Be prepared for an earworm when you watch The Brothers, Number One and a Weekend Special. I have had mine since the Sunday afternoon preview at the Market Theatre in Johannesburg.
Even avoiding reading the show’s title won’t work because, halfway into the play, Brenda Fassie’s hit song will be nesting in your brain. But let me not spoil that.
And this is not a deterrent. I can highly recommend political analyst Richard Calland’s debut play.
The political drama about corruption and power is clever, gripping and insightful. And it makes you go, “Holy shit, they almost managed to capture the state!”
It is a must watch for political junkies — as it unfolds, it feels like playing a South African current affairs version of 30 Seconds with yourself. Who’s that character based on? Is it Essop Pahad? No, that’s Mac Maharaj! And that can’t be Lakela Kaunda? No, stupid, that’s Ranjeni Munusamy.
The script is tight and you have to concentrate because it is an involved story. While it is not a comedy, The Brothers, Number One and a Weekend Special is stacked with humour: “He’s one of us — a real fucking crook …!” Or, “You’re Number One’s number one”, “Did they mention Saxonwold?” and the right-wing Tim Bell character laconically observing: “At Mandela’s inauguration, I was seated between Arafat and Castro — must have been alphabetical …”
But, like any good drama, tension builds towards the end. Behind the door on the stage, there is Number One. We never see him — but are always aware of his menacing, lingering presence.
Not to mention The Brothers. There is a clever use of multimedia to tell of their influence and of people’s resistance to State Capture.
It is a strong cast, with the main characters, Uncle (David Dennis), Tim Bell (Michael Richard) and the lawyer (Zane Meas), standing out.
I was impressed by the intelligent use of music by jazz artists Paul Hamner and Hugh Masekela and, of course, Brenda. It doesn’t only add to the sound texture but propels the story, brings wit and adds to the emotion, especially the dramatic musical ending.
The political drama about corruption and power is clever, gripping and insightful
