THEATRE: David le Page
AT any time, it’s possible to pick out buzzwords pervading public debate and the media’s reporting of it. Words like ”struggle”, ”regime” and ”political correctness”, have now been joined by ”accountability”, ”transparency” and, of course, ”gravy train”.
Unfortunately, if one thing remains in one’s mind after seeing Nape’a Motana’s The Honeymoon is Over, a political satire selected for production from the Civic Theatre’s developmental programme, New Stages, it’s the phrase ”gravy train”, which is repeated ad nauseam, but rarely ad rem.
Motana’s satire succumbs to a preference for devices and tricks over ideas. His puns and cracks are titter-guaranteed because they rely on an old joke rather than something new.
Despite a distinct soft spot for Winnie Mandela, which rather diminishes the even- handedness of his satire, the production remains lively, entertaining and enjoyable.
Motana writes that Pieter-Dirk Uys is a significant role model. While he has yet to develop the qualities that makes the latter’s work as stinging as it is, Motana’s Nelson Mandela, played by Aca-Joe Nkabinde, surpasses that of Uys. Madiba is decked out with a halo, a forefinger la PW Botha and an authoritarian manner for Motana’s exploration of his less lovable aspects.
The play is about the unlikely match that constitutes our government, the temporary union of the NP and the ANC. Dramatising this marriage of convenience, it explores its many ridiculous aspects, such as the underwear (or true colours) of its components.
Lynne Maree’s direction is excellent. The Civic’s decision to turn the Pieter Roos theatre into a cabaret venue adds to one’s comfort, but drinks are easily forgotten during the hour it runs.
The Honeymoon is Over plays at the Civic’s Pieter Roos Theatre till April 6