DIE MAN WAT WOU WEES. Directed by Marthinus Basson, with Andrico Goosen, Mandri Sutherland, Marlize Viljoen, Ilse-Lee van Niekerk, Eghard Basson and Lizelle Maas. At the HB Thom Theatre, Stellenbosch, Tuesdays to Saturdays at 8pm until October 4. STEYN DU TOIT reviews.
A Self-Made pleb from Bellville tries to scale the social ladder in Molière’s Die Man Wat Wou Wees(The would-be gentleman). What he discovers during the process, however, is not the privileged lifestyle he was promised, but instead one of depravity and self-delusion. All alone and finally forced to reflect on the trail of damage he’s left in his wake, it's only then that he realises how dearly his foolish endeavours have cost him.
Adapted and directed by veteran theatremaker Marthinus Basson, this perennial satirical farce staged by the University of Stellenbosch’s Drama Department is here given a sublime, tongue-in-cheek Northern suburbs makeover.
Featuring a zealous cast of 50 performers, singers, dancers and musicians, this 100-minute production is visually enticing, expressively translated, competently executed, socially relevant and loads of fun to watch.
Taking place over the course of one day, the action opens to members of both a choir and dance company arriving on stage for rehearsals. Led by a choir master and choreographer, we learn that their benefactor is a Mr. Jordaan (Andrico Goosen). A former car dealer from behind the boerewors curtain, he’s built an empire out of selling luxury cars to local politicians. Through his patronage of the arts he believes he'll be able to elevate himself from the ranks of the bourgeois and into the upper echelons of society.
But standing there in his chest-revealing spandex suit, New Balance sneakers and bespoke silk robe, it’s clear that all the money in the world won't be able to buy Mr. Jordaan the sophistication he so covets. Our suspicions are further confirmed when, after dismissing several beautiful performances by the choir – including a rendition of a Muhamadi Kijuma poem, Händel’s Messiah and the title song from Jesus Christ Superstar– they finally manage to win him over with a cover of Kurt Darren’s Kaptein, Span Die Seile.
Matters only go downhill from there. Through a series of increasingly hilarious encounters with a fighting instructor, South Asian philosopher, fashion designer, cook and even the chairman of the National Arts Council, we see Jordaan desperately trying to learn the supposed secrets of an enlightened world that does not exist. So consuming is his desire that not even his daughter Skattebol (Viljoen), and wife, Mrs. Jordaan (Sutherland), are able to drum some sense into him.
In a promotional YouTube clip for Die Man Wat Wou Wees, Basson describes the play as a satire on contemporary South African politics with undertones of prejudice, idiotic behaviour and debauched silliness. With the trick being subtlety, Goosen makes for a perfect leading man. It’s impressive to see how intrepidly he dives into the challenges of playing a nuanced stereotype representative of the vulgarity of an entire society.
Donning a garish suit tailored out of a print made from a Portchie painting, he's a very promising young performer and brings great physicality and comedic timing to his role. It is his understanding of Jordaan’s motivations however that allows him to present us with a convincingly exaggerated character that reminds of our own foibles.
Under Basson’s direction, the rest of the ensemble displays an understanding of the mechanics of farce as well. Sutherland in particular stands out. Drive to Piketberg or Dwarskersbos right now and you'll find her character there. An actress with a fine gift for the understated, notice the slight burr in her voice or the way Mrs. Jordaan appears slightly dazed. Other cast members that made an impression include Eghard Basson, entertaining as both straightlaced choir master and cross-dressing sex slave; Ilse-Lee van Niekerk as Pop, her intelligent character forced to dumb it down and rely on her looks like so many women in today’s workplace; Lyndon Stadford as Clay, the centre of Skattebol’s universe but deemed an unworthy suitor by her father; as well as Sascha Egelhof, who, after her wicked portrayal of Ursula in Die Klein Meermin, demonstrates her ability here again as an actress with a knack for larger-than-life characters. Ending with an extravagant party scene with the entire cast on stage, the result is a glorious hot mess of dancing, cocaine, nipple caps, bad taste, bunny ears, selfies and balloons – all to the beat of Icona Pop’s I Love It.
The only thing that would have made the scene more relevant would have been Kenny Kunene on a throne in the background sipping Moët et Chandon from a golden goblet while overseeing tables laid out with woman covered in sushi.
l Tickets R50. Call 021 808 9546.