A bold exploration of the many meanings of home

‘Hayani’ is honest, original and extremely entertaining theatre

THE autobiographical two-hander Hayani is theatre from the heart. It relies on the essential integrity of its actors and, with the formidably talented cast of Atandwa Kani and Nat Ramabulana, the rhythm of truth pumps through with a powerful beat.

Hayani means “home” in Venda, and the play explores the different notions of what home means in relation to individual identity as well as a broader South African identity. With director Warren Nebe, Kani and Ramabulana have created a chronological narrative that pulls together the real experiences of the two actors, set against a backdrop of change and challenge in their home country. Although the two have grown up in different circumstances, geographically and in terms of their family structures, there are also common threads that bind their journey from childhood into adulthood.

Essentially, what both young men share on the stage are their perceptions, or memories, of different situations — going to their family homes for Christmas, being shunted around from place to place as teenagers, or getting caught sneaking a cigarette. What emerges strongly from each actor is the importance of their relationships to their parents, to the extent that their past becomes part of the present narrative.

Ramabulana — an extremely well-known face on both the small screen ( The Wild, Rhythm City and others) as well as in film ( Jerusalema, The Bang Bang Club) — hails from Thohoyandou in Limpopo (formerly Venda). Kani, the son of acclaimed actor John Kani, has roots in New Brighton in Port Elizabeth.

At the start of the play we are transported to these respective destinations as the actors, as young boys, recreate their annual pilgrimages back home. From here, we are introduced to a range of characters who populate the stage with style, humour and pathos.

The ability of each actor to inhabit the skin of whomever they are playing is a joy to watch, and so is their fresh, physical energy. Ramabulana has a particularly expressive face, whereas Kani’s ability to shift genders is utterly convincing. Together they are perfectly synchronised.

Nebe, who heads the Univer- sity of the Witwatersrand’s innovative postgraduate programme Drama for Life, coaxes the best from the performers without losing the plot.

The script is tight and the pace swift. Adding to the authenticity of the performance is live guitarist Matthew McFarlane, who performs an original and very beautiful accompanying score on stage. The lighting by Barati Montshiwa cleverly creates a sense of time and space and the graffiti-themed set by Mak1one is simple and effective.

Hayani is deeply personal, yet it fluidly translates into a universal context. It concentrates on individual experiences but inserts key historical events to situate the play in a South African reality. And it boasts a duo who are unafraid to tackle both the hard and the humorous aspects of their respective lives.

This is honest, original and extremely entertaining theatre.