This is a thought-provoking work which
provides great entertainment while reminding us of the stranglehold of the
apartheid era. (Review by Caroline Smart)
An excellent cast, dazzling footwork and
great band made up the high energy production of Gone Native which ran at the Playhouse for a few days this week.
The show, which is mainly in isiZulu, is written
and directed by award-winning actor and playwright, Makhaola Ndebele. With music
composed by Hugh Masekela, Gone Native
was first presented by Soweto Theatre in August 2017.
Set in 1950’s apartheid South Africa, this
Johannesburg production tells of Regina Brooks, a young white woman who speaks
perfect isiZulu and Sisuthu and her love for a black police sergeant (Richard
Khumalo). They have a baby together. Having to hide the baby from the police
and the Boers, she moves into his house in Orlando, Soweto. Before long, the
news is all over the township, eventually reaching Khumalo’s other wife, Maria,
and sparks fly.
Maria reports her husband’s indiscretion to
the police who arrest the pair (plus baby!) and then follows the court case in
which they are charged under the Immorality Act of the time. There is much
amusement and audience reaction in the court scene as the interpreter
deliberately wrongly interprets Regina’s answers. Regina appeals to be
reclassified as a coloured woman but eventually the charges are set aside
because the court can’t conclusively prove that Regina is a non-European.
Regina Brooks is still alive and in her
80s. She has numerous grandchildren and great-grandchildren.
The show starts off on a delightful note.
There are three boxes placed apart representing stepping stones in a river
which a group of children negotiate to get to their playing place. Amid their
teasing and arguments, they notice a young white girl hovering on the stones,
obviously dying to join in. To their amazement, this “umlungu” speaks their
language perfectly and she soon becomes part of the play group.
The seven-member cast then carry the story as
it moves on through time, interspersed with song and some great Marabi and
Kwela dancing. Most of the actors take various roles.
Playing Regina Brooks is Maritjie Bothma
who speaks fluent Zulu herself. She gives a totally believable performance of
this controversial figure with calm determination.
Kgomotso "Momo" Matsunyane plays Maria
along with other characters, all of which she imbues with strong energy and
passion. Soyiso Ndaba gives the role of Richard Khumalo the required egotism
and sexuality. Kanyi Lukanyiso Nokwe impresses as the final judge and she also
proves her expertise on the makhweyana
(Zulu bow instrument).
Sibusiso Shozi gives a powerful and ardent rendition
of the Priest who is determined to baptise Regina’s baby as it has done no
wrong in the eyes of the Lord. Other good performances come from Ayanda
Hlangothi as the Judge and Isana Maseko as the Magistrate.
The cast have excellent backing in the
four-piece band comprising Musical Director Johan Mthethwa on piano; Ntokozo
Zungu (lead guitar); Fana Abednigo Zulu (bass guitar), and Godfrey
Mgcina (percussion).
This is a thought-provoking work which
provides great entertainment while reminding us of the stranglehold of the
apartheid era. – Caroline Smart
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