Undoubtedly one of South Africa's profoundly prominent directors, writers and visionaries, Van Greunen is the man behind the runaway successes Shirley Valentyn and Die Naaimasjien and, following Janneman, Van Greunen's adaptation of Willi Russell's Educating Rita will be staged as Grieta Kry Geleertheid (from 22 May at Artscape).
The seed for Janneman was planted when Van Greunen fell hopelessly in love with Elaine Murphy's Little Gem at the Edinburgh Festival, where it was awarded the prestigious Carol Tambor Award in 2009 and took the world by storm.
Van Greunen's perceptive instinct secured the rights to translate the play into Afrikaans and the Irish ladies are now magnificently reborn as three Bellville divas. These ladies are people we usually avoid at all cost and stay well clear of, but after sharing their lives in Janneman, they are welcome guests and respected friends in our lives.
The title of the play cleverly refers to a man who is an eminent guide in the lives of his 60-year-old wife Karien, his 40-year-old daughter Loraine, and her daughter Ané. Although Janneman is not present on stage, he stands proud and tall in the shambled lives of these proud and humble women - delicate creatures who do their best to survive the stormy sea of life.
Van Greunen's staging is ingenious, placing each of the characters in her own world, divided by cubed trees of light; it perfectly encapsulates their boxed-in emotions and, when they step out of their glitzy box to share their intimate thoughts with the audience, it is as if they are stepping out of a sanctuary to relive their vibrant thoughts (it is astounding to watch each of the actresses sitting in their "corner" watching and respond to another character in action; this symbiosis is unbelievable).
Sandra Prinsloo (who dazzled us in Die Naaimasjien and is one of the greatest actresses in South Africa) delivers the performance of a lifetime as an older woman who has not only to come to terms with the newfound joys of sex toys, but also with the prospect of husband who has suffered a stroke.
The themes of life versus death and how there is life after death are prominent in Janneman, perfectly captured with an unbelievably sharp (and sometimes shocking) sense of razor-sharp wit that will have you screaming with laughter, then sobbing uncontrollably at the next moment. Yes, Janneman is hilarious, a laugh riot wrapped in cotton wool tragedy, a firm reminder that with tragic events and unforeseen gloom that cause pain and misery, there will always be laughter to heal the wounds and unite opposing dynamics.
Newcomer Hanna Borthwick is a true revelation, delivering a mesmerising performance as a mother and cleaning demon who has to deal with her loser husband, a rebellious teenage daughter, prospective hairy new lover, and also has to cope with unruly shoppers, messy people and is Mr Min's best friend.
Franci Swanepoel (we saw her on television in shows like Binnelanders) is a true revelation, delivering a mesmerising performance as a mother and cleaning demon, who has to deal with her loser husband, a rebellious teenage daughter, prospective hairy new lover, and also has to cope with unruly shoppers, messy people and is Mr. Min's best friend. Then there's Hanna Borthwick. Wow! She is a phenomenal force to be reckoned with as a heavenly teenage daughter from Hell.
Although Janneman is a story about the women in our lives who shape our reason, it is equally about the men in their lives who are unstable hurdles. Ultimately, Janneman is about us. The play allows us to see ourselves through the eyes of people we know (or think we know). It is through the diverse points of view of these exceptional and vibrant characters that we can delicately filter our own lives through their tainted prism and gain a fresh and new understanding of relationships, generational differences and the ebb and flow of life. It also shows that laughter is an important healing mechanism that makes it all worthwhile in the end.
So often in life are we afraid to break out of our own prisons, shaped by conventions, moral convictions and traditional values. Janneman is a very special play that looks outside the prison window, at the myriad opportunities and encounters that could turn our life upside down and inside out, and sometimes scramble the picture perfect puzzle just for fun.
As with Shirley Valetyn, Van Greunen's meticulous translation serves as a reminder of the beauty and exquisite poetry of the Afrikaans language, and instils a pride in being proudly South African. Although Janneman is in Afrikaans, don't use that as an excuse not to see it. A friend of mine, who is as English as the Queen's corgis, understood every word. An even better solution would be to watch Janneman with an Afrikaner friend, which is guaranteed to double the pleasure of experiencing a remarkable play that will live in your heart forever.
For more on Janneman, go to www.writingstudio.co.za/page1746.html
