(Pic
by Val Adamson)
The cast works extremely well as an
ensemble or as individual characters, each putting in powerful performances
under Motloung’s strong direction. (Review by Caroline Smart)
In August 1956, over 20,000 women of all
races marched in unison to the Union Buildings in Pretoria protesting against
unjust apartheid pass laws. The phrase “You Strike the Woman You Strike the
Rock” comes from the famous resistance song of the time, symbolising the
courage and strength of women. This event was dramatised in a stage production
in 1986 commemorating the 30th anniversary of the march.
Keeping the characters’ original names but
changing a major portion of that script, director Matjamela Motloung has
brought this production up to date with Wathinta
Abafazi, Wathint’Imbokodo which formed part of the Playhouse Company’s 2018
South African Women’s Arts Festival from August 7 to 11.
The new production was adapted by Motloung
for the Playhouse Actors Studio and combines elements of fashion and
photography, asking how far have women’s rights progressed, and how much is
still to be achieved?
Motloung impressed audiences and colleagues
alike in May this year with his production Touch
My Blood, placing it in the Playhouse Grand Foyer, an area not often used
as a performance space. He has now decided that this is his choice of venue
and, as he did with Touch My Blood,
has once again transformed the area.
The audience enters a completely white
space - chairs covered in white on white podiums and white draping surrounding
the area. This draping also works effectively to carry the audiovisual material
created by digital curator, Mandisa Buthelezi which feature images of the time
including the appalling and shameful posters such as “Caution: Beware of
Natives” or “This area for Whites Only”.
There is a white shallow box filled with
stones containing a structure covered in red indicating a cluster of rocks.
Beside it is a white bucket.
The cast is made of those who were in Touch My Blood: Phumelele Majola, Fezeka
Shandu, Ayanda Nyawo, Simphiwe Dladla and Thobani Gama. The new member is
Ntando Madlala. The cast works extremely well as an ensemble or as individual
characters, each putting in powerful performances under Motloung’s strong
direction.
Gama enters and stirs the blood that is
contained in the bucket, stating with passion “I am Fed Up”, going on to
complain about how traditional men talk and boast about their greatness but
there is never any mention of women and their achievements. He’s determined
that those present will now listen to the women’s story.
The play then follows a historic story-line
from the march to Pretoria in 1956 through the British Prime Minister’s speech
about the Winds of Change and the Sharpeville Massacre in 1960 and the State of
Emergency in 1985. Each of the female characters tells her story, revealing the
horrors of the apartheid era and the issues that still exist, such as the abuse
of women and homophobia. While the subject matter is disturbing - as it should
be, because we need to be reminded of these times - there is also wry humour in
comments like: “Why did they make tear gas white?”
There is also much poignancy such as “How
do you keep a child born from rape? How do you love it?” says a mother, holding
her child fathered by her rapist. Another very telling comment is: “It’s 2018
and all I can see is gravestones.”
Costumes have been designed by Thandeka
Madikizela and a most memorable feature is a knotted length of fabric.
Initially used as an umbilical cord, it then gets divided up and becomes
headdresses and then used effectively in the struggle and rape scenes.
Nkosingiphile Dlamini’s lighting design
adds to the changes of moods and movements of what is a compelling theatrical
experience. – Caroline Smart
For
more information on the Playhouse Company’s South African Women’s Arts Festival
visit http://playhousecompany.com/
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