Lungi Pinda

Penalty Shootout is the third and latest edition of Mike van Graan’s popular, award-winning Bafana Republic one-person, political, comedy revue brand. This time it is young Lungi Pinda who performs under the direction of Mandla Mbothwe.

Projections of Zapiro’s cartoons set the scene for each skit, opening with an estate agent kugel trying to sell Greenpoint stadium after the FIFA World Cup. Others include Madonna hosting celebrity adoptions; a man faking disability giving his take on the political situation; an evangelical preacher soliciting funds from us in order to pay for the soccer event which will bring the new dawn; an over-long spy scandal skit that (somewhat tediously) strings together James Bond film titles; a song “blame apartheid”; a rich, racist white woman with a racist dog struggling to come to grips with transformation at her children’s school; and the top 10 hits as reflecting various public figures. The most satirical sketch targets the African renaissance with a lecture in Dictator 101, and the cleverest is a spoof on South African politics by parodying the most famous lines penned by Shakespeare.

As a performer Pinda is limited to variations on two voices, and his female characters come across more as television stereotypes of over the top gay queens than women. The first Bafana Republic with Lindiwe Matshikiza remains the best performed. The current show is less reactionary and shrill and therefore somewhat funnier than the second instalment.

The problem I have with the Bafana series is that the structure of each skit has become lax. The satirical voice is too muted, because what we get is not quite satire, but almost a string of political jokes imposed on several fuzzily defined South African voices. A better performance would help somewhat.

The concept behind Romeo n Juliet Unplugged – an uncluttered, edgy, funky version of Shakespeare’s romantic tragedy aimed at Grade 12 learners – is certainly worthy. The dependable Robin Malan has prescribed an excellent, fast-paced abridgement of the full play. Some members of the cast, such as Pakamisa Zwedala and Lungi Phinda, are usually quality players. But this is an excruciating 80 minutes in the theatre.

The performances in the Romeo and Juliet roles are so amateur as to be dismissible. One is tempted to chime in with Juliet during one of her merciless screams: “past hope, past cure, past help!” Each member of the ensemble plays numerous parts, with minor costume and changes in accent, though unless the pupils know the play well, they may find these rapid shifts baffling.

There are a few provocative directorial touches. The warring Capulet and Montague families wear black and white versions of COPE and ANC insignias, but it is hard to see how this production will achieve its objective in proselytizing Shakespeare.