A fitting finale to
Women’s Month at The Playhouse, Durban (Review by Shannon Kenny)
The Playhouse Drama’s capacity audience were variously
thrilled, delighted, transported and treated in the most wonderful way to
excellent performances by a cast of actors and musicians who brought energy and
life to an important and powerful South African story.
Aubrey Sekhabi directs this revival of Malcolm Purkey’s drama-with-music, Sophiatown. The publicity blurb says Sophiatown was “Known as the “Chicago of South Africa.” Sophiatown was a legendary hub where shebeen queens, gangsters, politicians, and black and white Bohemians mingled in an electric atmosphere charged with music, style, and resistance. Amid the harsh repression of the 1940s and 1950s, this culturally rich community became the beating heart of urban African identity—producing some of South Africa’s most celebrated musicians, artists, writers, journalists, and political leaders.”
We are introduced to Sophiatown from Mamariti’s shebeen, by Jakes, Drum magazine journalist and storyteller. He is joined later by Mingus, scoundrel and leader of The Americans street gang, and Charlie, Mingus’ loyal henchman and stooge. Mingus demands Charlie draft him a love letter for the object of his affections, Princess; Fahfee, the numbers runner for the Chinese gambling syndicate; Shebeen Queen Mamariti and her daughter Lulu (who are Mingus’ mother and sister); Princess, who becomes Mingus girlfriend; and eventually Ruth Goldin, the Jewish girl from Yeoville looking to experience a world removed from her own.
Jakes, who is intent on telling meaningful stories, strikes a bargain with Mingus - in exchange for the love letter, Mingus would give him the inside scoop on the goings-on, legit and illicit, in Sophiatown. Jakes is also the one who conceives of the idea to get a white, Jewish woman to come to live in Sophiatown - and eventually to publish the story of her experience in Drum. Sandi Dlangalala brings to Jakes an earnestness and depth of feeling for what is right and just.
Terence Ngwila’s Mingus, is a strong, ever-menacing presence, purveyor of all manner of criminality and simmering, threatening violence which we are left in no doubt he will exact, given the opportunity. Ngwila does a great job of balancing Mingus’ monstrousness and humanity.
Charlie, for all of his obedience to his chief’s every whim, strikes a chord for his child-like innocence. Mncedisi Hadebe brings to this role all the charm and humour one would expect of this endearing character. His “I am getting a house” upon the news of the forced removals drew both chuckles and sighs of compassion from the audience.
Sindisile Nkuna plays a loving, yet world-weary Mamariti, always ready to threaten to dish out a slap if Lulu steps out of line and desperate to ensure her daughter receives an education.
Tshallo Chokwe breathes to life Fahfee, small-time gambling syndicate wheeler-dealer with a social conscience. Chokwe handles this character with nuance, his growing activism replacing his “numbers dreams.”
Zimi Mphefu injects her Lulu with a dreamy, playful and mischievous effervescence, always perfectly placed.
Princess Sechele’s very believable Princess is a resolute go-getter, a survivor who eventually forges her own path, free of the abuse she suffers at the hands of her boyfriend and the social and political pressure of being a poor, marginalised black woman in South Africa. The tension she immediately ignites upon Ruth’s instalment at Mamariti’s is a character all of its own.
Ruth’s curiosity, naivety and kindness are beautifully portrayed by Gaby Georgeson. She imbues her character with the earnestness of someone who really wants to do and be good, even when her motives are questioned.
To quote a former pupil of mine, “It felt like they were real people and that I was right there with them.”
All the while I wondered where the accompanying music was coming from. It was definitely not pre-recorded and there were no musicians in the orchestra pit. They are revealed later amidst the forced removals and bulldozing of Sophiatown. Fantastic musicianship is no small feat, and these musicians brought the soundtrack, the amplified heartbeat of Sophiatown.
Together with Sekhabi, Zakhele Mabena (Musical Director), Bafikile Sedibe (Choreographer), Lungile Cindi (Set Design), Mandala Mtshali (Lighting Designer) preside over bringing the magic to the stage. A creative partnership deserved of its own applause.
The Drama Theatre audience was literally moved to its feet, offering a deserved standing ovation to a story beautifully, mellifluously, dramatically and poignantly realised.
Once more, kudos to CEO Linda Bukhosini and The Playhouse Company for mounting a varied and excellent programme of productions. We look forward to many more in the near future. – Shannon Kenny.
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