As a writer, director, and actor, Wessel Pretorius has carved a special place for himself in the world of South African theatre. He spoke to SMF News’ Daniélle Schaafsma about the importance of theatre and how his process of writing and directing works.
Wessel Pretorius is an actor, a writer, and a director, and is able to adapt to every new challenge he faces. PHOTO: Daniélle Schaafsma
When Wessel Pretorius is standing on a stage, looking out at the audience, he takes shape and becomes his true self.
“The feeling of a crowd intently watching you in the hope that you will brighten their day, whether through sheer entertainment or through catharsis, is addictive,” says Wessel.
Sitting on a chalk-covered bench in the middle of the loud, bustling festival grounds of the Klein Karoo Nasionale Kunstefees (KKNK) at the beginning of April, his eyes light up as he relives every moment of the tales he recounts of his life as a writer, director, and actor.
From Mbombela to the limelight
Wessel is from a very sporty family in Mbombela, Mpumalanga. He doesn’t know why the creative world called him. He speculates that it might have started with Walt Disney’s animated movies, specifically The Little Mermaid.
“I would watch a bunch of movies and then go walk around in the garden, making up sequels to them,” says Wessel. “I did not have a lot of access to theater, so my access was through film.”
Wessel was 14 when he met his biggest mentor and driving force: Jan Prinsloo was his drama teacher and biggest cheerleader. He pushed Wessel to work hard and be the best.
“Which, I am ever grateful for,” says Wessel.
Because of Jan’s influence, Wessel started taking his drama seriously. He says that theatre became a discipline, a religion, an escape, and a way to live his life.
Wessel Pretorius’ mentor, Jan Prinsloo, created a stage name for Wessel if he ever were to join the big leagues in Europe. The stage name was “Titus Barkley”, according to Wessel. PHOTO: Daniélle Schaafsma
Jan’s high expectations rubbed off on Wessel. They were both hoping that he would one day be able to attend a theatre school in London. Jan even imagined a stage name for Wessel if he were to perform in Europe.
“Titus Barkley!” Wessel recalls. “It is such a big name that it makes your knees buckle under the weight of it.”
Wessel completed his drama degree at the University of Pretoria and then moved to Stellenbosch for his honours degree. In Stellenbosch, he met and worked with actors that he still performs with today.
When Wessel was 24, his career really took off. In 2011, he started to work on a play called Ont-, or Undone. (The play was performed in both Afrikaans and English.) Undone is a one-man show that he wrote in five months and then proceeded to direct and act in, in the years to come. The show was Wessel’s first time trying his hand at being a true theatre chameleon.
During his postgraduate studies, Wessel Pretorius played in Kuns with some of his classmates. Since that first performance, the team has aimed to perform Kuns every 10 years. So far, the goal has been met, with Kuns on stage for its third run at this year’s Klein Karoo Nasionale Kunstefees (KKNK). PHOTO: Daniélle Schaafsma
Where to find the fruit flies
It is difficult to pinpoint where the ideas of a theatre chameleon originate from. Wessel scoffs at the idea that they all come to him in the shower, but says that it is different for every project.
Sometimes it is a long and exhausting process to write a new show. And other times, “the first idea is the best idea, you don’t have to wrestle over it”, says Wessel.
For example, while on a hike one day, Wessel saw a swarm of flies and an idea for a title just popped into his head: ’n Lewe in die dag van ’n vrugtevlieg. The idea of a day in the life of a fruit fly led to a successful trilogy of stories performed at multiple festivals.
A collection of images of Wessel Pretorius performing in various shows, including Ontelbaar 48 and ’n Lewe in die dag van ’n vrugtevlieg. PHOTO: Supplied/Wessel Pretorius
The inspiration for Undone came from many different things, but mostly, Wessel says, a need to play a challenging role. The main character in Undone was going through similar experiences as Wessel at the time. His mom had just been diagnosed with cancer, he had just started discovering his own identity, and recently had his heart broken. Wessel remembers sitting down with his emotions and saying, “Here I go”, and just started writing.
“It is also people who inspire me, and then I am inspired to write something for them,” says Wessel. Some of his plays are written solely on the basis that he wanted to create a character that he wanted to see a certain actor play.
“I met someone like David [Viviers], who completely blew me away, and I then realised that I want to write something for him,” says Wessel. “The same happened with Wian [Taljaard]: I wrote a comedy for him and Wynand Kotze – My hart is ’n muurbal – a few years ago. It was so much fun. I just wanted to see what they could do with it.”
Wian, who is starring in the revival of Wessel’s one-man show, Undone, remains an inspiration for Wessel.
In Ont- Wian Taljaard played the role that Wessel Pretorius had originally written for himself. Wian performed Ont-, the Afrikaans version of Undone, at the Klein Karoo Nasionale Kunstefees (KKNK) at the beginning of April this year. PHOTO: Daniélle Schaafsma
“He is the inspiration for why I wanted to do Undone again, because I see so much of myself in him,” says Wessel. “As a young actor, I wanted big things, and I wanted to give him the same opportunity to stretch his muscles.”
The admiration goes both ways. Wian said that he feels safe working with Wessel as his director, because Wessel is honest and he challenges and pushes him as an actor.
“He has this belief in you as a performer that you sometimes don’t have in yourself,” said Wian. “[Wessel has] the ability to unlock you to push yourself, but he does it in a way that isn’t rude or overly critical.”
Satire in SA theatres
“When you go to the theatre, you want to see life interpreted,” says Wessel.
Much of Wessel’s writing and acting is based on being observant and understanding the human experience. He believes that the theater should be a space for people to process their feelings and that this is best done through satirical humour.
Wessel Pretorius’ outlook on life and theatre is that bad things do happen, but you have the choice whether you will “sit in the corner and cry or be more cathartic and laugh about it”. PHOTO: Daniélle Schaafsma
“Sometimes you have to cry until you laugh, and other times you have to laugh until you cry,” says Wessel.
Wessel has developed an extremely unique style of theatre, according to David Viviers, Wessel’s friend and colleague. He said that Wessel can perform magic with only a handful of confetti, a sheet, and a bit of make-up.
“He will never admit it, but I think that Wessel is a pillar of the South African theatre landscape,” says David.