The residents of Khayelitsha, a township on the eastern outskirts of Cape Town, were rejoicing, deliriously swirling in fits of joy as the long awaited news reached them. On the back of the Mandela Park housing scandal which saw the Western Cape MEC for housing deliver only 5 of the 437 houses that were promised by the city of Cape Town. Amidst the toilet saga which leaves hundreds of households with unfinished, unroofed external toilets, a West End play came to town!
A play of this caliber, of such international acclaim should be well received, especially considering the ‘pay as much as you can’ ticket price. However, the reception was rather subdued. Does this come as any surprise? Effectively you are bringing a show steeped in white middle class culture and expecting a distinctly African culture to embrace it. People are right to be skeptical about this cultural fusion. I understand what the organizers of this event were trying to achieve; as director Sean Mathias admirably states “We wanted to bring our production to the people of Khayelitsha in a venue that is accessible and at a price everyone can afford, and in this way properly honour the notion of ‘touring’”. Despite these admirable sentiments I can’t help wondering if this was sincerely an act which upholds the spirit of ‘touring’ or was it a cleverly executed publicity ploy?
Was it appropriate for a West End show to flounce into a community that is struggling to establish adequate sanitation, education infrastructure, sufficient housing, or a basic income level? On my way there we picked up a couple of hitchhikers and asked if they had heard of the play, ‘yeah yeah I heard something about that’. You didn’t want to go then? I inquired. A violent click erupted and a sound ‘CHA…I ain’t got no money’. The very assumption that this woman had the choice to go was perhaps ignorant, and the car was plunged into silence as we reflected upon our arrival in the township to see a West End play that the locals couldn’t afford. ‘Pay as much as you can’ was rather insulting considering people would buy more food for their family if they ‘could’, they would re-roof their house for the winter if they ‘could’, and they probably wouldn’t be chomping at the bit to see Waiting for Godot if they ‘could’.
On the other hand what harm does it do? Other than being exposed to an alien pastime and experiencing theatre at a level never before imagined, it is hardly a malicious act. Publicity stunt or not it has gathered white South African’s in a hitherto ‘excluded’ area. This recreated the atmosphere of the multi-racial, multi-ethnic fan parks of the World Cup, which was the first time South Africans stood up and noticed the beauty and unity of their people. Even those who have not made it out to the township will have talked about the prospect of going, or at the very least it will have been discussed. With this discussion, true feelings and fears will have emerged, hopefully with an element of introspection. Self reflection concerning the sub conscious prejudices that we harbor should be a positive action.
The positive vibes of the event were plainly evident during the show, which was a fusion of slapstick actions with a colossal underlying message. Whether this message was effectively portrayed is not important. Godot being a pseudonym for God, the questioning of a life spent waiting for a non-existent character, encountering along the way the struggles of reality, and the repetitive nature of a life spent waiting; all this was slightly, and perhaps wisely diluted. So, the opening speech was delivered solely in Xhosa, the audience of black, white and coloured people rose in a standing ovation, and everyone went home with a warm theatre buzz! It was nothing but a success, but was it appropriate? As Waiting for Godot departs the residents who for ‘one night only’ were witness to world class theatre are left waiting for houses, roofing, food, education, sanitation, opportunity, and dignity! Saving and campaigning for the next theatre performance is probably not high on their list of priorities!
I am interested to hear peoples opinions on the Waiting for Godot performance in Khayletisha, please comment.