Weekend Argus (Saturday Edition)
Fearless exploration of sex, politics and ethics
‘Scenes from an Execution’ reveals the games people play across time
A BED draped with a classic Venetian duvet cover, a window overlooking Venice, and dimmed lights. This is the setting of two painters with conflicting views on politics – lusting after one another – in Scenes from an Execution, starring acclaimed actress Jennifer Steyn.
Her opening line sets an intriguing tone for the rest of the play: “Dead men float with their arses in the air. Hating the living, they turn their buttocks up. I have this on authority, their faces meanwhile appearing to the seabed where their bones will lie.”
Scenes from an Execution, from English playwright Howard Barker, uses 16th century Venice as a backdrop for a fearless exploration of sexual politics and the timeless tension between personal ambition and moral responsibility; between the patron’s demands and the artist’s autonomy.
The play, which opened this week at the Baxter Golden Arrow Sudio, has been described as “Barker’s most famous and accessible play”.
The plot revolves around Steyn’s character, rebellious artist Galactia, an impossibly transgressive artist who is commissioned by the Venetian city-state in the aftermath of the 16th century Battle of Lepanto to create a painting celebrating the triumph of Venice.
What emerges in her uncompromising pursuit of truth is the ugliness of slaughter and the struggles between Galactia, politicians and the church.
Steyn’s performance as Galactia – who is brilliant, vain, arrogant, witty and politically naive – is commanding and direct. She recently walked away with the Fleur du Cap best actress honours for her role in The Inconvenience of Wings.
Speaking about her character, Steyn said that she felt a deep connection with Galactia and that they are very similar.
“I always felt like I was as Galactia,” she said on the opening night. “I am not always like that, but there was something about her power that made me take my space in the rehearsal room. In a way, that was quite flamboyant and I can be a little like that. She brought some kind of fire in the rehearsal space.”
The play was first seen in South Africa at the Market Theatre in 1994, where it received multiple awards, including the best director for Clare Stopford. The play returned this year with Stopford again at the helm. The two have worked together on a number of projects before.
When Steyn took up the role, she agreed to perform with graduating students from UCT’s drama department, who had lost practical performance experience due to the #FeesMustFall demonstrations.
“Clare is an old colleague of mine and she offered me the role. We would be working with young actors who, because of #FeesMustFall in 2015, lost a bit of practical experience. So there was this opportunity to work with young actors… they would in part get experience from old actors.”
“I know her well and she knows me well,” Steyn added. “So there’s an ability to be very direct with one another and sometimes that could lead to being so honest it’s painful or messy or loud or angry, but the underlying love of a friendship that has been there for many years is a glue that will never go away. Ultimately it’s a process of creative fire based on love.”
Although the play is set in the 16th century, it speaks directly to our current political dynamics.
“Besides this incredible character and the huge aspect of freedom of expression and not compromising one’s vision, it also speaks through politics and at politics and in politics and stabbing it as we like.”
In reference to South Africa’s economy being rated at junk status, Steyn said: “There’s this moment at the end of the play where she is invited by the dogue to come and have dinner and she says, yes. And I’m trying to say, ‘Hell yes, I’ll come because you can fund me, but do not think just because you are funding me, that I am going to do the politically correct thing.’
“This play will always be relevant, because we are often in battle and in this particular time, we are in battle in this country. We are on the brink of the most incredible opportunity, to grow something magnificent, but in order to do that, we all need to be uncompromising artists in our demand for the best for everybody.”
On artist censorship, she said: “You cannot allow yourself to be censored. To be censored you are undermining your creative fire and you are undermining your purpose as an artist which is to be true. And to be true, you do not speak another person’s objective. You speak the truth of the story. I defy any artist who censors.”
Steyn has more than 30 years’ experience in the entertainment industry. She has starred in films such as Cry the Beloved Country, Master Harold and the Boys, Gums and Noses and Goodbye Bafana.
Television appearances include Jacob’s Cross, Sorted, Zero Tolerance, End of the Road andher turn as the outrageous “Marge” in Madam and Eve.
She hinted at major productions for the year ahead.
“Straight after this, I will do The Inconvenience of Wings. We are taking that to Johannesburg, which is very exciting. And there are a couple of other things in the offing, television stuff.
“My love of stories, which I suppose is a love of life, which I suppose is a love of lives. I love our humanity, all parts of it. I believe that we are valuable. That keeps me alive and my faith keeps me spiritually connected.”
When not in front of the camera, or behind it, or on stage, Steyn is at home with her husband, entertaining family and friends.
“I have stepchildren; I am a granny. I love to entertain. I am very domesticated.”
Scenes from an Execution runs from April 4 to 22 at the Baxter Golden Arrow Studio. The show starts at 7.30pm. Tickets cost R130 (previews and matinees), R140 ( Mondays to Thursdays) and R160 (Fridays and Saturdays). Discounted block bookings are also available.
andrew.robertson@inl.co.za