(Tshepang Koloko as Boesman & Sade
Wagner as Lena)
Truly
engaging and powerful theatre, highly recommended. (Review by Louise Buchler)
Boesman and Lena has been described as a story
about “Two lonely squatters trapped in a struggle for freedom and dignity
during apartheid” – yet Fugard’s masterpiece is so much more. Written in 1969
and inspired by a random encounter between Fugard and a homeless woman, this
play remains as relevant and universal in 2014 as it was when it was first
staged.
The play
tells the story of Boesman and Lena, two squatters who have been driven from
their shanty town by bulldozers. After walking for miles, they set up camp on
the Swartkop mudflats outside of Port Elizabeth. At first, they appear to
embody the stereotype of heavy drinking drifters but as the play progresses,
Fugard exposes a series of complex issues that impact the central characters.
They are trapped in a never ending cycle of poverty and disempowerment.
Lena
longs for someone to “see” her – to bear witness to the violence and sadness
she suffers at the hands of Boesman who uses her as a punching bag to vent his
own feelings of self-loathing and shame. They have been forgotten by society,
tossed out like rubbish, trying to carve out a life for themselves in the direst
of circumstances. The relationship between the two is brought to a head with
the arrival of another homeless man, Outa. Lena immediately identifies him as a
possible ally – someone to acknowledge her. However, Fugard injects a painful
dose of irony in the fact that Outa cannot speak English or Afrikaans and does
not understand a word that is said to him by the desperate Lena, who finds in
him a captive audience.
This
production of Boesman and Lena is
skillfully and sensitively directed by UKZN honours student, Brenda-Lee Cele
and brought to life by a young, yet talented cast comprising Tshepang Koloko as
Boesman, Sade Wagner as Lena and Musa Nkomo as Outa.
A sparse
set and minimal props accompanied by simple lighting means that there is no
veneer for the actors to hide behind and in such an environment, weak
performances would be glaringly obvious; however, the performers play their
roles with aplomb, focus and maturity.
Koloko’s
sensitive portrayal of Boesman wields enough rage and restraint to capture the
character’s sense of despair and self loathing and Nkomo’s portrayal of Outa is
mesmerizing. Wagner’s nuanced depiction of Lena is particularly noteworthy in
its ability to capture the raw vitality and emotion of the character without
resorting to melodrama.
Revisiting
the play, I was struck by its relevance in 2014 – the hand of power has shifted
and yet the class divide remains. As long as people are disempowered and
disenfranchised by poverty, Fugard’s story will remain as potent and thought-provoking
as it is now, 35 years after its inception. Don’t miss this opportunity to see
some truly engaging and powerful theatre. Highly recommended.
Boesman and Lena runs until May 31 at 19h00 at the
Hexagon Studio Theatre, Pietermaritzburg. Tickets R55 (R45 students,
pensioners) available at the door or bookings by emailing promptsideproductions@gmail.com
Boesman and Lena is presented in association with
Prompt Side Productions and the Arts and Culture Trust (ACT) through Nedbank
Arts Affinity. - Louise Buchler
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