Charming Gem of a Play

Anton Krueger reviews The boy who fell from the roof

This is a play about definition. If one wanted to label the show – despite the fact that the text ridicules the possibility of any accurate description in terms of language – then it might be called the most “postmodern” of the shows on this year’s Grahamstown Festival Main Drama programme.

The story is told in a playful, poetic narratorial voice which self-reflexively comments on the processes of constructing itself. The narrator makes up names for the characters as they appear, and sometimes the characters interrupt her and finish her sentences for her. There are also a number of inter-textual references as characters discuss the production of other plays and ways of reinterpreting Shakespeare. In addition to this, a linear timeframe is undermined as the story leaps backwards and forwards into different situations being played out across the expressionistic design. The play also takes a stab at its own ostensible “relevance”, and when talking about South African theatre the boy says that “relevant things get boring”.

Although the play does provide a great number of discussions on the question of sexuality, it never takes itself too seriously. Instead of overburdening the issue of gay identity and sexual self-discovery, the style is child-like, innocent and mischievous. It’s not a “brave play”, or a “provocative production”, but rather a simple story about growing up, told in an enchanting way.

I must admit that I was at first a bit put off by the promotional material presented in the programme, which makes it seem like a terribly serious “issues”-driven production, replete with solemn black and white photographs. But nothing could be further from the truth. By not turning its focus on the usual Sturm und Drang of youth in crisis, Juliet Jenkins has avoided the “heavy”, “deep” connotations so often associated with stories of sexual discovery. She has, instead, crafted a light and very amusing tale.

Three of the texts on the Main programme this year have come from development programmes (run by the Baxter, Artscape and Pansa). Judging by the quality of the work being produced, it seems that investing in the process of playmaking has been paying off. Roy Sargeant is to be commended for developing this gem.

(This review was originally published by Cue on 8 July 2006. Used with permission.)

LitNet: 02 August 2006

Wil jy reageer op hierdie resensie? Stuur kommentaar na webvoet@litnet.co.za om die gesprek verder te voer op SêNet, ons interaktiewe meningsruimte.

boontoe / to the top

© Kopiereg in die ontwerp en inhoud van hierdie webruimte behoort aan LitNet, uitgesluit die kopiereg in bydraes wat berus by die outeurs wat sodanige bydraes verskaf. LitNet streef na die plasing van oorspronklike materiaal en na die oop en onbeperkte uitruil van idees en menings. Die menings van bydraers tot hierdie werftuiste is dus hul eie en weerspieël nie noodwendig die mening van die redaksie en bestuur van LitNet nie. LitNet kan ongelukkig ook nie waarborg dat hierdie diens ononderbroke of foutloos sal wees nie en gebruikers wat steun op inligting wat hier verskaf word, doen dit op hul eie risiko. Media24, M-Web, Ligitprops 3042 BK en die bestuur en redaksie van LitNet aanvaar derhalwe geen aanspreeklikheid vir enige regstreekse of onregstreekse verlies of skade wat uit sodanige bydraes of die verskaffing van hierdie diens spruit nie. LitNet is ’n onafhanklike joernaal op die Internet, en word as gesamentlike onderneming deur Ligitprops 3042 BK en Media24 bedryf.