Rehearsals are underway for Bitter Winter – a new play penned by acclaimed South African playwright Paul Slabolepszy, which premieres at Pieter Toerien’s Studio Theatre at Montecasino from February 20th – March 16th. Director Lesedi Job and cast members Andre Odendaal (Jean-Louis Lourens), Oarabile Ditsele (Prosper Mangane) and Chantal Stanfield (Felicia Willemse) are currently in rehearsals, discovering the nuances and back-stories of this character-driven piece that deals with the human condition while sharing a story of resilience and discovery.
Pictures; Gustav Gerdener
From left; The cast Chantal Stanfield, Oarabile Ditsele and Andre Odendaal
With Paul Slab (as he is known) himself an artist, both a playwright and an actor, he has turned to his own life experiences with this exploration of an artist’s life. Bitter Winter celebrates the legends of South African theatre while shining a light on the new generation of rising stars making their mark on the global stage.
What he is hoping to share is the sometimes rocky road that many artists are driven to travel in pursuit of their dreams.
It all begins in a venue which is like a home to actors, perhaps often an uncomfortable one, with the characters sitting in an audition room.
It’s about the life of an actor, the struggles and triumphs of those artists who remain deeply committed to their craft despite the challenges they face.It tells the story of two actors, one at the end of a career spent mainly on the classical stage, and another starting out on his journey, with the magic and the madness of this ‘make-believe’ world on full display.
Playwright Paul Slab and director Lesedi Job
According to the producer, Weslee Lauder, the idea of a play with such an important story, especially since local actors have been bearing the brunt of an industry not taken care of by its governing parties, spoke to him
He also liked the concept of youth honouring the elderly, which speaks to a powerful truth.
In life, the young often forget that the paths they walk were paved by generations before them. And here, he believes, it is vital to remember the legacy, wisdom, and sacrifices they’ve left behind—and to show gratitude in every aspect of life.
A seed was planted, according to the playwright, when he heard Lizz Meiring giving a talk a number of years ago about all the vital work that the Theatre Benevolent Fund does, stressing the plight of aging artists in South Africa as they reach the end of their careers.
“I was asked after that talk whether I would write a play about it and I jumped right in. Then Covid hit, but I kept working on it. I wrote the piece with Andre Odendaal in mind, who then brought Weslee Lauder in to produce. And here we are!”
Slab had seen Andre, pictured above during rehearsals, in Dop and thought he would be ideal for Jean-Louis. The other two artists went through the audition process.
Collaboration comes easily to Paul who always collaborated, especially with his close friend Bill Flynn before his untimely death. “In many instances, it’s the only way to get a show on stage, especially a new play,” he explains
While Paul has always enjoyed writing comedy, he is also known for theatre with strong moral values and believes it is especially important right now, given the current state of the world.
It is important to deal with the issues, but to talk about them in such a way for the audience to be receptive. We need to keep writing authentic stories, he says.
Lesedi Job, above with cast members and Paul, was drawn to the play because of the story. She was reminded of her own complex love affair with theatre as an artist. “But as I started working on the play, I became aware of how this is a story that inspires self-reflection and I love telling stories that leave an audience thinking.’’
Telling local stories especially appeals to her because she is passionate about being part of a next generation of storytellers who contribute to the history of South African theatre. “Bitter Winter is the fifth new South African play I am directing and I think this is not only out of choice but also because it is my purpose.”
She is especially affected by the theme of an older generation versus the younger generation. “I am reminded of my mother and her wisdom and the quiet knowledge that comes with age and experience. The other themes are that of the complexity of our identity that is informed by our history, our languages, our traditions and culture as well as our scars. And that of humanity.’’Maya Angelou says: “During bad circumstances, which is the human inheritance, you must decide not to be reduced. You have your humanity, and you must not allow anything to reduce that.”
Discussing her processes, she explains she spends a lot of time before the rehearsal process preparing, researching, interrogating and unpacking the script to get a handle on the story, the world and the characters.
“Once in the rehearsal room, I download information to the actors and plant seeds for them to think about; allowing an actor to bring themselves and their choices to the creative process.
Chantal Stanfield and Oarabile Ditsele
The process requires planning and thinking on your feet, humility and grace, as the director knows that at times you might not know what to do and to not get stuck on an idea you may have had beforehand.
For Andre Odendaal it’s a love for new South African work. “These opportunities are rare and always special. An authentic voice and a remarkable challenge.’’
His preparation for any character always starts by finding relatable qualities first. “Do I understand the character’s emotional world, what are the points of connection either to my own life or a that I have observed? Then one finds a physical and vocal quality. Here it is an older actor’s so that commonality was easy to find, albeit a very different mind space to my own.”
As for the audience, he hopes that they take home not only a better understanding of the plight of an artist and the commitment but also the joy of watching live theatre.
“A realisation that art feeds the soul.’’
For Oarabile Ditsele, it was a chance to collaborate with people who have shaped the theatrical landscape of South African theatre, people like Andre and, of course, Paul Slab.
None of them had worked on a Slab piece before.
For Chantal Stanfield, it is her first time working on one of the playwright’s plays professionally. She did some curriculum scene work at drama school, but to actually work with him 20 years after she graduated is such a gift.
She loves originating a new piece. “It’s a fresh and daunting challenge with no ‘original cast recording’ to fall back on. We don’t just decide to do this, it is a mad calling that is so fulfilling that we endure the scorn, the rejection, and dismissive attitudes every day.”
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