THEATRE: Matthew Krouse
Long ago, when words were powerful, we would wish misfortune on our enemies with the oath: “May the gods shit on you!” This was supposed to remind us of our predestiny; that we are all at the mercy of fate. Life today may have altered, but the question of relinquished responsibility — whether we are innocent victims or not —remains.
So it is with Sizakele, a Sharkville prostitute, who has a chance visit from three common deities on a mission to find one good person on earth. Whether she is indeed that good person is the trial, and fate tantalises her with some lifelines: a small business, a man and two big sacks of cocaine.
Such good fortune might be called “a gift from the gods”. But for Sizakele it becomes a make-or- break situation. And the real human endearment comes when she must make some crucial decisions about the business, the relationship, and whether or not to peddle drugs. It’s a multi-pronged test —and she fails it. But then, so would just about any other mortal.
One feels that, sometimes, human life can only disappoint the gods. And that the gods are also a huge disappointment to the humans they create.
In form and content The Good Woman of Sharkville is a step forward — a tiny hop, rather than a lunge. It has all the ingredients of meaningful drama, with a deep message, but it is not preachy and not pedantic.
One becomes tired of the usual signals of the present era, so any big act of culture that is free from being self-consciously empowering or educational, is a great relief. This is the case with Sharkville, because it attempts to be relevant and African, without being self-congratulatory.
The content directly questions the concept of African predestination, asking which sort of gods would visit such a miserable fate upon their folk?
This cuts to the heart of the issue of traditionalism, without creating a situation where the blame gets dumped on historical colonial exploits. Drugs, prostitution and crime therefore become the responsibility of all. The gods may put you in a tricky spot, but the way you handle it is your own affair.
This is the brilliance of Bertolt Brecht — the author of The Good Person of Setzuan — upon which Sharkville is based.
The present production, adapted by Gcina Mhlope and director Janet Suzman, presents these vital issues with stock characters in an off-beat setting — an effect that is sometimes deliberately alienating. But then, that’s Brecht for you.
The presentation style may also conflict with popular tastes. With an all-star black cast, why is the music, composed by Didi Kriel, so European and Weimaresque. What’s wrong with homegrown sounds?
The actors seem to have been coached into delivering unusually broad and whiney performances. This, perhaps, is intended to make people sit up and listen.
Perhaps the play’s eclecticism, and its ramshackle setting, is what creates the slightly clumsy edge. Sharkville is ultimately a challenging piece of work, but it may not be everyone’s cup of tea.
The Good Woman of Sharkville is on at the Market Theatre, Johannesburg, until August 31