“Callum’s Will” is a
touching story told through fine performances and thoughtful direction. (Review
by Shannon Kenny)
Darren King and Tafara Nyatsanza take the title roles in
Blessing Xaba's adaptation of Jana Ramos-Violante’s original play about the
relationship between Callum, a disabled former ballet dancer and Will, the
young man who is hired to run errands for him. The original play was set in
London while this iteration is set in a present-day Johannesburg.
The audience meets a wheelchair-bound Callum in his apartment, with his back towards us, as the record player fills the space with meditative music.
When the music ends, Callum turns to reveal framed photographs of his former life as a dancer and changes the LP. After performing a series of ballet movements with his arms, he breaks down into anguished sobs.
The entire scene unfolds without a spoken word.
Darren King is excellent as the pent-up Callum. King does a fine job of holding the tension of a character ‘keeping it together’ - who channels the control he would have exercised as a ballet dancer into managing a disability and maintaining a life marked by isolation, frustration and loneliness.
Callum’s frustration with his fate is never far from the surface, whether exhibited in King’s strained jaw, the effort in lifting himself - paralysed legs and all - from wheelchair to armchair or the generous helpings of gin he pours himself before settling down for the night.
Tafara Nyatsanza's Will is spirited, unabashed and provides a spark, colour (did I not envy those costumes!) and levity that contrasts so well with King’s Callum. Will’s entry marks an initially uncomfortable - though certainly welcome - addition to Callum’s world. Callum upbraids Will in their first meeting for arriving early and refuses to speak to him until the appointed time. Will then casually goes about the flat inspecting Callum’s photographs, pills and record collection. Will notices a Chambers Brothers album in the collection and remarks how it was a favourite of his father and uncles in Zimbabwe. A classic.
The actors’ and their characters’ energy is wonderfully matched. Over the course of their relationship - through chess games, jibes about Will’s sartorial choice and a shared reefer - Callum's demeanour softens as he warms to his new friend whose blithe spirit is unfazed by his acerbic comments and who is more curious than troubled by his disability. We learn that Will is originally from Zimbabwe, has lost his father, follows his horoscope and aspires to be a writer. In a poignantly-delivered spoken-word poem, Will reveals just the kind of writer he is.
Writers are often urged to ‘show, don’t tell’ and this piece of theatre is very much a work that does just that. Much about the pair’s growing relationship is revealed in what is not spoken. And there is much that is not revealed that challenges the audience to ask questions of the story: How long has Will been in the country and what is his immigrant experience? Where does he live? What kind of life does he have outside of his work and relationship with Callum and his literary aspirations? Does he see so easily beyond Callum’s disability because he knows what it means to be judged for who people think you are, rather than who you really are? So many questions.
The simple set with its well-placed furniture and accoutrements makes for a believable apartment interior - and allows for King to move with ease in his wheelchair, as though this space were his own. Will’s costumes are befitting of a spritely, creative who does not care for fitting in.
Blessing Xaba's use of silence simultaneously drew my attention to Callum’s isolation and loneliness and at times nudged me to the edge of discomfort, challenging me to consider what loneliness, disability and isolation might mean - and ultimately what I would do with the time I have.
Will is a catalyst and Callum gets to live again, care again and be the cheerleader for someone else's dreams.
The story for me is a story of acceptance and the kind of love where you truly desire the best for the other person - and of letting go because they need to grow without you.
The Chambers Brothers' “Time” underscores the pair’s histories, relationship and uncertainty about their future so well.
Callum’s Will is a touching story told through fine performances and thoughtful direction.
Thank-you and Bravo! – Shannon Kenny
The two final performances take place tomorrow (Sunday November 2) at 15h00 and 18h30.
Ticket price R150 (R100 students and OAP). Booking direct through Darren King on 0823241709.
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