prize for New Directors, Penelope Youngleson at the helm. Together, the two have produced a moving piece which speaks to several contemporary issues in South Africa.
A Man and a Dog makes use of a variety of styles – African storytelling, physical theatre – and a bilingual script – mostly English, with some Zulu – to tell the tale of a young boy who seeks out the love and acceptance of his parents, and how he deals with the disappointments he encounters.
In many ways, the situation of the child is very typical in South Africa, especially in years gone past, when economic circumstance forced parents to leave their families while they looked for work.
It is also typical of scenarios where unemployed and frustrated fathers take their woes out on their women and children, often physi- cally. And it is typical of situations where patriarchal pride prevents the acceptance of those who are not blood-related.
All these experiences are felt by the young protagonist in A Man and
a Dog: he has a drunken, belligerent father who abuses his wife and bullies his child; he is “fostered” by his shebeen queen grandmother; he is returned to the care of his mother, who has a new husband who did not previously know of the boy’s existence, and resents both mother and child for the “betrayal” they represent.
Ultimately, he grows up without the reassuring presence of a mother, and without any kind of positive and loving male role model. As Mhkwanazi cries, at a critical point in the play: “Where are the fathers?”
The production addresses the pervasiveness of patriarchy, the social fallout of the migrant labour system and its subsequent destruction of community and family, and the effects of this on vulnerable youth. Big topics to tackle, which Mhkwanazi does through a variety of voices.
Using vocal dynamics, body language and expressive facial changes, he transforms from young little boy to wise old man, from downtrodden wife to dominant husband. And, of course, to the humphing and grumphing dog in the title, the one constant source of loyalty and love in the tale.
There is no doubting Mhkwanazi’s sincerity in dealing with
issues which are clearly very important to him – and which possibly reflect some of his own background and history, or at least that of people he knows. And his delivery is impressive – he inhabits the stage with an earthy, solid presence that grips the attention and tugs at the heart.
A Man and a Dog asks difficult questions and presents troubling scenarios, and as such is to be commended.
But perhaps a little editing, and less of the “in my culture” monologues which betray a somewhat dated approach to notions of nuclear family, gendered roles and violence against women needs to be noted.
Women are not only mothers; families are not all made up of the same blood; and absent fathers do not only exist within the rural/migrant system, but flourish in urban, contemporary settings as well.
That said, A Man and a Dog offers thought-provoking and thoughtful theatre delivered by one of South Africa’s master of movement theatre-makers. Worth a visit to the warm and intimate setting of the Kalk Bay Theatre.
Book: www.kbt.co.za Upcoming productions at the venue include Bar None (July 21 to August 2) and Borderline (August 4 to 30).