Neil Coppen’s latest theatre-drama, ‘NewFoundLand’ (Buite Land), has showcased the provocative and healing power of theatre, as Stellenbosch audiences gave it a standing ovation at its second Woordfees performance on 3 March.
Created in partnership with the Royal Court in London and The Market Theatre Foundation, ‘NewFoundLand’ (Buite Land) revolves around the relationship between Jacques, an Afrikaans anaesthetist from a conservative background working at a state hospital in Pietermaritzburg, and Sizwe, a Zulu-speaking choreographer and student at the nearby University of KwaZulu-Natal.
Despite the two men having vastly different upbringings and different worldviews that contrast them to the extent where their being together seems impossible, their stories and lives become intertwined in a way that transcends the confines of convention.
Sizwe tells Jaques of a dream he had in which his ancestor spoke to him. PHOTO: Hans van der Heen
“I feel it’s our responsibility to look for these extraordinary similarities as opposed to differences in narrative all the time,” Coppen says in a conversation post-performance.
What at first appears to be a casual ‘hookup’ via Grindr, a popular dating app for gay men, quickly evolves into a beautifully complex relationship, with none like it having been portrayed in South African theatre to date.
Coppen found it relevant, in such a scenario, to “[Look] at social media and the strange, lonely places that many of us find ourselves in [because of it], the sense of trying to connect with people and the weird sexual contracts that come with these apps”.
Jaques, a young anaesthetist, tries to escape his dreams by putting himself into a deep sleep. PHOTO: Hans van der Heen
The play captures, both visually and emotionally, a combination of dialects (isiZulu, Afrikaans and English) and shows how closely they are linked to South African identity. They play off against one another to create a truly multicultural experience.
“I loved the trilingual experiment, because the dialects are so important to the play,” Coppen comments.
Between dreams and consciousness, the tricks of memory and the pain of reality, Coppen’s work is a visual delight, contrasting traditional African imagery with clinical props, such as a lone hospital bed. Minimal, yet effective central set design keeps audiences’ focus on the dialogue between the two lead actors as well as the mental and physical spaces they occupy.
Perhaps the most refreshing element in ‘NewFoundLand’ (Buite Land) is the equal respect afforded to all cultures; the acknowledgement that contrasting perspectives can co-exist without malice.
Sizwe is circled by his ancestor (Ntombi Gasa), a traditional Zulu-healer, in one of the play’s many incredible scenes. PHOTO: Hans van der Heen
“One form of thought or knowledge is so limiting. When we open ourselves to truly trying to grapple or understand each other’s realities and how complex they are…, we can be a much more evolved nation,” Coppen says.
Whilst Coppen drew heavily from his own experience when composing the play, he admits it was a collaborative experience.
“It is a constantly evolving story, with our actors contributing a lot with their own narratives,” he says.
It is difficult to imagine a theatre production in which elements of Western ideology, African traditionalism, immigration, sexuality and identity not only co-exist, but feed in to one another so successfully. In a South Africa that often seems divided, it illuminates a way towards a shared identity.
Nurse Grace (Mpume Mthombeni) carries Sizwe off stage after a chillingly beautiful display of physical theatre. PHOTO: Hans van der Heen
When asked what his play was about, Coppen laughingly replied, “The universe!” He wasn’t wrong.
“Even if it doesn’t make sense to everyone, let it just wash over you.”
The final verdict? An absolute must-watch for theatre lover and non-theatre lover alike. 4.5 out of 5 stars.
– Wilhelm Schumann and Kyra Tarr