Theatre: Boesman en Lena
16 October at 20:00
Idasvallei Primêr
The pervasive nature of systemic oppression is explored with unflinching intensity in Athol Fugard’s Boesman en Lena, which cements the play’s continued relevance 56 years after its premiere.
The actors portray a sense of exhaustion from their first step onto the stage. Boesman, played by Brendon Daniels, is first seen heaving a massive tarp across a sandbank. Lena, played by Veronique Jephtas, follows soon after. The set of sparse sandbanks and reeds perfectly situates the play in a feeling of desolation. Before any words are spoken, the characters are seen inspecting their wounds – Boesman takes off his shoes to reveal roughly-bandaged feet, while Lena counts her bruises.
The impact of Boesman en Lena lies in the play’s ability to reach across time and place, and to communicate the continued reality of millions of South Africans. Daniels and Jephtas embody the characters with rawness and vulnerability that stir an enduring sympathy in the audience. They do not shy away from the truth of trauma and abuse. As Boesman unfolds the tarp to reveal what was left of their pondok after being displaced from their previous settlement, an argument ensues between him and Lena. Questions about belonging, memory, and value are all brought to the forefront.
Boesman, played by Brendon Daniels (left), and Lena, played by Veronique Jephtas (right), in Athol Fugard’s play Boesman en Lena on 16 October. PHOTO: Supplied/Jeremeo Le Cordeur
The most crucial element of the play lies in the exploration of the characters’ basic humanity, and, in turn, the struggle to survive in a system that does not recognise their humanity. As the characters struggle to set up a meagre sense of shelter between the sandbanks, they quarrel about their past travels and how long they have been forced to slog around the same few areas with no sense of permanence. Lena’s extreme loneliness becomes evident as she remains tethered to Boesman despite his constant abuse, while defending her old dog as “nog twee oë […] om jou lewe te witness” (two more eyes to witness your life).
When an old black man stumbles onto the campsite, deeper complexities about the race relations in the country are revealed. As coloured people, both Boesman and Lena refer to the old man with slurs, and Boesman refuses to let him stay. However, Boesman speaks about himself and Lena as the vullis (trash) of the white man, thus perpetuating their own dehumanisation.
The old man passes away during the night, forcing Boesman and Lena to pack up their belongings again. Despite Lena’s promises that she will leave Boesman and travel on her own, the play ends with her asking Boesman where they are walking to next.
Boesman, played by Brendon Daniels (left), holds the pipe he threatens Lena with, while Lena, played by Veronique Jephtas (middle), cowers with the old man who stumbled into their camp, played by Tshamano Sebe (right). PHOTO: Supplied/Jeremeo Le Cordeur
The heaviness of the relationship between the characters and with their own country is reflected in Lena’s words: “As jy eers met jou lewe op jou kop geloop het, voel jy nooit weer lig nie” (Once you’ve walked with your life on your head, you will never feel light again). Boesman en Lena was impactful and thought-provoking, and is a play that will remain important in South African theatre for years to come.