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"Valley Song" at ATC Tells A Timeless Story Of Young, Old And Change
By Margaret Regan
IT'S AN OLD, old story: How can you keep the young folks
down on the farm when they've got dreams of the city?
Valley Song, the new production on the boards at the Arizona
Theatre Company, makes this age-old dilemma exotic by giving it
a setting that's exceptionally foreign to American theatre-goers.
The farm in question is in the Karoo, a remote semi-desert in
the heart of South Africa blessed by pockets of fertile soil.
Moreover, the three characters embroiled in inevitable generational
conflict represent their nation's odd racial categories.
There are two "coloureds," people of mixed race who
held an intermediate status in the old hierarchy of apartheid.
These are the restless young girl, Veronica (Tamilla Woodard),
who longs to become a singing television star in the new Johannesburg,
and her religious old grandfather, Buks Jonkers (Jerome Kilty),
who sees that ambition as the devil's work. The third party, an
Author, is a white man who's got a sentimental ambition of his
own: He wants a piece of the Karoo's rich acres. If he buys, he
just may displace old Buks, a precariously positioned tenant farmer
who's cultivated pumpkins and yams on the old place since childhood.
The Author is a benevolent, progressive white, but even in the
new democratic South Africa he has more power than the others.
On his side he has both money and ingrained custom (Buks still
calls him "master"). And in an ironic twist, the Author
is played by the same actor as the old farmer. Through changes
in diction and body posture, Kilty seamlessly switches back and
forth between the two old men, both of them clinging in their
different ways to the certainties of a South Africa that's already
in the past.
The playwright, Athol Fugard, has long been acclaimed for his
searing plays about injustice in his native land. This 1995 work
is his first to grapple with the social changes of the new political
reality. He intends the play's story of the conventional generational
struggle to serve as a metaphor for the much broader metamorphoses
of an entire nation moving from static oppression to turbulent
democracy. The old men, he says, represent "winter wisdom,"
the young girl "spring dreams."
This might seem like good idea for a play, but in practice it
fails to engage the viewer emotionally. Fugard's fine writing,
filled with homely farm images and soaring biblical texts, is
not always easy to attend to. And any play as full of monologues
as this one is hard to pull off dramatically. Perhaps the gray
subtleties of life in the new South Africa don't have the black-and-white
drama of the old. ATC has made every effort to endow Valley
Song with life. The vast sky of the Karoo is projected via
lights onto a backdrop; the lights and darks of its changing hours
and seasons admirably reflect the characters' moods and help make
this beloved countryside into a fourth character in the drama.
(Lighting designer Tracy Odishaw gets the credit.)
Nor can one fault the actors, both of whom approach their parts
with dispatch. Woodard is mostly delightful as the 17-year-old
Veronica, the very picture of youthful exuberance as she sings
her own queer songs about her life or hops onto a wooden crate
to watch a forbidden television through the window of a white
woman's home. But Veronica's a little too good to be true. It
may be that director David Ira Goldstein has pushed Woodard too
far in the direction of hopelessly happy-go-lucky. Or it may be
that Fugard has written an old man's idea of a young girl, a too-perfect,
too-joyful, too-hopeful personage who simply doesn't register
as a real human being.
Fugard also fails to situate his slender personal story adequately
within his broad political canvas. Certainly, there are hints
here and there of change. Woodard has one of her best scenes when
she rages to her grandfather that she simply will not spend her
life as her grandmother did, scrubbing a white man's floors. But
how much does her intended flight to Johannesburg really have
to do with the new South Africa? Mass media culture has made an
incursion into the formerly isolated Karoo. It's the television,
with its manufactured dreams of easy glamour, that has caught
Veronica's attention, not the reforms of Nelson Mandela.
The play's central metaphor becomes even more muddled when we
learn that Veronica's own mother fled to the big city a generation
earlier. Mother and daughter both travel a path that's been well-worn
by farm youth at least since the Industrial Revolution; they're
abandoning the endless toil of the land for the dangerous unknowns
of the city. What, exactly, is new here?
It's a pity because there's much to like about Fugard's play.
The relationship between Buks and the granddaughter he's raised
is beautifully drawn, and their heart-wrenching separation speaks
to anybody who's ever grown up and left home, and to anybody who's
let a grown child go. There's real pathos in Buks' plight. He's
followed the life plan his own father outlined for him--work hard,
love much, have faith--but he's losing everything he holds dear.
And the Author makes some telling speeches about the withering
of artistic ambition with age and its re-flowering in the fertile
souls of the young, like the plucky Veronica.
At one point, the Author says he's thinking of giving up the
noisy theatre, with its platoons of producers and actors and mean-spirited
critics, and turning instead to the tranquillity of prose. As
a matter of fact, instead of being elaborated on the stage, the
simple tale of Valley Song might have gained more power
within the strict confines of a short story.
Valley Song continues at the Temple of Music and
Art, 330 S. Scott Ave., through Saturday, November 8. The play
is performed everyday except Monday; curtain times vary. A free
By Design panel discussion meets at 7 p.m. Monday, November
3, in the theater. There will be a post-performance discussion
following the 2 o'clock matinee on Wednesday, November 5. Tickets
range from $18.50 to $27.50. For reservations and information,
call 622-2823.
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