Miriam Gillinson
posted 25 May 2007

Athol Fugard’s play is an affecting, but uneven tale about (black) Sizwe’s struggle to find work, but retain his identity whilst living in apartheid South Africa. It’s a memory play – retold elegantly and effectively by Styles (Habib Dembele). Although the 1972 play offers a vivid and useful glimpse at apartheid Africa, it no longer touches a raw political nerve. Nevertheless, Fugard has found two surprising and sympathetic characters in Sizwe and Styles, who prove a continual pleasure to watch.

Peter Brook’s direction also reminds us just how well suited the stage is to simple story-telling. With a minimalist set, it’s left to the actors to invoke a range of characters and locations. Brook uses his uncluttered set to tease two sensitive and lively performances from his actors. In the opening scene, Styles re-enacts his final day working at the Ford Factory. Using just the hanging-rails and junk props available, he conjures up a distinctly believable world on-stage. We see the workers shower, the floors scrubbed, uniforms changed; the colossal effort prompted by Ford Jnr’s imminent visit. Writer, director and actor take great care invoking this moment – and Ford’s eventual indifference (‘he walked in and out in the same step’) hits home.

With the audience primed, Sizwe (Pitcho Womba Konga) enters the play. He’s come to ask Styles to photograph him one last time, before he gives up his identity. Through Sizwe’s narrative, we learn the reason behind this identity shift. Without a passbook (which dictated where non-whites could live and work) he found himself unemployable and unable to support his family. Sizwe recounts how – stumbling across a dead man - he stole his passbook and adopted his name. Fugard hits on some vital moments during this recollection. With the implications of his theft sinking in, Sizwe implores ‘I don’t want to lose my name.’ The line is delivered with heart-breaking indignation by Konga and powerfully summarises the complex sacrifices enforced by the apartheid.

Brook’s understated and respectful directing – he leaves a lot for the audience to imagine and decipher for themselves – makes this a consistently moving, if only occasionally provocative piece. Unfortunately, we’ve just come to like and engage with the characters when the play ends. I just wish it could’ve lasted a little longer and dug a little deeper.

Till 26 May 2007