Interview ZINOBULALI GODUCKA
In a fast paced, produce now and think later, visibility crazed creative industry, it is enlightening to learn about fermenting, brewing,and simply sitting on material for years before it sees the light of the day. We speak to Brett Braily to find out what his process looks like and delve into the creation of his latest offering - The Stranger. An adaptation of the Greek myth Orpheus currently showing at Theatre Arts for a limited season.
Catching us on lunch, four writers in the Developing Writers to Write for Theatre programme by Theatre Arts, off guard - we introduce ourselves to a man who already knows our professions and motivations for the programme. We have a light conversation then move to the formal setting of the actual interview with him where he gives us an all access pass into his creative process.
Adaptations are one of the longest theatre traditions that continue to remind us why this creative medium exists; to reflect on the human experience and condition. Whether a strategic choice for business logic, familiarity, easy buy-in from the audience or it is the story itself that ‘haunts’ the adapter. Adaptation continues to occupy a significant part of the productions that are offered yearly in theatres around Cape Town.
Brett Bailey, a critically acclaimed South African playwright, designer, director, installation artist, and the artistic director of Third World Bunfight. He is one theatre-maker that has directed numerous adaptations from Greek to African mythologies situating them in post-colonial South Africa, confronting the often skewed relationship between the Global south and the West. Now sitting at the top of our table takes us through his introduction to theatre as a young lad in university; falling in love with the medium and realising he has things to say and the medium allowed him to do just that. “We talk about what we want to talk about but there is a responsibility to be as informed and knowledgeable about what is going on around the world as much as we can”. From his retelling of his story I gather that Bailey is method creative as he creates material inspired by his lived experience from his research. He seeks to experience the topics he deals with in his productions which in the past led him to live amongst traditional healers, ashrams, learning about voodoo doctors and ceremonies and rituals of these communities. Which all informs and ripens his ritualistic works including The Stranger.
The Stranger premiered at the National Arts Festival in 2024. Now at Theatre Arts, for its 6th rendition of Orpheus having been reworked and staged since 2006. “It’s like a haunting thing that sits and keeps trying to make its way out. It’s not all myths. It’s this myth in particular, this one I probably will do again.” Responds Bailey, when asked why this myth and not the others. It is often believed that stories chooses us not the other way around and that seems to be the reality for Bailey. A discussion of ownership, legitimacy and rightfulness surfaces when African myths and folklore are at play. The pre-colonial texts of the North often become a safe bet plus they are familiar for the general theatre-maker as compared to indigenous stories; for how long that will happen is a chat for another article, for now, what is The Stranger about and why is it relevant?
The Stranger follows Orpheus played by Nkosinathi Koela as he arrives in this community bearing the gifts of music that binds, shakes the fabric of all that is natural and awakens vibrancy the community has never seen before. He is however, met with the tragedy of losing his wife on the night of their wedding, bitten by a snake. He journeys to the spirit world to find her. When he returns, the community turns against him. This production comes at a crucial point in the actor and film production industry practitioners as they rise fighting for a regulated industry. Much like Orpheus who entertains, heals and gives meaning to the community’s lives but they turn on him when he is mourning, the life of a South African artist is like that. “ For me it’s about how an artist tries to shape the desperate threads of chaos that are around him into something and how you try to hold that perfect for a while then it breaks down again.” The Stranger vaguely suggests the introspection of those who fear change. It seems to be asking the question, what is that you are afraid of? It shows us that human hypocrisy prevails despite the beautiful music Orpheus introduced to the community.
The components of The Stranger all feel in sync. There is an undeniable synergy that makes you wonder what it is exactly that is making this production work? If I take away one component would it be the same? Is it the structure? “ I trust my choices. I don’t feel like I need to justify my choices to anybody”.Rooted in rituals, dreams, ceremonies and the ethereal musical landscape. Bailey shares that it can take him up to 3 years to produce a show as he tries to bring the picture together, making sure the performers are aligned, costume, texture, colours, all the components work together. He is very specific with what goes onto the stage, that everything fits the bigger picture without compromise.