Welcome! This is your first free article. Get more free articles when you sign up with your email.

Kunene and the King

“A compassionate character study”
FacebookTwitterLinkedIn

Set in contemporary Johannesburg, Kunene and the King explores weighty issues of terminal illness, race, and the legacy of apartheid with a remarkably light touch.

Written by veteran South African actor John Kani, the script draws on his experiences of growing up in a segregated society, and – it must be said – quite often digresses into anecdotal asides. Here, a history of violence, oppression, and activism becomes a background for the story of two older men – one black, one white, both products of their disparate cultures – and the extraordinary events they lived through.

Kani plays semi-retired nurse Kunene, shouldering unhealable emotional scars but remaining a beacon of warmth and dignity as he administers end-of-life care to Antony Sher’s cantankerous Morris, an ageing actor with advanced liver cancer. Sher tackles this complicated character with real skill, equally terrified and outraged by the fact of his own mortality, delivering his lines in the flat, phlegmy croak of a man slowly drowning in morphine and gin.

Appearing between scenes, Lungiswa Plaatjies plays traditional instruments and sings with a lilting but resonant voice. At one point, she belts out a completely transporting vocal evocation of a summer storm, perfectly capturing the rumble of thunder and the hiss of falling hail.

A smart, revolving set by Birrie Le Roux depicts both men’s homes, packed with knickknacks and believable personal details. Kunene drapes a Kaizer Chiefs football scarf over a bust of Shakespeare. Morris keeps a seemingly inexhaustible supply of booze hidden in every nook and cranny.  A backdrop of transparent screens stained in vivid hues, from a rich, sunset scarlet to an inky blue, adds a splash of vibrant colour to contrast with the otherwise washed out natural palette, a hint of energy and optimism that endures even through the play’s grimmest moments.

Director Janice Honeyman lets each scene develop in its own time, lifting meandering conversations with a good dose of gallows humour to get the most out of the play’s wrenching emotional shifts.

Gradually, Morris’ illness begins to feel omnipresent, viscerally interrupting him midway through musings on political history or rambles about Marxist subtexts in King Lear. “I’m boiling an egg, and I’ve got cancer,” he groans, unable to even momentarily forget his pain, much as Kunene is permanently aware of the suffering and oppression of his people.

At times, it all feels forced, a powerful premise constrained by odd-couple sitcom dynamics. But Kani’s writing remains deeply incisive, full of both anger and understanding. As his characters bicker, accuse and ultimately forgive each other, they point up the injustices of the past and the lingering corruption, crime, and violence that remain endemic even 25 years after the end of apartheid.

The Big Interview: Antony Sher


Related to this Review

The Taming of the ShrewThe Taming of the Shrew

Production Details
Production nameKunene and the King
VenueSwan Theatre
LocationStratford-upon-Avon
StartsMarch 21, 2019
EndsApril 23, 2019
Running time1hr 45mins
AuthorJohn Kani
ComposerNeo Muyanga
DirectorJanice Honeyman
Set designerBirrie Le Roux
Lighting designerMannie Manim
Sound designerJonathan Ruddick
CastAntony Sher, John Kani, Lungiswa Plaatjies
ProducerFugard Theatre, Royal Shakespeare Company
VerdictJohn Kani's clever and compassionate character study explores life under, and after, apartheid
FacebookTwitterLinkedIn
Add New Comment
You must be logged in to comment.
Dave Fargnoli

Dave Fargnoli

Dave Fargnoli

Dave Fargnoli

Your subscription helps ensure our journalism can continue

Invest in The Stage today with a subscription starting at just £3.98
The Stage
© Copyright The Stage Media Company Limited 2020
Facebook
Instagram
Twitter
Linked In
Pinterest
YouTube