Sizwe Banzi Is Dead

[Tenure]

"You must understand one thing. We own nothing except ourselves. This world and its laws allows us nothing, except ourselves. There is nothing we can leave behind when we die, except the memory of ourselves."

I didn't know what to expect with a play about the apartheid, but I knew it wasn't going to be any ordinary old 'issues' play. You know the kind that tries to preach some message to you through empty, two dimensional characters, who simply sit on stage and suffer. Well, the kind of actors and god-like director involved with this performance do not get involved in that sort of work. You could tell something special was planned, from the minimal set with scattered, collapsed cardboard boxes and various spot lights - it looked like a Rehearsal Room on stage - probably reflecting the state of the 'townships' in the apartheid.

Now, on strolls this black guy in casual clothes at the start. He starts telling these stories, about his work at the local Ford factory, and about their over-bearing boss, who constantly pressed them to work harder and harder, beyond any human capacity. You're kind of like "Ok... I see...", thinking this might actually just be another one of those plays about oppression and suffering. But it's not.

Why? Because of the glimmer of hope in his eyes, as he tells the story of him leaving home to become a man and start his own business in photography - "What, you're not a man already?", says himself imitating his father, "You're circumcised, got a job, got a wife, what do you need to become a man?".

That's something I should mention, this is a two man show with a bunch of multi-rolling, and the second character (Sizwe Banzi) doesn't even show up until the second half. It's hilarious seeing the first character imitate an entire family portrait as he talks about his increasing success as a photographer. He's a real character, full of life, a bit cheeky, dedicated.

So, the staging was simple but vital. It says in the programme, and I agree, that no prop is used lightly. Everything has a significant meaning, and the character sticks to it and believes in it. The wheeled-clothes-rail really is a doorway. He really does love his sign which hangs above his shop.

And the actors themselves - what can I say? I had to go get their autographs afterwards (and I did). They had so much vitality and believability to their roles. There was not a single second where they were not totally involved with what was going on, no second of uncommitted action.

The director, Peter Brook, says in the programme that he hadn't staged this play along with the other ones at the same time (it's part of an unrelated Trilogy of plays) because the conditions weren't right - meaning the staging and the actors. The whole environment was exactly right.

No moment was faked. When Sizwe Banzi poses, walking along with his bag, smart hat, and his grandfather's pipe, you really see the pride and joy in his face as he has his photo taking. And yes... he's called Sizwe Banzi.... the poetic nature of the title will make sense if you see the play, I wouldn't like to spoil it (other than to say simply, this isn't a play about a dead man... well it is... kind of -near the end- but not literally).

I would recommend you go out and see it, but it's only on till Friday. I'm not sure where or when it's on next, so catch it if/while you can.

And yeah, like I said. I got their autographs. And a hug from one of them, Habib (the one in the left in the photo). He was so cool. I was asking abotu how he managed all the physicality on stage. His translator summed it up by saying simply (I should mention now, the whole thing was in French with Surtitles [subtitles that sit above the set]) that "We play like children on the stage". I felt that was a beautiful way to put it: when children play, they do so without fear, with complete conviction in their action. That is exactly how one should feel when acting; not hesitating or faking, but committing with assurance to every action.

If there's anywhere the law of identity apples most, it's on the stage. A must be A, or B must be B. There is no middle-ground, or faking the existence of A or B.

Edited May 23, 2007 by Tenure