African Gothic is certainly not a theatrical work aimed at the faint hearted and those that favour mawkish escapism on the boards in London’s West End. This is a play designed to provoke you, disgust you, leave you with some quite evocative images burnt into your retinas and to violently stimulate your amygdala. If disturbing and challenging theatre is your shtick, then this is the play for you.
This multi award winning play was originally penned in 1985 by South African playwright Reza de Wet and this particular production was brought to the stage by a fascinating new theatre company entitled the Barebones Project, which comprises of a group of experiences actors, artists and musicians. Their objective brings forth echoes of Jerzy Grotowski’s Poor Theatre in that they want to create a stripped down and provocative theatrical experience that explores ‘the barriers that interfere with an actor’s ability to be present in his/ her fullness of being; our anxieties, artifice and emotional duplicity.’
This is the company’s first production and the subject matter is at times incredibly harrowing and, as an audience member, you are truly provoked and thoughts of the play linger around for days after- they did for me anyway!
African Gothic is set during the apartheid in South Africa and tells the story of the childlike and feral Frikkie and Sussie, a brother and sister who live in a barren wasteland, ostracised from any kind of human contact. The two central characters have an incestuous relationship, content in their own bubble of squalor and degradation. The other inhabitant of their shack is the servant, a taciturn and yet imperious presence, played by Naomi Wirthner.
The play centres on a visitor who delivers Frikkie and Sussie a message from a, recently deceased, family member. He is appalled by the conditions he is met with and the eccentricities of the brother and sister.
The Arcola was a perfect setting for this play as the audience are sat close enough to smell the stale sweat that lingers in the air and feel the ominous sense of foreboding that permeates the performance. The histrionic and disturbed Sussie is played terrifyingly well by Jane Gwilliams as she explicitly communicates the acts of a woman who is at times animalistic and sexually unrestrained and yet, to humorous affect, attempts at times to be vaguely civilised to impress her guest by speaking in a posh English accent. Gary Wright’s Frikkie is the strongest performance though as his emotional complexities are given space to be explored. There is a sense of decency within him although he is unfortunately bound by the misfortune of the circumstances of his life’s disturbing machinations.
The play is pertinent in lieu of the recent riots that have spread across England in its exploration of the mishandling of youth. In Frikkie and Sussie, you have two characters brought up unabashed, untamed and raw. They have defined their own brand of morality and have created their own world for which anyone who threatens it, will be punished in the most abominable way imaginable.
A terrific play but certainly not to everyone’s tastes.