Power struggle: Altovise Lawrence, James Ngcobo and Mothusi Magano in Oleanna. Photo: Supplied
The stage is set, the lights dim and, as the curtain rises on David Mamet’s 1992 play Oleanna, we are thrust into a world where every word is a loaded weapon, every silence a battlefield.
This isn’t just a play; it’s a raw, unflinching depiction of power, gender and the fragile line between them.
In Oleanna, on at the Joburg Theatre until 25 August, we watch as John, a university professor (Mothusi Magano) and Carol, his student (Altovise Lawrence) become locked in a conflict that escalates from a simple misunderstanding to a life-altering power struggle.
But in this South African adaptation directed by James Ngcobo, the story transcends its American roots, taking on new layers of meaning. Here in South Africa, a nation still bearing the weight of its complex history of gender inequality, the themes of Oleanna hit close to home.
This is no mere academic debate; it’s a reflection of the lived experiences of many South Africans where power dynamics are constantly in flux and where the lines between victim and perpetrator often blur.
The brilliance of Oleanna lies in its ability to leave the audience questioning everything they thought they knew about justice, truth and accountability.
Mamet says, “Whatever side you take, you are wrong.” Are we quick to side with John, the authority figure, simply because we trust those in power? Or do we find ourselves sympathising with Carol because she is a woman, even though her obsession with getting the perfect grade might have led to her crying wolf and accusing the professor of rape?
Theatre has always been a space where the truth is laid bare, where stories are told with an intensity that demands to be felt as much as understood. In South Africa, where the scars of gender-based violence and systemic inequality are still raw, Oleanna resonates in a way that is both unsettling and necessary.
We see the power of storytelling in its purest form — how it can unearth uncomfortable truths, challenge the status quo and, most importantly, give a voice to the voiceless. Theatre, in this context, is not just an art form, it’s a form of empowerment.
South Africans have a knack for using humour to tackle the most serious of issues and this can be seen in Oleanna. The use of satire is sharp as it takes aim at the absurdities of the gender dynamics that plague not just academia but every facet of society.
Take Carol’s situation. Her every word is dissected, every action scrutinised. The absurdity of it all is laughable, yet painfully familiar. How many women have found themselves in similar situations, their voices dismissed, their intentions questioned?
It’s a darkly humorous mirror of society, however, the truth is rarely black and white. Oleanna uses this to show us the cracks in our perceptions, the flaws in our judgment, the consequences of our biases. The play doesn’t just ask questions, it demands answers — but not the ones we’re used to giving. In a world where every decision, every word and every action can be twisted, Oleanna asks if anyone can truly be right when the stakes are this high.
Director Ngcobo understands the power of theatre to move, to provoke and to inspire.
“The adaptation of Oleanna in South Africa is more than just a retelling of Mamet’s work,” he told the Mail & Guardian. “It is a mirror to our society, reflecting the struggles and triumphs of women as they navigate a landscape rife with challenges. This play is a call to action, urging us to confront the uncomfortable truths about gender inequality and power abuse.”
Lawrence also emphasised the importance of what is left unsaid.
“The silences in Oleanna speak louder than words,” she told me. “They echo the unspoken fears, the silent battles and the resilience of women. Our adaptation aims to capture these nuances, creating a powerful narrative that transcends cultural and linguistic barriers.”