(Pic: The cover of “Bittersweet”)Natasha Sutherland tells of her journey back to herself with humour and candour in a highly readable book. (Review by Caroline Smart)
Natasha Sutherland started off her career at the age of 7 as a sweet in The Nutcracker Suite. Having spent most of her life so far in the performing arts, she is the daughter of theatre personalities: choreographer Kenlynn Ashby (to whom she has dedicated the book) and director of musicals, the late Geoffrey Sutherland.
She became widely known as the presenter of the kiddies TV series, Kideo before appearing in stage, film and television productions including Egoli. She now runs her own production company and writes a monthly column for Finesse magazine.
The introduction to Bittersweet lists some of her acting experiences such as playing someone who had died from a drug overdose and trying to keep her ribcage under control while being filmed. She’s been Cinderella; robbed a bank; acted opposite a donkey; faked an orgasm (44 times); been a renegade slave trader, and worn a number of weird and wonderful outfits.
Attractive, warm-hearted and passionate about life and living, Natasha built up a strong fan base over the years who rejoiced with her when she married controversial and notorious Afrikaans pop-star Steve Hofmeyr. Ten years later, when their relationship came to an end amid sensational headlines and lurid details of his infidelity, nothing could protect her from the cold and invasive glare of the spotlight. Her life in ruins, she found herself a single mother with two active young boys in a new home trying to find a way forward while keeping a civilised sense of relationship with Hofmeyr for the sake of the children. Activities such as cleaning the pool and braaing were major hurdles to be overcome. However, the biggest challenge was in rediscovering her own identity and sexuality when a new man moved onto the horizon.
Bittersweet (subtitled Confessions of a freshly single) is the story of her journey, told in three sections – Breaking, Bandaging and Breathing – with chapters starting with the quaintly poetic “on”, such as On Women and the big kahuna affair; On SMS’s; On Mirrors and the blame game; On Asking for help; On Stillness; On Letting go, and On Relationships and red nail polish.
Reflecting her sense of the visual, the book uses old-fashioned Shakespearean styled cursive text for the chapter headings and opening words alongside elegant illustrations. It moves along parallel journeys with poems and relevant quotes from well-known personalities as well as interviews with sexologists, a medical practitioner, a psychologist and a holistic therapist. She even offers a few recipes from friends and family that kept her “grounded” and feeling alive.
Geoffrey Sutherland was one of the three major influences on me at the start of my professional career in theatre. Natasha describes him as “extraordinarily creative” and I can see his influence on her in the way she has created her book. She felt stripped naked by the media all those years ago but now she’s done it again. Her way. With passion, with humour, candour and a large dollop of self-effacement as she fights her way out of the emotional forest. Through it all runs her tremendous love for her children.
The book would be extremely beneficial for any woman in a similar situation: having been to the depths of despair and needing some sensible help to go forward, while enjoying some laughs along the way. Natasha does tend to repeat herself although this has a positive side in that you can open Bittersweet at any page and read a chapter or even a few pages and still feel part of the process.
Bittersweet is published by Carpediem Media and is available at Exclusive Books and Adams. ISBN 978 1 77031 136 7 – Caroline Smart
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