Actor, Gantane Kusch in front and singer Odwa Bongo at the back. PHOTO: Nardus Engelbrecht
“We will fight against the men of God who throw stones,” is a touching line that showcases the lived experiences of queer people in Klip Kween, a show that highlights the demons a transgender woman Sheila faces upon her return to her hometown Kamieskroon in the Namaqualand region.
Klip Kween presents a perspective on small town living that is universal in its exploration of queer identity and finding one’s lost innocence.
Du Toit Albertze writes in his own immersive style which leads with actor Gantane Kusch telling retrospective stories about the main character Sheila’s return to her home in Kamiesfontein. Albertze’s style blends poetry and rhythmic writing, creating a sonic theatre experience like no other.
Albertze, who is originally from Springbok in the Northern Cape, completed his honours in drama at Stellenbosch University last year.
The production was developed as a first draft for his honours degree and was a collaboration of ideas between Albertze and Kusch. Thus far the play has garnered Albertze a Fleur de Cap nomination for the most promising student of the year.
The stage is set with minimal props, which has become a standard for productions by director Jason Jacobs and writer Albertze. As the audience enters, singer Odwa Bongo builds the tension with melodic crooning and strumming his African stick zither. This is done strategically throughout the show to increase and maintain tension.
The story explores more than just a homecoming; it also focuses on Sheila’s past relationship with her pastor Gerhard, who she had an intimate relationship with when she was in high school.
This relationship has a profound impact on the mood of the play, leaving audience members uncomfortable, but it also offers perspective as Gerhard became a place of shelter for Sheila in a town that ostracizes “moffies” (an effeminate man).
Clothing is used as a tool in the play, giving us a timeline and a shift in identity or character. This makes for interesting scene changes and tempos.
Stones are an important motif in the play and represent the judgements cast upon queer groups in religious circles as well as the burdens queer people carry with them through life.
Transgender lived experiences come to the fore with this enlightening and introspective play which explores writer Albertze’s own identity and Kusch’s explorations in theatre.
“This is a tribute to Marsha P Johnson and Lee Davids. It’s a tribute to so many bodies that are not being heard because it’s also a story that is fighting in itself,” says Albertze about the play’s message, and this leads the way for future queer storytellers in South Africa.