Theatre: Bridling
14 October at 20:00
HMS Bloemhof Skoolsaal
The first sound in Bridling is not a word but a breath: Sharp, deliberate, and heavy with what cannot yet be said.
Directed by Jay Pather with a taut, poetic precision, the play unfolds as a haunting interrogation of control – over bodies, voices, and histories. What begins as a monologue soon expands into something larger: A physical and emotional performance of the ways women have been muted, restrained, and erased. At its core are two commanding performers, Shaun Oelf and Buhle Ngaba, whose contrasting energies give the piece both its ferocity and its grace.
Performers Shaun Oelf (left) and Buhle Ngaba (right) in the theatre production Bridling at the Toyota Stellenbosch Woordfees 2025. PHOTO: Supplied/Jeremeo Le Cordeur
Oelf’s performance is a masterclass in physical storytelling. His movements transform his body into an instrument of both violence and vulnerability. In one particularly striking sequence, Oelf performs as if possessed by the invisible weight of centuries of silence. The jerking of limbs, the curling of fingers, and the sudden stillness that follows all evoke a sense of struggle against unseen forces. Each gesture becomes an act of translation, converting unspeakable pain into motion.
Ngaba’s performance brings a spoken counterpoint. Where Oelf embodies the external eruption of rage, Ngaba channels the quiet endurance that is often mistaken for submission. Her voice, controlled yet tremulous, delivers the text with a clarity that feels both intimate and defiant. In one moment, as she recounts stories of women punished for speaking, her words slow to a near-whisper, drawing the audience into a collective hush. Silence becomes the play’s most devastating sound.
The interplay between the two performers creates a compelling duality. When Oelf’s raw physicality collides with Ngaba’s words, the stage becomes a site of dialogue between body and voice, history and memory. Their shared rhythm, sometimes mirroring, sometimes clashing, underscores the cyclical nature of silencing. The result is not harmony, but a haunting friction that lingers long after the lights dim.
Buhle Ngaba (left) and Shaun Oelf (right) in the production Bridling, directed by Jay Panther and written by Nadia Davis. The production won the 2024 Caine Prize for African Writing. PHOTO: Supplied/Jeremeo Le Cordeur
Bridling stands as a remarkable piece of theatre, brilliant in conception and execution. Though often unsettling in tone and imagery, its message is delivered with elegance and precision. The seamless integration of physical movement and spoken word creates an experience that provokes reflection long after the curtain falls. Through its fearless performances and unflinching honesty, Bridling not only confronts systems of silence but also transcends them, marking it as a production that demands to be seen.
- Bridling can be seen on 16 and 19 October at HMS Bloemhof Skoolsaal. Tickets are available on Quicket.