Die dag toe Guppie sweef is 28 Oktober by Koelkamers in Paternoster
In her introduction to Contemporary children’s theater, Betty Jean Lifton states that, like Antoine de Saint-Exupéry when he wrote The little prince, “all of us who write seriously for the young have the stars – at least a small glimmer of them”. And that writing for the young is a pursuit that is “a matter of consequence”.
In the children’s production Die dag toe Guppie sweef (written by Alberto Smit and Jeani Heyns), we meet Guppie: a stargazing post guard who lives in the “Republiek van die Kapokboerevereniging”. This republic is an isolated segment of South African land created by an unexpected earthquake. The citizens are left to govern themselves, resulting in a funhouse mirror version of kitsch Afrikaner culture. Their society is domineered by an us-versus-them mentality, and Guppie is left daydreaming about what lies beyond the great divide.
Two clowns (played by Kerscha Titus and Robert Hindley) from the future are the narrators of the story, setting the world of the play with a delightful opening sequence of physical comedy. As players, Titus and Hindley are perfectly matched. Titus provides a lightness and bubbling effervescence, while Hindley transforms into different characters and moods with masterly plasticity. Their clowning and physical comedy allow younger children to connect with the show’s imagery – resulting in a full-blown giggling fit from a toddler during the show I watched.
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Often, we see children’s theatre of little consequence, with scripts written with a didactic tone that ends up estranging children rather than engaging them.
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However, the show also engages older children (and adults) through its thought-provoking text and dynamic rhythm. A script for children’s theatre is recommended to be written according to merit first, and then to be accommodated for a younger audience through vision second. Often, we see children’s theatre of little consequence, with scripts written with a didactic tone that ends up estranging children rather than engaging them. Die dag toe Guppie sweef is multilayered and refrains from telling the audience explicitly what the resolutions are. The production ends in a moment of suspense, floating with the questions instead of providing the answers.
This production’s strength lies in these gaps, encouraging the audience to take a leap of faith. Its movement-based nature creates physical images that demand active, imaginative and individual choices from the audience members. Personally, I believe this imaginative engagement to be a crucial part of children’s theatre, especially considering the information overload that we’re faced with. The physical, cultural and language gaps in the show emphasise how we make meaningful connections within these empty spaces.
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The physical, cultural and language gaps in the show emphasise how we make meaningful connections within these empty spaces.
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Guppie eventually connects with someone beyond the great divide. A disembodied Xhosa voice speaks to Guppie via a tin can telephone, describing the world beyond the republic’s electric fence. Guppie makes friends with The Other, problematising the republic’s enforced boundaries, and in that discovers a whole new world.
It’s the audience’s decision to complete and colour in the rest of the show. Die dag toe Guppie sweef is unique children’s theatre that refrains from being didactic. It is perfect for families seeking entertainment that is engaging and fresh – and hopeful. For children who are growing up in an increasingly complicated world, and in a country with fraught tensions, it is essential that we encourage them to ponder solutions rather than prescribing them with answers. And to listen, dream and take a good leap of faith when needed – much like Guppie.
“All men have stars …. But all these stars are silent. You – and you alone – will have the stars as no one else has them.” – Antoine de Saint-Exupéry, The little prince
Die dag toe Guppie sweef showed at the Toyota US Woordfees on 14 October and will be showed at Koelkamers on 28 October 2023.
With Kerscha Titus, Robert Hindley
Director and set design Alberto Smit
Producer Motorhuis Productions
Writers Alberto Smit, Jeani Heyns
Xhosa translator and voice over artist Onela Metuso
Stage manager Jeani Heyns
Also read:
Die dag toe Guppie sweef by vanjaar se Toyota US Woordfees 2023: ’n onderhoud met Jeani Heyns