Photo: Johan Persson
Set in Sophiatown, a thriving township outside of Johannesburg, Peter Brook’s internationally successful production of The Suit almost tells the story of Philemon and his wife Matilda after Philemon catches his wife and her lover in bed. Based on Can Themba’s 1950s short story, the suit of the title refers to items of haberdashery that Matilda’s lover leaves behind in his haste to remove himself from the adulterous scene. As a form of revenge, and as constant reminder of her infidelity, Philemon makes Matilda treat the suit as if it were human, forcing her to feed it, and take it on walks in public.
The Suit is an unsatisfying and almost dull play where cardboard characters are barely explored or developed, so that when, on the rare occasion a significant plotline develops that will affect the characters, any response seems arbitrary and therefore unconvincing. Why Matilda cheats and why Philemon chooses the form of revenge that he does are questions that are barely explored and left unanswered.
Musical interludes performed by a trio consisting of trumpet piano and guitar are used to pad out this scant play; yet despite this, the play lasts barely 70 minutes. Some songs and instrumental interludes either do not contribute to the story or seem contrived. Towards the beginning of the play Nonhlanhla Khewsa ably performs the Nina Simone classic ‘Feeling Good.’ However, it is not credible that Matilda, an apparently unsatisfied and conflicted housewife would sing this song. When a character, apropos of nothing, relates to Philemon the news about a musician who is attacked by police the song ‘Strange Fruit’ (about lynching of black men in southern states of the USA) is sung. ‘Strange Fruit’ is a hauntingly beautiful poem and an atmospheric song but its use in this play, and the whole scene that is built around it seems unconnected to the plot. It is arguable that this song and ‘Feeling Good’ were chosen for their popularity with audiences and not for their suitabilty.
The stage direction was generally good with one notable exception; for some reason the clothes rack ‘wardrobe’ in Philemon and Matilda’s house became the front door of the house – requiring actors (and audience members brought on stage as guests in an overlong party scene) to awkward step through the gap between top and bottom rail of the clothes rack. With ample space for an ‘entrance’ either side of the clothes hanger this choice was incongruous.
All three actors were enthusiastic and accomplished. The overacting of the musicians, who were engaged as supernumeraries on several occasions, while at first amusing became tedious quickly.
The Suit should be sent back to the tailor for alterations.
The Suit
Presented by State Theatre Company and Adina Apartment Hotels in association with Arts Projects Australia, South Australian Tourism Commission and Adelaide Festival Centre
Direction, Adaptation and Musical Direction: Peter Brook, Marie-Helene Estienne, Franck Krawczyk
Production by C.I.C.T. / Théâtre des Bouffes du Nord
Cast: Nonhlanhla Khewsa, William Nadylam, Ery Nzaramba
Muscians: Arthur Astier (guitar), Mark Kavuma (trumpet), Danny Wallington (piano)
Lighting: Phillip Vialette
Costumes: Oria Puppo
Assistant Director: William Nadylam
Dunstan Theatre, Adelaide Festival Centre until 12 October 2014
