Emotional tangling that grips the heart

Missing

DIRECTOR: Janice Honeyman

PLAYWRIGHT: John Kani

CAST: John Kani, Susan Danford, Buhle Ngaba, Apollo Ntshoko

VENUE: State Theatre

UNTIL June 27

RATING: ****

It’s a year on from when Missing first opened at The Market and its time on the boards, including a recent run in Durban’s Playhouse, certainly shows.

It comes across as less pedantic and preachy which might be because some of the speeches have been cut or it might simply feel like that because of the confidence of the actors. Ntshoko, who plays Peter Tshabalala, a man who has risen to the top dramatically and struts his newfound prowess, has certainly claimed his role which he didn’t the first time round.

He now has the arrogance of someone who believes he has received what he deserved by whatever means this has been accomplished, and as he slithers and slides to defend his position, he typifies the kind of person who serves no master… only himself. “I’m tired of being deputy this and deputy that,” he says defensively as he justifies his behaviour.

And being more comfortable in his minister’s skin, benefits the production hugely as they’re all on board as a complete ensemble to tell the story.

Missing, following Nothing but the Truth, also deals with a post-apartheid South Africa, looking at its people now. John Kani (also the playwright) plays Robert Khalipha married to a wealthy Swedish business woman (Danford) with a daughter Ayanda (Ngaba) who is on the verge of marrying a Swedish man.

But Khalipha is “missing in action”, as he waits, six years on, for his government to call him to service. He feels he deserves that and can’t understand why he has been ignored. All his life, he has fought for his people’s freedom and now that they have won, he feels ignored and lost while longing for home.

His wife and daughter are aware of his longing, yet perhaps are not quite aware of how deep his feelings run. In the meantime, Tshabalala, a man mentored by Khalipha, has decided to return home and has been included in the cabinet of Thabo Mbeki. “I knew him personally,” says Robert, not understanding why he has not been contacted to return home. He feels he needs the invitation.

It’s a story of different people and their expectations. Everyone has that when a new country emerges. For those who fought for a better life for their people, the hopes are many, while others feel they deserve everything that comes their way. Kani doesn’t shy away from any of this country’s problems, but wisely takes us back a few years to give some distance. The audience though isn’t fooled and loudly joins in the conversation as he criticises people who should be taking care of their most scarred people, not only their closest and dearest.

It’s an intriguing work with excellent performances all round with Kani and Danford battling not only the differences of their couple’s background, but also the struggle between the sexes on many different levels. With such a strong pull back to the continent, Robert embraces his role as father and husband in a way that offends his Swedish wife and daughter. But that’s just the tip of what they’re fighting for and about.

There’s still a problem with too much happening too quickly which pushes the actors to take too great a leap at certain points. But this time round, the cohesion of the acting ensemble and the strength of what Kani is grappling with, create an emotional tangling that grips the heart.

We are a people who talk about our problems and issues. Kani is certainly at the forefront on stage – and brilliantly