MOFFIE at Riverside Studios

★★★

“a lengthy monologue telling an intriguing and moving story”

“Moffie” is a one-man play about a closeted conscript in the South African Defence Force during apartheid. The title is a homophobic slur, referencing the toxic masculinity of the time and brutal treatment of gay soldiers, who were routinely sent to psychiatric facilities where they faced castration, electro-shock therapy and often went missing. The story flashes back and forth from soldier Nicholas van der Swart’s time in the army to memories of his childhood. Reminiscent of Full Metal Jacket, Moffie also veers into tone deafness surrounding apartheid.

Based on the novel by André Carl van der Merwe, and adapted by Philip Rademeyer, the focus of the story remains on the plight of Nicholas. Whilst illuminating to the lived experience of conscripts, one must question the aspect ratio of the piece. Is the experience of being gay, white, and middle class as oppressive as being a black civilian? I would say no. The play does not assert this idea either, however there is only one named black character who is called “Sophie” and was a nanny of the narrator and descriptions of life in apartheid remain fleeting and auxiliary to the central story. The main themes about masculinity and sexuality are compelling and impassioned, but feel oddly balanced given the severity of events taking place outside of the character’s personal crisis. Secondly, Nicholas was not just any conscript. He was sent to “Koevoet” who were notorious for committing numerous atrocities and war crimes. The play does not emphasise the significance of this particular unit. This puts the play in a very strange territory as Nicholas cries about unrequited love and bullying from his officers (which I’m sure was awful) whilst being part of a group that was held responsible under the Truth and Reconciliation Commission for committing massacres. Whilst Nicholas does say he doesn’t agree with the government, the play is more concerned with his relationship with his abusive father and the treatment of young men in the army. As a comparison, would an audience be expected to feel sympathy for a gay member of the Einzatzgruppen who had a mean dad?

The story is a fascinating insight into a history often ignored. Nicholas talks the audience through the events of his life clambering over a pile of army hold-all bags (Niall Griffin). Kai Luke Brümmer portrays Nicholas as a sensitive young man thrust into an environment of intimidation and self-loathing, delivering a powerful performance, though with some lines being fluffed and delivered too quickly to register the meaning of the phrase. Conversely, the multitude of domineering cruel men are evoked with a deep thick Afrikaans accent, dripping in menace. Supporting the action are the industrious creaks and groans of helicopters and the hum of the Angola jungle, the sound design is both haunting and striking, evoking setting and emotions with originality and artistic skill (Charl-Johan Lingenfelder). Directed by Greg Karvellas, Brümmer flows over the lines quickly, rarely stopping to pause as he adjusts himself around the central set piece, using minimal blocking, relying more on emotional delivery and characterisation.

Moffie is a lengthy monologue telling an intriguing and moving story, however, given the circumstances and ‘background’, there is a hollowness to its core themes. What would a play about a victim of the Koevoet be about and would those stories get such brilliant production resources and attention? Moffie raises questions about the nature of intersectional oppression, but not in the way it intended. The bio of the show arguable says it all “set against the backdrop of apartheid”. Can apartheid really be a ‘backdrop’ when the subject matter of the south African army?

MOFFIE

★★★

Riverside Studios

MOFFIE at Riverside Studios

★★★

“a lengthy monologue telling an intriguing and moving story”