REVIEW: DIE GLAS ENNIE DRAAD
This review was first published in Cape Times on 25 March 2015.
DIE GLAS ENNIE DRAAD. Directed by Sandra Temmingh, and starring Daniel Richards and Gantane Kusch. At the Artscape Arena theatre, Tuesday to Friday at 8.15pm, Saturday at 3pm and 8.15pm and Sunday at 3pm (Until March 29). STEYN DU TOIT reviews.
“If drug dealers make so much money, why are they still living with their mothers?” economist Steven Levitt and journalist Stephen J. Dubner asks in 2005’s Freakonomics: A Rogue Economist Explores the Hidden Side of Everything.
The process of reaching their conclusion is one of many reasons why this fascinating book proved so popular, but for the purposes of this review I’ll cut to the chase. Drug dealers and gang members still live with their mothers because, well, they actually end up making less money than the average McDonald’s employee.
Levitt and Dubner would have a field day here in the Western Cape. While our population might only be around one-tenth of the country’s population, the province nonetheless still manages to account for 60% of South Africa’s drug and gang-related crime.
Housing an estimated half-a-million Numbers gang members alone – seven times the staff compliment of the entire South African National Defence Force (SANDF) – the Cape Flats in particular would no doubt provide interesting research territory for the two authors.
Similar to their American counterparts, it is also most often the young men from places such as Lavender Hill that are sucked into this “profession”. Statistics show that a whopping 72% of males born on the Cape Flats will eventually go to jail for it, and a lot of them will return there so many times over the course of their lives that “going home” has become a euphemism for serving time.
With the odds so obviously stacked against you, why then would someone choose to become a Numbers gangster and tik dealer in the first place I hear you ask while reading this review and sipping espresso on your sunny suburban porch. The answer, of course, is that they don’t choose the lives they end up having to live out. They are, simply put, born into it.
Directed by Temmingh and starring Kusch as a mid-level general with an estimated 3000 gang members serving underneath him, through the various characters he meets (all played by Richards) in Die Glas Ennie Draad (The glass and the wire) the viewer is taken inside a bright young mind too promising to have been dealt such a heavy hand in life.
Named “Marlin” for the purposes of the play, by having Kusch interact with Richards as both a psychologist as well as one of Marlin’s fellow gangsters, we are also given profound insight into the complexity of the kind of individual the media (and those of us comfortably living in the upper to middle classes) all too easily want to refer to as the skidmark of Cape Town’s society.
Based on interactions Kusch and Richards had with an anonymous real-life former gangster, the play’s script fuses poetry and movement to explore a life destroyed before it had a chance to even begin. “Believing in oneself” and “becoming anything you want as long as you apply yourself” are not slogans Marlin heard growing up. Here it was only bowana in en bowana uit. Blood in and blood out.
Temmingh, who, after more than 25 years of lecturing have chosen this production as her swan song from UCT’s Drama Department, has her formidable actors demonstrate the inseparable nature of blood once it mixes. Incorporating rhythmic gang hand signs, the assembling of guns and other related mannerisms into their performance, we start to see how their unforgiving environment cyclically both spawn as well as consume them.
Kusch as the fearless yet conflicted gang leader gives a commanding performance, as does the Fleur du Cap-nominated Richards (Fergus of Galloway) in his various demanding roles. True to the play’s title, as a duo these two also do a solid job in demonstrating the interrelationship between higher-ranked gang “officials” (the glass) and their subordinates (the wire).
Performed in a mixture of English, Afrikaans, Cape Flats dialect and Numbers lingo, while there are parts that might be difficult to follow for non-native Afrikaans speakers, Die Glass Ennie Draad always makes sure to bring everyone back up to speed with frequent cuts to Richards’ anglophone psychologist.
While admittedly the past few years have seen more than a fair share of Cape Flats-related gangster films, plays and even photographic and art exhibitions, where this one differs is in its focus and intention.
This isn’t a play about scary characters, gratuitous violence or slow motion shootouts to the sound of Die Antwoord. Rather, it’s a gritty, psychological and often-abstract look at the fear and trauma related with simply being born on the wrong side of Table Mountain.
l Tickets are R100. To book, call Computicket at 0861 915 8000, or see www.computicket.com.
Steyn du Toit is a Cape Town-based freelance arts journalist. For any questions please e-mail steyndutoit (at) gmail (dot) com.
Kollig op lewe in SA ná ’94
besige program vir Richards
‘Ek hoop ek kan dit met sensitiwiteit weergee’
Mariana Malan
Vrydag 26 September 2014
Daniel Richards Foto: Bertram Malgas
Besig met een stuk en met twee wat eersdaags te sien is, rus akteur Daniel Richards beslis nie op sy louere nie.
Hy het ook al gehoor dat hy gekies is vir die rolverdeling van ’n groot musiekspel vir volgende jaar en hy skryf aan sy eie stuk vir twee akteurs.
In sy kort loopbaan van nege maande sedert hy klaar studeer het, het dié 22-jarige akteur al iets van alles gedoen.
Hy het die jaar begin met die rol van Richmond in Shakespeare se Richard III in Maynardville, hy het homself vertolk in die stuk Passage, was saam met Nicholas Ellenbogen deel van die alombekende Raiders-reeks, het gesing in Fergus of Galloway , gedans in Salt en nou staan hy alleen op die verhoog in Born Free.
Met Daniels in sy jongste satiriese eenpersoonstuk, Born Free, het Mike van Graan twee baie jong en talentvolle akteurs laat saamwerk.
Die Fleur du Cap-wenner Mbulelo Grootboom is die regisseur. Hy was self al in drie van Van Graan se stukke te sien.
Born Free is tans tot 11 Oktober te sien en op die Cape Town Fringe sal hy weer te sien wees in die ligte musiekspel Fergus of Galloway en Salt, die magies-realistiese drama gekombineer met bewegingsteater.
“Dis belangrik om veelsydig te wees,” sê hy, “maar dit is uitdagend om van drama na komedie, en van musiekspel na dans te beweeg.”
En Born Free is baie uitdagend. Dit is in die pas met Van Graan se tekste. Daar word op die afgelope twee dekades van ’n demokratiese Suid-Afrika skerp kommentaar gelewer.
“Omdat ek iemand is wat nie apartheid ondervind het nie, is dit nogal moeilik om daardie stille letsels wat nog bestaan te verstaan. Ek voel tog ’n mate van irritasie met die geskiedenis, maar die gehoor verwag ’n sensitiwiteit wat ek maar net hoop ek kan weergee.”
Die stuk het vanjaar die Kalfiefees op Hermanus geopen. Hy het gewonder hoe gehore dit daar sou ervaar.
“Ek meen mense daar het meer op ’n intellektuele vlak met Mike se teks eerder as met die emosionele kant geïdentifiseer.”
Richards is in Switserland gebore en het in Amerika, Johannesburg en Kaapstad grootgeword waar sy pa studeer het.
Hy het aan die Universiteit van Kaapstad gestudeer en is vir ’n Fleur du Cap-prys as beste student benoem.
Hy vertel trots dat sy volle naam Daniel Mpilo Richards is.
“Mpilo beteken ‘lewe’ in Zoeloe en ‘gesondheid’ in Xhosa. My pa het my na sy goeie vriend Desmond Tutu genoem.”
■ Born Free word tot 11 Oktober (Woensdae tot Saterdae) in die Operakroeg in die Kunstekaap in Kaapstad opgevoer.
Daar is plek vir 58 mense per opvoering. Dit begin om 20:00, maar op 26 en 27 September en 4 Oktober begin dit om 18:00 en op 2 Oktober om 21:00.
Bespreek by Computicket of bespreek by Kunstekaap-bel-’n-sitplek by 021 421 7695.
Absurditeite in SA uitgebeeld
Mariana Malan
Vrydag 19 September 2014
Daniel Richards in Born Free. Foto: Stephanie Papini
Born Free
Met Daniel Richards. Teks: Mike van Graan. Regie: Mubulelo Grootboom.
Born Free maar steeds gef-k. Dis die boodskap van Mike van Graan se jongste stuk, amper die eerste woorde op die verhoog.
Dink maar aan ongerymdhede, groot ongeregtigheid, vrae waarop daar nie antwoorde is nie. En ’n jong geslag wat nie deel was van apartheid nie, maar steeds nie ’n Suid-Afrikaanse utopie sien nie.
Van Graan het in Daniel Richards die perfekte spreekbuis vir die alfabet van onsinnigheid en omstredenheid gevind.
Hy is ’n born free, talentvol, deeglik opgelei, welsprekend, innemend. Hoewel Van Graan deeglik deurslaan, kon dit netsowel sy eie woorde gewees het.
Daar is heerlike humor oor die absurditeite in ons land. Byvoorbeeld dat die posvlak van iemand direk gelykstaan aan die tronkstaf wat hy as vryheidsvegter uitgedien het. Daar is vele verwysings na ons president, uitlatings van mindere en meerdere rolspelers in ons land, die verwarrende houding van Suid-Afrikaners teenoor vreemdelinge.
Afgesien van die flink manier waarop Daniels deur die teks draf, is hy ook ’n besonder goeie stemnabootser. Daar is tye wanneer hy eenvoudig net praat en jy weet dadelik wie aan die woord is. Sy interaksie met die gehoor is gemaklik en met ’n lewendiger gehoor (as op openingsaand) sal hy beslis vinnig op sy voete moet dink.
Ongelukkig is daar nie veel nuut aan die teks nie. Daar is min wat ’n mens nog nie voorheen gehoor het nie, baie wat in jou daaglikse bestaan irriterend dikwels voorkom.
Die stuk gaan nie juis bespreking of heftige woordewisselings uitlok nie. Dis nie die soort stuk wat oprui nie, ook nie een wat uitermate amuseer nie. Woorde word slim ingespan, maar dis nie van so ’n aard dat jy dit in toekomstige gesprekke gaan herhaal en jou opnuut daarin verkneukel nie.
Hierdie mes sny, maar word nie in die wond gedraai nie.
Klein produksie het groot hart
Mariana Malan
Donderdag 05 Junie 2014
Jessica Munna, Daniel Richards en Sne Dladla in Fergus of Galloway Foto: DAVID SCALES
Fergus of Galloway
Met Daniel Richards, Jessica Munna, Sne Dladla en Jonathan Tait. Regie: Nicholas Ellenbogen. ***
’n Epiese gedig uit die hart van Skotland, met ridders, skone maagde, boosaards en dwerge. Dit vra mos om op die verhoog te wees.
Voeg daarby die aktiewe verbeelding van Nicholas Ellenbogen en die storieverteller Alexander McCall-Smith en jy het al klaar iets om na uit te sien.
Nou word ’n koorwerk ’n musiekspel vir solo’s en uitmuntende kitaarspel (Jonathan Tait) en die eindproduk is ’n klein produksie met ’n groot hart.
Die pas is vinnig, dialoog en rolwisselings flink. En alles vind plaas op ’n verhoog veel kleiner as jou gewone voorstedelike kombuis.
Hier kom die towerkrag van die verhoog in werking wanneer ’n papiergordyn en beligting jou na ’n woud verplaas. Dit is einste hier waar swaardgevegte plaasvind en jy glo daar galop ’n ridder op ’n vurige perd verby.
En dan is daar die dwerg (Sne Dladla in een van sy rolle) met ’n stemmetjie wat jou ore laat tuit. Die oorspronklike manier waarop die dwerg lewe kry, laat jou lank ná die tyd nog giggel.
Dladla is nog nie bekend op die plaaslike verhoog nie. ’n Mens weet nou min van hom, maar jy voel aan die prikkels in jou vingers hy gaan gou naam maak.
Richards is die held Fergus. Hy spog al met ’n Fleur du Cap-benoeming aan die begin van sy loopbaan. Munna is ’n lieflike Galiene, prinses van Lothian, met eindelose energie. Al het Tait minder energie, is hy perfek as sluimerende musikant met sy bottel en as die Swart Ridder.
Dit is ’n kort stukkie genot wat jy meer as een keer behoort te sien. (Daar is geen gehoordeelname nie).
* In die Rosebank-teater, Almastraat, Rosebank, tot 28 Junie. Bespreek by 074 101 5066.
Poignancy and innocent fun
Raiders: The Great War
DIRECTOR: Nicholas Ellenbogen
CAST: Nicholas Ellenbogen, Daniel Richards, Sne Dladla
VENUE: Rosebank Theatre
UNTIL: September 6
RATING: ****
AN UNHOLY alliance between three talented thespians and some sporting members of their audience results in the entertaining whimsy that gives Raiders productions their distinctive character.
This latest show in the series marks the centenary of World War I with a wildly improbable sequence of events, starting with the delivery of a Fabergé egg to the embattled Romanovs in 1916, and ending with the blooming of poppies in Delville Wood.
It is not so much the aleatory and inventive plot that delights spectators, as the outrageous ingenuity with which simple props are used to evoke great and dramatic happenings – in other words, this epitomises the Ellenbogen style.
The trio of actors complement one another to excellent effect: Ellenbogen himself and Daniel Richards inhabit identifiable personae throughout the show, the former a member of the Fabergé family, the latter a White Russian who becomes a willing accom-plice in the attempt to perpetuate the Romanov dynasty. Both are plausible in implausible roles, and the third cast member, Sne Dladla, steals the show in a range of parts that have him impersonating, among other things, a snowstorm, a horse named Egbert, a spectacularly stupid sentry, and the bloodthirsty villain of the piece, ominously named Julius.
Sean Whitehead’s crafty lighting creates the illusion of such action-film clichés as escaping danger in a hot air balloon, evading the malevolence of one’s enemy in a dodgy cable car, and that perennial nerve-tweaker, the battle of wills between pursuer and quarry on the roof of an express train in the middle of the night. For good measure there is even a ride aboard a paddle boat – not bad for a space the size of this theatre’s petite stage, and all conveyed with tongue-in-cheek panache.
Particularly effective is the ear-shattering detonation of squibs to suggest the violence of battle in a war zone, while a simple sparkler evokes starlight in a quieter moment.
No Raiders would be complete without the considerable groan factor of predictable or familiar puns, and this one is no exception; it all adds to the innocent fun.
Less characteristic is the poignancy of the finalé, but this is appropriate given the carnage that made the war a major tragedy of the 20th century: red confetti scattered over a model of Delville Wood evokes both bloodshed and the flowering of poppies to soften the atrocity committed there.
This quieter-than-usual ending does not negate or diminish the energy and zest with which Raiders: The Great War is enacted.
Passage – directed by Thando Doni at the Baxter
Submitted by Baxter Theatre Marketing
Makhuseli Richard Tafane, Apiwe Menziwa, Daniel Richards, Thando Doni, Jeoffrey Makobela, Nicholas Campbell from Passagephoto by Oscar O’Ryan
A new play, Passage, which tackles what it means to be a good man in SA today, is on at the Baxter for a short season this March. Emerging young director Thando Doni and his cast of five actors tackle the question of what it means to be a good man in South Africa today with a brand new play,Passage, at the Baxter Flipside for a short season from 4 to 22 March at 11am (for schools) and 6pm (public performances).
Commissioned by the Western Cape Department of Cultural Affairs and Sport, Passage was devised by Doni and the cast and is an exciting newcollaboration between the Baxter Theatre Centre, Magnet Theatre and Zabalaza Theatre Festival.
“I am extremely excited by this new work as it stimulates much-needed debate around the issue of what it means to be a man in South Africa today. It encourages people to learn from one another, respect diversity and cultural difference, but more importantly embrace our common heritage,” says Western Cape Minister of Cultural Affairs and Sport Mr Ivan Meyer.
He continues, “When we do so, we transcend our real and imagined barriers and create a space in which social inclusion and cultural warmth can thrive. The production also illustrates the power of partnerships and collaboration as it succeeds in bringing together the expertise of organisations such as the Baxter and Magnet Theatres and affording young actors and theatre directors the opportunity to transcend cultural barriers and give expression to the slogan Your Culture, my Culture, our Heritage.”
The Passage cast is made up of young rising talents Mkhuseli Richard Tafane(Caboose, Mhla Salamana), Nicholas Campbell (Salome, Between), Aphiwe Menziwa (Inxeba lomphilisi, Mhla Salamana), Daniel Richards (Brothers in Blood, Richard III) and Jeoffrey Makobela (Bash or be Bashed, Thabo Mbeki and other Nightmares). Set and costume design is by another young talent, Kabelo Chalatsane, and lighting design is by Benever Arendse.
The 28-year-old Doni is one of the most inspired, energetic and creative young directors in South Africa at the moment. He is a graduate of the Magnet TheatreFull-time Training and Job Creation Programme, a Zabalaza Theatre Festival Best Director winner and a recipient of the Theatre Arts Admin Collective Emerging
Director’s Bursary. Productions which he has performed in include
Trojan Horse Story, Looking Inside, Inxeba lomphilisi, Ingcwaba lendoda lise cankwe ndlela, Proximity and Loss and Having. His credits as director are Utopia, Malanga Awafani, Mhla Salamana and Heart of Darkness.
Through combining different styles such as physical movement, music, storytelling, poetry and rituals, Passage probes and looks at how boys grow into responsible, caring men. How do men engage with power without resorting to violence? It goes to the heart of the crisis of violence against women in South Africa. It not only explores the values, assumptions, fears and behaviours that allow such violence to be perpetrated but investigates, in our multicultural context, how boys transition into men.
“The play recognises the need to redefine what it means to be a man in today’s world and reaches towards images of positive masculinity to light the passage through the darkness,” explains Doni. “Through a process of workshopping, the cast and I started out looking at our society in South Africa right now. We considered how men behave and where we are going as a country. We tapped into the violence and abuse against women and children, how men can take responsibility and stand their own ground, the demands of society in terms of status, the lack of male role models in our society, and the lack of respect amongst men as well as many other themes which speak to the issue. The scary reality is that, if we carry on in this way, what will happen in the future?”
Performed in English, Afrikaans, Xhosa, Sotho and Pedi, there is an age restriction of 12 years.
Passage previews on 4 March, opens on 5 and runs until 22 March at 11am (for schools) and 6pm except on 8 March when it starts at 8pm. Tickets cost R80 and booking is through Computicket on 0861 915 8000, online athttp://www.computicket.com or at any Shoprite Checkers outlet.
For discounted block bookings, charities, schools, corporate bookings and fundraisers, contact Sharon Ward on 021 680 3962 or This email address is being protected from spambots. You need JavaScript enabled to view it.“>sharon.ward@uct.ac.za or Carmen Kearns on 021 680 3993 or This email address is being protected from spambots. You need JavaScript enabled to view it.”>carmen.kearns@uct.ac.za.
Production information
Title: Passage
Commissioned by: Western Cape Department of Cultural Affairs and Sport
Presented by: Baxter Theatre Centre, Magnet Theatre and Zabalaza Theatre Festival
Directed by Thando Doni
Devised by the company
Cast: Mkhuseli Richard Tafane, Nicholas Campbell, Aphiwe Menziwa, Daniel Richards, Jeoffrey Makobela
Set and costume designer: Kabelo Chalatsane
Lighting designer: Benever Arendse
Dates & Times: 4 – 22 March 2014
Previews on 4 March at 6pm, opens on 5 March at 6pm and runs until 22 March at 11am and 6pm except on 8 March at 8pm.
Ticket price: R80
Booking: Through Computicket on 0861 915 8000, online at http://www.computicket.com or at any Shoprite Checkers outlet. For discounted block bookings, charities, schools, corporate bookings and fundraisers, contact Sharon Ward on 021 680 3962 or sharon.ward@uct.ac.za or Carmen Kearns on 021 680 3993 orcarmen.kearns@uct.ac.za.
Age restriction: PG 12
DMR Productions 