Fighting for land, peace and against government corruption in a new play
JOBURG – Relevant current affairs are discussed in a stage play at Joburg Theatre this month.
Relevant to the current affairs in South Africa, and many societies in the world to an extent, The Caucasian Chalk Circle will be on The Fringe stage at Joburg Theatre,
From 5 to 23 April the play, The Caucasian Chalk Circle, which is directed by Lebohang Motaung, will feature a stellar cast including Aubrey Pooe, Izak Davel, Neka Da Costa, Jacques Wolmarans, Simpho Mathejwa, Nyeleti Ndubane, Mimi Mahlasela and Koketso Motlhabane.
The Caucasian Chalk Circle begins with a prologue that introduces us to two groups of farmers in a dispute over land. The one group wants the land for commercial purposes, while the other group, goat herders, are claiming the land based on the fact that they were born and have always lived on the land – an argument prevalent in South Africa today, following the country’s tumultuous and racially unjust past.
The two groups of farmers decide to demonstrate their disputes by staging a play for a government expert.
At its heart, The Caucasian Chalk Circle follows two stories – one is that of Grusha, a strong-willed, simpleton girl with a big heart and a soft spot for justice, and the other is of Adzak, a drunk, oddball judge who mocks the law.
Read: 71 per cent of children do not have access to a safe environment to play
In the play, Bertolt Brecht deals with social economic issues that resonate with most societies, and more so in South Africa.
The themes that audiences can witness in the play include government corruption, land disputes, the gap between the rich and the poor, child neglect and women abuse, which are amongst other socioeconomic issues constantly seen in news headlines almost every day.
Although there are heavy topics presented throughout the story such as assassination, child neglect and totalitarianism, the tone of the scenes are almost always meant to be humorous.
Don’t miss out on this show, ending 23 April.
Edited by Beryl Knipe
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