DEAR BREEDER. Directed by Iain Robinson, with Karen Logan and Kasia Vosloo. At The Kalk Bay Theatre until April 2. RAFIEK MAMMON reviews.
INTELLIGENT and quirky are words that do not often successfully resonate in new South African texts. Having a unique sensibility is even more rare in this neck of the woods. Then, like a freshly poured glass of bubbly, a production like Dear Breeder comes along and one’s hope is restored as this two-hander is unaffectedly funny and astute, and indubitably idiosyncratic.
For the most part it takes the mickey out of motherhood – inspired by the two performers Kasia Vosloo and Karen Logan’s own experiences of the trials and tribulations of this phenomenon. And, we know there are seven billion people merrily walking this earth, which means childbirth and parenthood shouldn’t be such a peculiar marvel, yet it is.
The same goes for death – when it happens to you or your loved ones, it is always something unique. And, irrespective how much one prepares, with births and deaths one’s emotions are organic and one’s reactions so dynamic that there is no telling what might happen.
It is often a case of: the world may not care, but you do, because the event is unique to you and those around you at that moment.
And, we all know parents who react as if they were the only people to have ever gone through this experience.
Such is the nature of man, and this is the premise from whence Karen Logan and Kasia Vosloo come as they very adeptly tackle the subject of parenthood. And yes, the conclusion might be an hour-long advertisement for “breeders” to continue “breeding”, but their tongues are firmly and eccentrically in their cheeks as they regale their yarns.
Cleverly designed and sprucely scripted, Dear Breeder is “narrated” through the use of nifty ditties as a through-line to link the story of three moms (all played by Logan) as they prepare for a nativity play that their children will be participating in – from performing to backdrop painting to prop making. As they meet from week to week, different parenting styles, pregnant women hormones, egos and oestrogen clash, resulting in one colossal comedic reservoir.
Throw in a healthy dose of bigotry, new-age parenting, envy and a hint of ultra-conservatism and the stage is set for some serious comedy.
Logan, with the choice of not changing costumes at all throughout the performance, is mostly convincing as she effortlessly meanders her way through the three characters.
There are a few moments when one had to strain at first to be absolutely sure of the character she is portraying, as there is some bleeding of one into another.
One understands that the idea is to keep it South African, but perhaps an accent change and not just a tonal one might have distinguished one from another better?
Both Logan and Vosloo are proficient storytellers.
The songs in particular – with its childlike, simplistic splendour – make for an interesting change from the usual fare. The script is filled with off-centre gems that they nimbly weave as though they were throwaway lines. Yet, in there lies the prodigy that had their opening night audience in stitches.
Look out for upcoming shows at The Kalk Bay Theatre. These include Chanson on April 5. Irit Noble from April 7 to 9. Johnson Unzipped from April 12 to 23 and Love at First Fight from April 26 to May 7.
l Book: 021 788 7257, www.kalk baytheatre.co.za