Pantomime in South Africa

This article was downloaded by: [University of Kent] On: 23 August 2013, At: 10:03 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK

South African Theatre Journal
Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rthj20

Pantomime in South Africa: The British tradition and the local flavour
Marie Kruger
a a

University of Stellenbosch Published online: 09 Aug 2011.

To cite this article: Marie Kruger (2003) Pantomime in South Africa: The British tradition and the local flavour, South African Theatre Journal, 17:1, 129-152, DOI: 10.1080/10137548.2003.9687766 To link to this article: http://dx.doi.org/10.1080/10137548.2003.9687766

PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http:// www.tandfonline.com/page/terms-and-conditions

SATJ 2003 VOLUME 17

Pantomime in South Africa: The British tradition and the local flavour
Marie Kruger University of Stellenbosch

South African pantomimes reflect practically all the traditional patterns of the British pantomime in terms of story choice, tone, plot structure, characters and casting, topicality, visual presentation and auditory elements such as punning and ambiguity, jokes, humorous naming, rhyming speech at times, actuality, song, music, and dance. However, local pantomimes are unmistakably South African. The reason for this is
Downloaded by [University of Kent] at 10:03 23 August 2013

possibly connected to the phenomenon that few things are not subject to variation when handed down.1 Topicality and the local flavour it gives is also related to the room allowed by the defined pantomime-pattern for individuality and creativity. It is assumed that traditional elements such as contemporary references and elements of actuality will ensure that a pantomime is relevant to the community in which it is performed. The first Christmas pantomime2 performed in South Africa, was Babes in the Wood; or Harlequin and the Cruel Uncle, by Sefton Parry3, on 27 and 28 December 1859 in Cape Town. Parry’s public announcement of the

performance echoed the dashing style of his English contemporaries:

Cape Town Theatre

Proprietor and Manager . . . . . . Mr. S. Parry
Christmas Holidays!!!

Immense Attraction The First Christmas Pantomime in South Africa Mr. Parry Has much pleasure in being able to announce to the Subscribers and the Public that Christmas will not pass over without an endeavour to keep up the good old English custom of a good old English Pantomime, founded on one of the oldest Ballads in the language. An attempt of this kind upon a small stage, with so many disadvantages to contend against, may seem at first sight almost impracticable but Mr. Parry trusts to perseverance and determination to secure success. No expense has been spared in placing it on the stage in a manner far beyond anything ever 129

SATJ 2003 VOLUME 17

witnessed at the Cape. The Scenery, which has been painted expressly for the occasion, is of the most gorgeous description; the stage has been entirely remodelled with traps, machinery, etc; - the masks, properties and tricks are of unusual excellence, and the dresses all that money and good taste could secure. The synopsis of the opening piece, which were the Babes in the Woodscenes,4 indicates no Cape Town references whatsoever. Scene Two was described simply as the “Interior of an old English Mansion”, while the synopsis of Scene Three indicates that “The Cruel Uncle arrives with his Lady-Love on Arabian Ponies, to view the Estate so basely acquired, being on his way to London town”. The harlequinade (which was still part of the pantomime in 1859) includes humorous references to a variety of local
Downloaded by [University of Kent] at 10:03 23 August 2013

situations and events of the time. Although Scene Six is described as “A street, nowhere in Particular”, there are allusions to the “Shocking price of Provisions. Snoek 6d – A Fall in Fish!”, “Cape Town Savelay Co., Ltd.” and “Holloway’s Pills”. The latter was a well-known patented Cape medicine, while snoek was one of the best known and most popular fish found along the West Coast, and remains a traditional Cape dish, hence the shock at and dissatisfaction with the exorbitant price. Scene Seven is clearly set in a Cape Town location: “Davidson’s China Warehouse and Grocery, Plein Street.” The waltz between Harlequin and Columbine is followed by over a new phenomenon: “Bullock Wagons versus

consternation

Locomotives. – The first Engine in S.A. – ‘Wait for the Wagon.’” Later there is mention of the wind for which Cape Town is known, it had such a reputation that the city was originally known as the Cape of Storms: “Miseries of a Crinoline in South Easter. – The fashion is dropped. – A Hint for Ladies.” As if this opportunity for “knock about” and ridicule of women’s fashion and idleness is not enough for one scene, the scene ends with “The C.T. Patent Ship. – The Fall of China, and a general Smash!” In Scene Eight, Clown and Pantaloon land up in a “lodging house”. Accommodation is scarce (in 1859 Cape Town was hardly a vacation destination) and they overnight in a “Novel style of Beds”. “The

Adventures of a Warming-pan” and a flea cause things to go wrong: “An

130

SATJ 2003 VOLUME 17

Africander Flea. – A Troublesome Customer. – An Amiable Companion. – Murder! – Fire!!”5

The Christmas pantomime of 1865, Little Jock Horner, or Harlequin A.B.C., presented in the Theatre Royal (Cape Town) under the management of Messrs. Ray and Cooper, was highly praised by The Cape Argus of 28 December 1865: “It fairly surpasses any production of the kind ever made here before” and the tone of the “local bits and puns which stands out in bold relief by the side of the numerous unlicensed personalities which have been so frequently inflicted upon our sensibilities from the stage of the Theatre Royal” is applauded6. The harlequinade of three scenes has,
Downloaded by [University of Kent] at 10:03 23 August 2013

as before, a strong local flavour, judging by the setting described in the programme. Scene Eight is described as taking place on “A Well-known Corner”, Scene Nine as “Pantechnetheca and Golden Boot Emporium” (two well-known Cape Town stores of the time) and for Scene Ten, the setting is “J.B. Munnik’s Cigar and Tobacco Mart” (at that time, a well-known Cape Town store). It is the topical, contemporary flavour of the opening piece that is most striking. In a confrontation between Fairy Aquamarina, Queen of the Butterfly Dell, and Alcohol, (“Master Spirit of the Mystic Still and Demon of the Fatal Flask”, supported by Cape Smoke, “His Faithful familiar, well-known in this Colony” who takes his name from the old South African folk name for Cape brandy, and Hobgoblin, one of the Bad Spirits) the following reference is made to the general trade depression of the time:

Hobgoblin-

The Governor and his people going on in such a way Differing from each other on the topics of the day, That my indignation permits me but to say Tiddle-e-um, e-um, e-um, tol, lol, lay. Thunder, Gong, etc.

(Enter King Alcohol (Demon of the Fatal Flask), Imps bow to him.) Alco “Hard times” like these before were never seen, Simply because – before they’ve never been, Throughout the land is heard the triple shout Of, ‘Unemployed’, ‘Insolvency’, & ‘Drought’, 131

SATJ 2003 VOLUME 17

Some fain would draw a veil, o’er this distress, Though that would not avail to make it less, etc. ………………………………………………….., “The Bastard Englishmen’ down East are sick, Because, my subjects’ here refused them, tick; Refused too late – some, in the hole’ plump dropped, When trade unsettling ‘settlers’ payment stopped. Cape Smoke (offers Flask). Fairy (angrily.) What take a drop, when I’ve so much to do? Tempter, avaunt! or I’ll drop into you; In this Canteen I can’t e’ en see my way, So off I’ll hustle to the light of day, “Inn spectre” Bussell in his Nota Bene, hall put you down, as he did Pat Mulqueeny etc. Again Why have the unemployed? when through the land A score of works await the labourer’s hand? Though from Bourne’s Railway schemes They keep aloof, Since borne too well in mind’s the Tulbagh Kloof Bridges there are to build, and roads to make, Which from their streets half-starving men would take Or, if they’d earn the blessing of the Nation, Why, dam the Colony! There’s Irrigation. etc.,etc. and many other ingenious allusions.7 According to William Groom in the Cape Illustrated Magazine, Parry’s Babes in the Wood and Cooper and Ray’s Little Jack Horner differ from other Cape Town pantomimes in terms of their contemporary qualities and local relevance:

Downloaded by [University of Kent] at 10:03 23 August 2013

Cooper and Ray produced an original pantomime, written for the occasion by Mr. B. Mollan of Cape Town entitled Little Jack Horner or Harlequin A.B.C.; which proved a great success. This was the second pantomime in Cape Town which contained much local interest8 and touched on the various political and social questions of the day.9 It may thus be justifiable to view these two pantomimes as trendsetters in terms of their South African topicality. 132

SATJ 2003 VOLUME 17

The pantomime’s use of references to

the topical forms part of the

parodic (and therefore also burlesque and satiric) nature of the genre10. Under the influence of burlesque (which includes caricature and travesty) and extravaganza (which, like the burletta, is also related to burlesque)11, the pantomime uses comic rather than critical parody, and for this, exaggeration, conscious spatio-temporal conflict, satire, suggestion,

punning and pastiche all come into play. Because of its parodic element, pantomime always strives to be, and must be, relevant for the audience. And because parody can only work if parody
Downloaded by [University of Kent] at 10:03 23 August 2013

the audience and the source of the humorous and ironic

share

a

communal

culture,

transformation of the imitation can be grasped,only if the pantomime bears the stamp of the location in which it is being performed. With their local flavour, South African pantomimes are no exception.

Although the choice of stories for South African pantomimes corresponds partially with those of British pantomimes, there are also a number of differences; these differences and similarities relate to the European tales that have become part of the local cultural tradition. Aspoestertjie

(Cinderella), Jan en die Boontjierank (Jack and the Beanstalk) and Aladdin are as popular in South Africa as they are in Britain, where they are part of the so-called “Big Six”. Tales such as Dick Whittington and his Cat, The Babes in the Wood and Mother Goose (all of which are part of Britain’s “Big Six”) are no longer used in South Africa. They were once popular in South Africa, but as ties with Great Britain weakened, they fell out of favour with the public and are no longer familiar to everyone. The Babes in the Wood would have been a successful choice of story in 1859 (the year in which the Parry pantomime mentioned above was produced),

because of the strong English influence in the Cape Colony, particularly in Cape Town, because of the British government of the day and the close ties to the motherland.

numerous British settlers who maintained

Little Jack Horner and other nursery rhymes have disappeared entirely from South African pantomime. Sneeuwitjie (Snow White), Robinson 133

SATJ 2003 VOLUME 17

Crusoe, Rooikappie (Little Red Riding Hood) and Sinbad remain popular choices, along with Jan en die Boontjierank (Jack and the Beanstalk), Aspoestertjie (Cinderella), Doringrosie (Sleeping Beauty) and Aladdin.

These pantomimes from the European tradition are usually reworked in various ways in order to address South African audiences, while retaining those patterns upon which the genre is dependent. Sinbad’s ocean

voyage, for example, becomes an African adventure in Sinbad’s African Adventures, a production by the Performing Arts Council of the Transvaal12 staged in the Johannesburg Civic Theatre. Directed by Janice Honeyman13 (South Africa’s panto queen), the musical numbers combined
Downloaded by [University of Kent] at 10:03 23 August 2013

Western melodies such as Groovy kind of Love (sung by Sinbad and princess African Violet), Under the Boardwalk (sung by Sinbad) and I am what I am (sung by Monsterini), and melodies with an African sound, such as Hey Wena Afrika and African Fiesta (both sung by the entire ensemble). After all the fun with the other characters like Camelia Camel, Aloe and the Cod Father and the usual romantic moments between Sinbad and his African Violet, things become serious for a while. In the Cave of Extinction, the Link Maidens perform a “chant” and The River of Life14 (sung by Sinbad and the company) becomes an anthem for nature conservation, an issue of international and national importance:

We have lived in a forest oh so green For a thousand years blue skies and a crystal stream Where the village lay and the August whales at play But it’s getting hard, harder now to see ‘Cos as the deadly mist that rises is filled with pois’nous prizes and a new and struggling world is crying to begin Let the river of life flow Through your heart and through your soul Down to the earth below Let’s not wait until the last tree dies To finally realize The last tree has died 134

SATJ 2003 VOLUME 17

The last fish is caught And the tiger shot A young panda cries The eagle bought And the rhino caught And the whale harpooned And the sky is blind In Robinson Crusoe (an old favorite which had already made its appearance in South Africa in 1861 with Parry’s Robinson Crusoe; or The King of the Caribbee Islands and in 1953 with Gerald Palmer’s South African “on-ice pantomime”) the hero still arrives on an exotic desert island. The original story and Daniel Defoe’s hero have faded from
Downloaded by [University of Kent] at 10:03 23 August 2013

memory, however. In 1953 The Star reported that “…if the story seems even a little more tenuous than is usual in a pantomime and if Robinson Crusoe skating through the jungle on a desert island has little in common with the character first depicted by Daniel Defoe, no one feels any sense of loss.”15 In 1997 in the Civic Theatre (Johannesburg) and 1998 in The Playhouse (Durban), this old favourite became Robin’s A Cruise-Ou (“ou is a slang Afrikaans term for “man” or ‘chap”) under the direction of Janice Honeyman. Although performed in English, the pantomime was, from beginning to end, loaded with Afrikaans as well as other South African touches. Honeyman, who described the pantomime as “a parfait of

entertainment all of its own”, and the unique ingredients as “a pinch of the past” and “a potjie of the present”, warns audiences in her programme notes (printed on a sand-coloured background with two footprints), of the show’s relationship with the original:

Once upon a Friday there was a footprint – a story was written around it. Once upon a different Friday there was another footprint a panto got written around it. Any resemblance to the original is purely coincidental…

135

SATJ 2003 VOLUME 17

Robin and Friday both feature, but the rest is contemporary and mostly pure South African, and even Afrikaans. The Dame is named Lolla-Laf-ALot (“Laf” being an Afrikaans word meaning “silly”). There are also two comic dames, namely Rykie Rixdaler, a rich woman who takes her name from the old Dutch coin (one shilling and six pennies) that was once used in South Africa. The captain of the boat (Lolla Pop) not only has an Afrikaans title (“kaptein”, or “captain”), but Van Hunks (whose Christian name is “Vullis”, which means “garbage” or “rubbish”) features in a popular South African folk tale about a bedeviled old Dutch ship captain who smoked a pipe in a competition with the devil on Table Mountain, and out-smoked him to such an extent that the cloud of smoke from his pipe
Downloaded by [University of Kent] at 10:03 23 August 2013

still hangs over the mountain. There are a number of animal parts (“skinparts”) – Crackle and Pop (the River Rats), Bubble and Squeak (the Nice Mice), Ten-Ton-Ou- Sore-Arse-Rex (a dinosaur) and Pietie Pappagaai (the ship’s parrot). The two simpletons (“Simple Simons”) are Oesie-Ou and Woesie-Ou, developed from the light-hearted Afrikaans expression “oes en woes”, meaning “feeble and ferocious”. In the 1998 production in Durban the three “Nasty Villains” of the 1997 production in Johannesburg were given Afrikaans names exaggerating the alliteration of the “b” sound: Bellzebub Bergbielie, Bielieboet Branderbogger and Boerbielie Boendoebesher.16 As part of the multicultural mix, there is also a

sangoma (witchdoctor), whose dialogue included words and phrases from the black actor’s (Mvuselelo Buthelezi) indigenous language (Zulu). Both pantomimes began with indigenous music and dance, namely “Ghomma” and “Pata Pata”. Amongst all the English songs, the 1997 production

included a local comical hit, “Wikkel daai Boude” (“Shake that Ass”) and in 1998 Boendoebesher and the Raver Rats performed a parody entitled “Yuckymuckykakkerlakkiepoefiehalitosis”, which perfectly suggested the spirit of the topsy-turvydom and multicultural festivity. Those who understand Afrikaans and listen carefully obviously recognise a few

meaningful words, such as “kakkerlak” (cockroach) and “poefie” (shit). The latter is actually a euphemism and a part of the pantomime’s coarse

136

SATJ 2003 VOLUME 17

humour

which

never

crosses

over

into

banality

in

Honeyman’s

productions.

Because

the

fixed patterns of pantomime

include

an element of

contemporaneity, local panto-writers often update their versions of a fairytale from time to time. John Moss, a prominent figure in South

African pantomimes until the 1980s, wrote his first version of Cinderella in1954 and then adapted and rewrote it several times in the late 1950s, 1970s and 1980s. Jokes and references to local events that give a

contemporary and colloquial quality to pantomime, are often added to the text during rehearsals and can often change from performance to
Downloaded by [University of Kent] at 10:03 23 August 2013

performance. In Moss’s Cinderella the following piece of dialogue between Cattie (an ugly sister) and Buttons takes place when the parcels are unpacked after a “shopping spree”:

Cattie: It’s a “Cross-your-heart’ bra. The new apartheid model. Buttons: Apartheid? Cattie: Yes, for separate development.17 The local quality and humour of the South African pantomimes rely on more than references to internal socio-political situations and typical jokes, however. A look at the pantomimes of writer-director Janice Honeyman who has largely set the tone for the genre in South Africa since the early 1980s, suggests that other elements, as already indicated by the discussion of Robin’s A Cruise Ou, contribute substantially to the synthesis of the formative British tradition and the South African influence. These elements do not operate in isolation, however, and the choice of one local element leads to other colloquial choices introducing a wholly South African atmosphere into the hodge-podge.

As with her Robin’s A Cruse Ou, Honeyman hints at the local flavour with the title of Sno’White and the 7 Dofs, which played in the Johannesburg Civic Theatre in 1997. “Dofs” is, incidentally, not only a wordplay on the Afrikaans accent, but also suggests that Sno’White’s friends are not all 137

SATJ 2003 VOLUME 17

that bright, but rather “dim Dofs”, as Honeyman describes them in the programme notes. “The setting is not too far from home, in the Magic

Mountains of Mpumalanga” she also explains. The bad, dumb Lousy has an associate named Losgat, which is a humorous Afrikaans name that will immediately inform local audiences that he is a worthless rubbish. Queen Perrilina, supported by her Likkewane (iguana18) henchmen, cannot spoil her stepdaughter’s fun forever. Sno’White marries her Chief Charming

from i-Tropicornucopia and the finale and the walk-down takes place in front of a jungle palace, complete with a gigantic elephant in the background.
Downloaded by [University of Kent] at 10:03 23 August 2013

When Honeyman wrote her first pantomime version of Snow White in the 1980’s (translated a few years later by Nerina Ferreira), the hero was different. Prince Charming was an Elvis Presley-type figure, rather than the traditionally humourless romantic figure, and at times (particularly on his first appearance) a parodic character. In Honeyman’s most recent

version he is a much sought- after ethnic figure, clothed in a traditional outfit, and Sno’White (played by Gina Shmukler) and her Chief Charming (played by Siyabonga Twala) reflect the new South Africa in which apartheid and segregation no longer dictate romantic choices. Three of

the dwarfs, as well as Panto Loon, Lousy, Losgat and several chorus members are also black. This tendency towards “rainbow nation” casts is naturally evident in nearly all the pantomimes after 1994.

In Honeyman’s Cinders and her Fella, the Johannesburg Civic Theatre’s “Millennium Merriment and Panto Pleasure” of 1999 – 2000, the lovers are no longer representative of the rainbow nation, but Cinders’s parents are a black and white couple and there were plenty of topical characters and a South African milieu. The press release19 offered no empty promise:

It’s Panto-time again – and to celebrate the Millennium the Civic is presenting the loveliest and most-loved of all the Pantomimes, “Cinders and her Fella”.

138

SATJ 2003 VOLUME 17

It’s a tale of sweet Cinders and special slippers, of Buttons, Bows and Balls. It has all the merriment, the mayhem, the malice and the magic of “Once upon a time…” and “Happy ever after.” And it has been devised and designed in our very own idiom for our very own Panto-fans. Audiences will meet a line-up of delightful, outrageous, amusing and topical characters: the people of Pampoenfontein, of Platsak Plaashuis and Karbonkel-kopje. There is the pretty but poor Cinders, her Ugly Sisters Flossie Phlegmerina and Fanny Flatulina – bossy, brassy and born to shop! The vulnerable i’ Buttons, owner of the famous prize pumpkin, Vetsak the Dancing Donkey, King Kallie Krompik and his deliciously dishy son, Prince Charming – all supported by a Panto-parade of colourful and original fable-folk. The audience will be entertained by the traditional Panto ingredients – the Dame, and all her comedy gags, the two funny fall-guys, the sing-along, the romance of young love, a fabulous finale – and of course the magical and spectacular transformation sequences. See a pumpkin turn “Chakalala-atchaar-woeps-wapswoema, olka-bolka-ribbetjie stolka-bollemakiesie-bo!” into a sparkling crystal carriage. Cinderella still has as confidant the affable Buttons, a figure created in1860 by H.J. Byron, who has become a fixed character in pantomime versions. He’s now called i’Buttons, the “i-“ being a typical prefix

Downloaded by [University of Kent] at 10:03 23 August 2013

associated with black indigenous languages and the role is played by Zane Meas. Cinderella’s environment and situation are Afrikanerised and South Africanised. Her parents have Afrikaans names – Selina Souttert (savoury tart) and Petrus Platsak (his surname suggests that he’s bankrupt) – and they live in Platsak Huis (Broke House) on Karbonkel Hill.20 When she

goes out one day to gather firewood from the Bundubos, she meets Olady U’nozilingo (meaning “goodness” in Xhosa and Zulu), an old black woman who, according to her hand-held placard – a typical accessory of South African beggars – is very poor: “No Foed. No Monee. Civic Budget Cuts. Sicks Kids. Please Jelp!” Kidhearted Cinders only has a bundle of wood to offer her. Olady U’nozilingo, like the traditional fairy godmother21, has magical powers and later comes to rescue Cinders when her stepsisters, Flossie and Fanny, leave to attend King Kallie Krompik’s Pampoenfontein (Pumpkin Fountain) ball. The Ama-gogga-goggas (a supposedly evil,

139

SATJ 2003 VOLUME 17

singing group of girls taking their supposedly frightening name from the Ama-bokke-bokke, the Springbok rugby team) almost convinces Vetsak, the donkey, to eat the pumpkin. With Olady U’nozilingo’s help, the

necessary magical transformation takes place and Cinders lands up at the ball where Flossy and Fanny are partying with Major and Minor Dom-Ou’s, the two fools as “dom” (stupid) as their names indicate. But all’s well that ends well, and Cinders marries her Fella.

The tale of Cinderella has been staged in South Africa, like in Britain, as an adult pantomime. The Playhouse Celler in Durban started its series of adult
Downloaded by [University of Kent] at 10:03 23 August 2013

pantomimes

in

1996

with

Sinderella,

produced

by

Eric

Hutton,written by Peter Court and Patric Heyland and directed by Peter Court.This was followed by Aladdin, Sleeping Beauty, Jack and the Big Stalk, Snow White and Several Dwarfs (subtitled A Girl who Drifted) and Red Coat Tales.The latter is set in Grey Street, Durban, while Jack (a young man who solves his erectile problem by exchanging Clover the Cow for the traditional handful of magic beans) meets the spoilt brat princess Ophelia on Fukawi Island, a paradise of “sand, sea, surf and cellulite”.In 2002 the annual adult pantomime moved to Lango’s Theatre in Durban North and Hutton and his team revived their original adult panto as Sinderella comes again.

In order for a pantomime version of a fairy tale to remain topical it must be regularly updated and adapted. Honeyman, for example, wrote her first version of Aladdin in 1987, and this version was reworked again in 2000 as A Lad ‘n a Lamp, a “localized and lekkerised new look at the old story”, as Honeyman describes it in the programme notes. the Sunday Independent (26/11/200) described Thabiso Leshoai of it as “a very

Johannesburg production for a very Johannesburg audience”.22

In this

version the Chinese emperor and empress are passing through the Oriental Plaza in Fordsburg, Johannesburg with their daughter, Princess Lotus Blossom when they cross paths with Aladdin, son of the laundrylady Dame Sunlaait. The princess and the Fordsburg lad from the wrong 140

SATJ 2003 VOLUME 17

side of the tracks fall in love immediately – an unacceptable breach of decorum, as she is exceptionally upper-crust and has been chosen by her father – the Emperor Wun Long Dong – as a bride for the young colonial aristocrat, Jerry Joko, son of the ambassador and exploitative tea baron, Earl Grey. Joko, meanwhile, has fallen for the local lady of leisure, Chop Suzy. Having established the South Africanness of the central characters, the action switches to more traditional territory as Aladdin is tricked into going to Peking by the evil sorcerer Abanazor, to retrieve the magic lamp. These changes in location have been described by Jill de Villiers in The Citizen (21/11/2000) as:
Downloaded by [University of Kent] at 10:03 23 August 2013

“Watching A Lad ‘n a Lamp is like being caught in a strange dream in which characters move against a backdrop that hops from South Africa to China to India to Baghdad. It is fascinating to behold and yet fragmented enough to make one feel a bit dizzy.23 “ The location may change, but the local references and colloquialisms kept flowing thick and fast, especially references to locally made television advertisements. To suit the musical taste of the diverse South African

audiences, modern songs from the current hit parade to golden oldies were used and the dances ranged from Rap to Rave, Kwela to Kwaito (indigenous dance forms), oldies to acrobatics.

Aladdin, or A Lad ‘n a Lamp, Snow White or Sno’White and The Sleeping Beauty are three of Honeyman’s pantos which have been translated into Afrikaans by Nerina Ferreira, an excellent translator of dramatic scripts and well known and appreciated as a comic actress in South Africa. When a panto is done in Afrikaans – English is of course never totally absent and is often use as part of the characterisation, parody, pastiche and creation of a recognisable milieu, situation or social phenomenon – it automatically becomes South African to a certain extent. The almost exclusive local

character created through language must, however, be enhanced by the nature of the characters, addresses, jokes, puns, etc. Even the title

141

SATJ 2003 VOLUME 17

sometimes changes.

In her translation of Honeyman’s The Sleeping

Beauty, Ferreira explains the Afrikaans title Doringrosie as follows:24

Die Engelse benaming van hierdie sprokie - “The Sleeping Beauty” – is waarskynlik afgelei uit die Frans. In 1697 het die Fransman, Charles Perrault ‘n boek vol sprokies versamel/geskryf/oorvertel: “Les Contes de la Mère l’Oye” waarin Rooikappie, Katjie Stewels, Aspoestertjie, Klein Duimpie en ander sprokies verskyn het, en ook Die Skone Slaapster. In die 1800’s het Jacob (1785 – 1863) en Wilhelm (1786 – 1859) Grimm van hierdie sprokies oorgeneem in hulle “Deutsch Kinder- und Hausmärchen” en hulle het die prinses in dié sprokie “Dornröschen” genoem. Van toe af staan die sprokie in die Duitse letterkunde bekend as Dornröschen/Doornroosje/Doringrosie.
Downloaded by [University of Kent] at 10:03 23 August 2013

The English name of this fairy tale – “The Sleeping Beauty” – is probably derived from the French. In 1697, the Frenchman Charles Perrault collected/wrote/retold a book of fairy tales: “les Contes de la Mère l’Oye” in which Little Red Riding Hood, Puss in Boots, Cinderella, Tom Thumb and other fairy tales appear, including The Sleeping Beauty. In the 1800s, Jacob (1785-1863) and Wilhelm (1786-1859 ) Grimm took over some of these fairy tales in their “Deutsch Kinder- und Hausmärchen” and they named the princess in the story “Dornröschen”. Since then, in German literature, the tale has been known as Dornröschen / Doornroosje / Doringrosie. The funny English names of the characters must very often be changed and not merely translated, to sustain the tradition of humorous names. Even the personalities can change. Doringrosie25 as follow: Ferreira explains these changes in

Die Karakters: Ek het hulle hier en daar effens aangevul: Klapperdop, die nar, is ook effens – vergeef die woord – katools; die Koning kry ‘n tikkie Afrikaanse pater familias by; Bakkebaard, die Lord-Kamerheer, nog ietsie waardigheid; Tilana Tippietoon, die feëtjie, praat nie hippie-taal nie, want dis ‘n skaars ding in Afrikaans en die Prins gebruik my karige kennis daarvan alles in die “Boogie Bash” op; die arme Koningin is en bly ‘n skadufiguurtjie en ek hoop julle gedenk haar met meegevoel as die aktualiteitsgrappe en kwinkslae in die repetisie-saal begin ontluik. The Characters: I have adapted them here and there: Klapperdop, the clown, is also slightly – forgive the word – 142

SATJ 2003 VOLUME 17

horny; the King gets a touch of Afrikaans pater familias; Bakkebaard, the Lord Chamberlain, a bit more dignity; Tilana Tippietoon, the fairy, does not speak in hippie language, because it’s a scarce thing in Afrikaans, and the Prince uses my little knowledge of this in the “Boogie Bash”; the poor Queen is and remains a shadow figure and I hope you regard her with sympathy when the topical jokes and gags begin to develop in rehearsals. Topicality, whether in the form of humorous references, jokes or characters, is not only updated from season to season, but may also be linked with the abilities and talent of the performer. In the performance of Doringrosie in 1995 at the State Theatre (Pretoria), Sello Sebotsane as Maaikie Muis – one of the “beloved palace squatters” – in one of the
Downloaded by [University of Kent] at 10:03 23 August 2013

scenes brilliantly mimiced President Nelson Mandela.26 In The Sleeping Beauty of 2000 at the Civic Theatre (Johannesburg) the Ninja-like turtle did a traditional African praise song as part of the festivities towards the end.

Jokes and puns are a nuisance in translation, but also a wonderful opportunity for dispalyting the ingenuity that is unique to a specific

language and its community. Ferreira highlights this issue as suggested by her distinctively ready wit in “notas vir die regisseur…en ander belanghebbendes” parties”):27 (“notes for the director …and other interested

Die Grappe: Dié moes natuurlik vreeslik aangepas word en dis nou ‘n moeilike mentaliteitsgekraam daardie, en daarom hoop ek so sterk dat aktualiteitsgoedjies en ander spitsvondighede spontaan gedurende die repetisie ingevoeg gaan word: daar is heelwat daarvan op die Engelse video te bespeur, maar hulle gaan so vinnig dat ek hulle nie altyd kon verstaan nie – die gehoor het egter, en hulle lag lekker …Honeyman gebruik heelwat Afrikaans (meestal vir die skurke!) en ek het hier en daar ook ‘n ietsie Engels ingevoeg. Dan sit ons met die Koektoneel (die klein koekie) en in Afrikaans is die toneel al half skurf voor ‘n mens twee reëls vertaal het. Ek het hom maar sagkens behandel. Honeyman se teks en regie is vol Knock-Knock-grappe en ek het hulle as Kloppetieklops behou… dit help darem hier en

143

SATJ 2003 VOLUME 17

daar en die gehoor, lyk my, geniet dit. maar, nou ja!)

(Een koerant het nie,

Downloaded by [University of Kent] at 10:03 23 August 2013

The Jokes: These must naturally be adapted and that is a difficult mental task, and therefore I strongly hope that topical goodies and other witticisms will be added spontaneously during rehearsals: there are numerous examples of these on the English video, but they go by so quickly that I am not always able to follow them – the audience did, however, and they laugh enthusiastically…Honeyman uses plenty of Afrikaans (mostly for the bad guys!) and I have added English here and there. This we’ve done with the Cake-scene (the small cake) and in Afrikaans the scene is almost smutty before two lines have been translated. I treated this lightly Honeyman’s text and direction are full of knock-knock jokes and I’ve kept them as Kloppetieklops… this helps here and there and the audience, it seems to me, enjoy it. (One newspaper didn’t, but … oh, well!) The above explanation also highlights one of the more obvious

characteristics of Honeyman as the leading panto-creator in South Africa, namely the mixing of English and Afrikaans which is typical of the local means of communication in certain communities. In the English

pantomimes, the bad guys often have Afrikaans names and their dialogue is loaded with Afrikaans. This phenomenon is not social commentary, but rather a division between good and evil and a method of making evil seem ridiculous rather than dangerous and threatening. The evil witch-like fairy appears, for example, in both The Sleeping Beauty and Doringrosie as “Kakiebos” and speaks plenty of Afrikaans in Sleeping Beauty. Her Afrikaans name and dialogue are ironic and comical. Kakiebos (Tagetes minuta) is a nuisance weed of American origin which arrived in South Africa during the Anglo-Boer War along with the horse feed brought here by the British soldiers. So the pantomime’s old Kakiebos is a rubbish of a woman who ironically speaks Afrikaans and appears on stage in a khaki military uniform! For the sake of completeness it must be said that

Kakiebos is not the only character in The Sleeping Beauty with an Afrikaans name. The Dame, a royal child-minder and a spinster

(naturally) is known in the Afrikaans version as Nôra Naauwbrijn (the Dutch spelling is certainly no coincidence) and her name reflects her clumsy attempts to be charming and to get a man who will be an 144

SATJ 2003 VOLUME 17

“investment for the future” (“belegging vir die toekoms”), and “a prominent man, dignified and kind, but…eh…also ready for battle” (“’n vooraanstaande slagvaardig”). man, waardig en goedaardig, maar …e… nog

A number of original South African pantomimes have also been written in Afrikaans, and for various reasons – the Afrikaans-oriented environment, characters, word play, humour, pastiche with an Afrikaans framework – have not been translated into English. One of the contemporary

“Afrikaans” pantomimes (Afrikaans and English are freely mixed, however) which attracted widespread interest is Rooikôppitjie,28 the title of which
Downloaded by [University of Kent] at 10:03 23 August 2013

(developed from Rooikappie / Little Red Riding Hood) implies a Boland touch and character. The narrator is a Bergie woman, who introduces herself to the audience as follows:29

Ho! Ho! Ho! Hier’s ‘n present vir djou. [Here’s a present for you.] With the season’s compliments…Nei, ek’s nie Mary Christmas nie [No, I’m not Mary Christmas], oh No! No! I’m not Rooikoppitjie either. Although I have all the characteristics of a Traditional Romantic Lead. Nei ekke is Katie – short vi’ Katryn die Klora; altyd available vi’ ‘n kannetjie wyn. [No, I’m Katie – short for Kathrine the Coloured; always available for a barrel of wine.] So if you wanna be ignorant you can call me a bergie, but I’m actually an outdoor freelance collector and removal service, very free spirited – vat sluk spirits. And in tonight’s panto I’m also chief narrator, plot orchestrator, character manipulator, always in charge! But without further ado, bend dis julle cue! – Play, don’t stop, play!…But without further ado, good tidings I bring…this show is about to begin. The well-known Red Riding Hood characters are all present (Red Riding Hood, her parents, the grandmother, the wood-cutter and the wolf), but they are somewhat different in appearance. Red Riding Hood is “an

upper- middle- class suburban of semi-European descent” as described by Kytie. Her snobby parents, Dr. and Dr. Stifflip don’t like her simple lover, Kapp van der Bijl30. They live in the town Grass (“a one horse town”) between Skelmbos and Fake Bay31. Naturally there are problems. As

Kytie puts it “…where there’s a Bush there’s a war”. Dolf, the Wolf, is as 145

SATJ 2003 VOLUME 17

mean as they come, a shrewd property developer who tries to drive all the animals and people from the woods to the town to create space for his new property development. Part of Dolf the Wolf’s clandestine plan is an “Eviction Bos Boogie” to welcome the animals to the town.32

Aptelike Kênnisgewing Spêcial Notice I, Wolf, cordially invite you to my eviction Bos Boogie Today starting at six o’ clock Sharp. Please note that there would be no after- eviction party at Caesers Casino on Wednesday.
Downloaded by [University of Kent] at 10:03 23 August 2013

There is going to be lots of music, dance class êcts such ês for the very last time – Skapiedisco diva of Grass. There is going to be food, lots of wine, lots of prizes and for your convenience I, Wolf will be providing safe parking secure and working toilet facilities and specially for the children a crèche!! He underestimates the tough Ouma Henna (grandmother Henna): “I’m a woman who out runs the wolves, en ek sal in daai bos bly tot hy my met sy ou valstande probeer opvreet…[and I’ll stay in the forest until he tries to eat me up with his old false teeth…]”. Other priceless characters who contribute to the intrigue include Dolf the Wolf’s wronged hanger-on, Skapie la Mêr, Ba and Ba Blacksheep, Skillie (“the local forest idiot”), the chaste sisters Elna and Bernina Singer33 and Mr Verwuif, “a community gay… appointed as the official forest decorator for the Eviction Bos Boogie”.34 Then there are also the seven Bos Fairies [Forest Fairies],

decked out in fun costumes made from recycled materials and played by the Pretty Ladies, a Stellenbosch singing group consisting of seven farm workwers. The music is a real topsy-turvey mix featuring music from The Sound of Music and Moulin Rouge to Staying Alive by the Bee Gees and Queen’s I like to ride my bicycle with adapted and translated lyrics as Afrikaans parodies. A particular favourite with audiences was Ouma Henna’s super-butch Afrikaans version of Shania Twain’s Man, I feel like a woman. The text is often a comical pastiche as because of the references to well-known South African artists (such as Rozanne Botha and Koos 146

SATJ 2003 VOLUME 17

Kombuis), television adverts (“What did you do with your Philips today?”) and also television and film roles in which Sharleen Surtie-Richards

(Narrator Katie), Frank Opperman (Dolf the Wolf) and Ben Kruger (Ouma Henna) became famous.35 Numerous social problems are speedily,

sharply and satirically touched upon, for example:

One school uniform One final exam paper Three false degrees at unknown American Universities Working holiday visa for London A happy family life
Downloaded by [University of Kent] at 10:03 23 August 2013

–

R450 R600 R 3 000 R4 000 Priceless36

After all the liberties taken with the original text, comes the happy ending: Ouma Henna turns up at the party with Dolf the Wolf done up as a poodle on a leash and announces, “Great time to celebrate! No time to meditate. Sien julle by die former Eviction Bos Boogie, nou Kapp en Rooikappie se trouopskop [See you at the former Eviction Forest Boogie, now Kapp and Red Riding Hood’s marriage party].37

Rooikoppitjie, a hodge-podge of South African cultural references, was first performed at the Spier amphitheatre just outside Stellenbosch, and then went to the Klein Karoo Nasionale Kunstefees [Little Karoo National Arts Festival] in Oudtshoorn (the biggest arts festival in Africa) as part of the 2000 Main Festival. It was not the first pantomime to form part of the KKNK main festival. In 1998 Brolloks en Bittergal was commissioned by the Klein Karoo National Arts Festival as part of their main festival programme in celebration of the C.J. Langenhoven centenary. Written and directed by Lizz Meiring and Hannes Muller and produced under the auspices of the Independent Performance Trust, this pantomime was based on a well- known novel with the same title written by C.J. Langenhoven. This is the first and only pantomime in South Africa which is not based on an European fairy tale. The language (Afrikaans) and the original South African story give this pantomime an unmistakably local flavour. The dramatic structure used, however, is completely that of the 147

SATJ 2003 VOLUME 17

traditional British pantomime, complete with all the stock characters, vaguely recognisable original story, slapstick humour, raunchy doubleentendres and a topsy-turvy world full of buffoonery and rollicking fun38.

The popularity of pantomimes in South Africa – Brolloks en Bittergal broke all previous box- office records at the KKNK with all ten performances completely sold out, while the Civic Theatre in Johannesburg, the State Theatre in Pretoria and The Spier Theatre outside Stellenbosch all had very successful runs – proves how successfully this British tradition can be applied as popular theatre elsewhere without a common audience awareness of the elements and conventions of the genre.
Downloaded by [University of Kent] at 10:03 23 August 2013

The

pantomime, described by George Augustus Sala in 1870 as “a strange, admirable, absurd, inscrutable thing”39 is indeed irrational and depends on a number of long-established conventions. The mixing of then and now, here and there, the surprising and the well-known, however, creates an escape and an entertainment which offers a temporary diversion from reality into a present- day saturnalia in which the elitist becomes the ridiculous, the sought-after the detestable,and under- dogs rule over their masters and good finally triumphs over evil.

Notes
1) See Eisenstadt (1974:20) and Shils (1981:13). A dynamic approach to tradition as opposed to a static conception of tradition as something ‘given’, stresses activity and creativity as a basic component of tradition. As a temporal chain tradition is thus a sequence of variations which are linked by a common origin. 2) Bosman (1980:81) states that pantomime “has always been played” at the Cape and that 1813 – 1815 can even been called “pantomime years”. Parry was, however, the first person to bill a pantomime as a “Christmas pantomime”. One should also bear in mind that Christmas only become the accepted time of year for pantomime to be staged after the repal of the Licensing Act in 1843 (Pickering 1993:40) and that it would have taken some years before it became a custom at the Cape. 3) Sefton Parry was a British born actor and manager-producer. En route to England from Australia, he first performed in Cape town on 13th June 1855. According to Australian newspapers Parry was “the most successful star that visited the Colonies”. From 1857 until 148

SATJ 2003 VOLUME 17

1862 when Parry returned to England, he was the leading figure in Cape Town theatre. He became the founder of English professional theatre in South Africa. Bosman (1980:54-118) gives a detailed overview of Parry’s work in South Africa. 4) See Bosman 1980: 83-83. In scene 1 the cruel uncle of the “pretty babes” seek the advie of Hornyhoof, chief of the satyrs. In Scene 2 he bargained with the two ruffians and the children are taken to the woods. Scene 3 took place in the “retreat of the Wood-Nymphs” and contained “the Ballet of the Roses.” In scene 4 ruffians arrived with the children in the “unfrequented Wood of the Satyrs” and the cruel uncle arrived to view his new estate. When he sees them dead in scene 6, and is about to leave, “rejoicing on his way”, he is interrupted by the Fairy Queen. Then followd the Grand Transformation and Harlequinade. 5) Details as given in the Programme (Bosman 1980:84-84). 6) See Bosman 1980:199 7) As quoted by Groom from the libretto which was offered for sale (Bosman 1980:198-199). 8) The first pantomime with a local interest was Babes in the Wood; or Harlequin and the Cruel Uncle, mentioned earlier. 9) Groom, as quoted by Bosman 1980:1992 – 193 10) Parody belongs to the genre of satire, and can be subdivided into comical parody and literary or critical parody. Comical parody forms part of burlesque, which also includes two further literary categories, namely caricature and travesty. Compare Hutcheon (1985: 1-7), Sorell (1972: 100 – 102) and Rose (1993: 54 – 91). 11) Burlesque, burletta and extravaganza are related. The extravaganza of the 19th century is difficult to distinguish from burlesque because of the tendency to freely interchange the two terms. The burletta is linked to both the burlesque and extravaganza. Extravangazas were sometimes advertised as burlettas so they could be played in “minor theatres”. Burlesque, burletta and extravaganza had a formative influence on the pantomime in terms of story choice, tone and plot, most evident in the work of H.J. Byron (Pickering 1993: 33) and J.R. Planche (Pickering 1993:154 – 155). 12) Towards the end of 1963, councils for the performing arts were established in all four provinces at that time in South Africa: The Performing Arts Council of the Transvaal (PACT), The Cape Performing Board (CAPAB), The Natal Performing Arts Council (NAPAC) and the Performing Arts Council of the Orange Free State (PACOFS). In 1997 the performing arts councils were replaced by the National Arts Council. 13) Director, writer and actress, Janice Honeyman’s work has created many landmarks in both local and international theatre. She is a founder member of the Market Theatre Foundation and was resident director in 1983 and 1984. Her associate directorship with PACT (1986 – 1992) resulted in the staging of many pantomimes by PACT and other Arts Councils in S.A. She contributed largely to 149

Downloaded by [University of Kent] at 10:03 23 August 2013

SATJ 2003 VOLUME 17

the revival of pantomime in South Africa since the 1980’s. 14) The River of Life was written by Janice Honeyman, Maralin van Renen (assistant director) and P.J. Powers (local musician). This song also features on the CD The PJ Powers Collection. 15) Also see Grevenstein 1988:114 16) Bellzebub Bergbielie: Beelzebub is the head devil and Bergbielie means “as big as a mountain”. Bielieboet Branderbogger: Bielieboet means “a brother who is big and strong and Branderbogger means “a bugger as rough as a wave.”Boerbielie Boendoebesher: Boerbielie means he is a big and strong Afrikaner and Boendoebesher means he is a fighter who comes from the bundu or wilderness. 17) Unpublished text, p.24. Also see Grevenstein 1988:115. Cinderella written and directed by John Moss, was staged by NAPAC in 1980 and PACT in 1982. 18) Iguanas are feared for their tendency to suck out their victim’s brains, according to local superstition. 19) Obtained from http://www.artslink.co.za , October 1999. 20) “Karbonkel kopje” literally means “carbuncle; garnet hill” (“koppie” in Afrikaans and “kopje” in Dutch). Bear, in mind, however, that a red (like a garnet) or brandy-nose is sometimes called a “karbonkelneus”. The owner of this penniless house (platsakhuis) on Karbonkel kopje may perhaps have the bad habit of drinking too much! 21) Although a fairy godmother was introduced into the story of Cinderella by Charles Perrault (1682 – 1703), her first appearance in a pantomime version of the tale was in 1807. Olady U’nozilingo (“goodness” in Xhosa and Zulu) has the same characteristics and magic powers as the fairy godmother in the traditional Cinderella. 22) The topicality in A Lad ’n a Lamp was also praised by other critics: Nicki Padayachee in Sunday Times Metro (5/11/2000), Garalt McLiam in The Star Tonight (11/11/2000) and Diane de Beer in Pretoria News (17/11/2000). 23) One critic, Schalk Schoombie in Die Beeld (22/11/2000) seemed to be disorientated by the changes in locality: “Dié Aladdin weet nie waar hy wil wortel skiet nie. Die verplaasde storie (met Hansie Cronjé-verwysing en al) (verwysings na die afgesette krieketkaptien –M.K.) skop belowend af in die Kaap, versit eensklaps na China, kry warrelend koers na Midde-Afrika, en tussendeur raak die towerlamp en sy slaafse gees verlore.” [This Aladdin is unsure of its roots. The transplanted story (with Hansie Cronjé references and the suchlike) kicks off promisingly in the Cape, moves suddenly to China, sets course for Central Africa, and in between, the magic lamp and its enslaved genie get lost.] 24) See notes (unnumbered page) in Doringrosie, available from DALRO, Braamfontein. 25) See notes (unnumbered page) in Doringrosie, available from DALRO, Braamfontein. See notes (unnumbered page) in Doringrosie, available from DALRO, Braamfontein. 150

Downloaded by [University of Kent] at 10:03 23 August 2013

SATJ 2003 VOLUME 17

26) Hough in Die Rapport (8/10/1995) refers to this mimicry by Sebotsane. Hough also praises the text as “heerlik humoristies, spitsvondig en byderwets – veral wat woordspel en verwysings betref /wonderfully humorous, ingenious and contemporary – especially when it comes to wordplay and allusions.” 27) See notes (unnumbered page) in Doringrosie, available from DALRO, Braamfontein. See notes (unnumbered page) in Doringrosie, available from DALRO, Braamfontein. 28) Rooikôppitjie was written by Saartjie Botha, Malan Steyn and Francois Toerien and directed by Marthinus Basson. After a successful run at the Spier Amphitheatre (Stellenbosch) Rooikôppitjie was performed at the Klein Karoo National Arts Festival (Oudtshoorn). The main character is a girl with red hair and therefore she is called Rooi (red) koppie (head). There are naturally also English versions of the old fairy tale. As recently as 2000, Little Red Riding Hood, written by Matthew John Town, was performed in the Breytenbach Teater (Pretoria). See Odendaal in Die Beeld (29/11/2000). 29) Unpublished text, p.1. 30) An ax (“byl” in Afrikaans, “bijl” in Dutch) refers to his profession – he is somebody who chops (“kap” in Afrikaans, Kapp is a surname from German origin) wood. 31) Skelmbos is the nickname for Stellenbosch, given to this university town, because of all the non-admissible things that the student community does. Fake Bay is the area known as False (meaning fake, but usually not translated in this name) Bay. 32) Unpublished text, pp. 9 – 10. “Eviction Bos Boogie” refers to the Big Brother (T V reality show) weekly eviction party, held on Wednesdays at Ceaesar’s Casino in Johannesburg. 33) Elna, Bernina and Singer are well- known sewing-machine brands. In Afrikaans “sew” also has a sexual connotation, as can be seen in the interaction between the two sisters and Ba and Ba Black Sheep. 34) Unpublished text, p.10. The name Verwuif hints at his sexuality (“verwyf” means effeminate, camp) and the stereotypical hand action (“wuif” means wave) with which his sexuality is associated. 35) There are many references to Fiela’s Child (a novel written by Dalene Matthee and adapted for the stage and film) in which SurtieRichards became famous. Opperman as Dolf die Wolf refers to his “former life” as Ouboet, one of the main characters in the television series Orkney snork nie. Kruger became a well-known face to television audiences as the young teacher in the series Skooldae. 36) Dr. and Dr. Stifflipp, unpublished text, p.24. 37) Unpublished text, p.48. Directly after this, there is a love duet by Rooikoppie and Kapp van der Bijl. 38) For a detailed version of the story and characters, see Kruger in SATJ, September 2000, pp. 168 – 169. 39) See Pickering 1993: xxvii.

Downloaded by [University of Kent] at 10:03 23 August 2013

151

SATJ 2003 VOLUME 17

References
Bosman, F.C. L. 1980. Drama en Toneel in Suid-Afrika Deel II. Pretoria: J.L. van Schaik. Botha, S., Steyn, M., Toerien, F. 2001 Rooikôppitjie. Unpublished text. Copyright held by the authors. De Beer, Diane. 2000. “Panto Fun”, in Pretoria News. 17 November 2000. De Villiers, Jill. 2000. “A Magic carpet ride”, in The Citizen. 21 November 2000. Einstadt, S.N. 1973. Tradition, Change and Modernity. New York / London: John Wiley. Grevenstein, Walter R. 1988. The History and Development of Children’s Theatre in South Africa. Unpublished D.Litt. Rand Afrikaans University. Honeyman, Janice. Undated. Aladdin. Braamfontein: DALRO. Honeyman, Janice. Undated. Doringrosie. Braamfontein: DALRO. Honeyman, Janice. 1987. Snow White and the Seven Dwarfs. Braamfontein: DALRO. Honeyman, Janice. 1989. Sneeuwithie en die Sewe Dwergies. Braamfontein: DALRO. Hough, Barrie. 1995. “Doringrosie is heerlik spitsvondig en stem van Kakiebos styg uit”, in Die Rapport, 8 October 1995. Hutcheon, Linda. 1986. A Theory of Parody. New York: Methuen. Kruger, Marie. 2000. “English pantomime: Reflections on a dynamic tradition” in South African Theatre Journal, September 2000. Leshoai, Thabiso. 2000. “Panto Fun” in Sunday Independent, 26 November 2000. Mc Liam, Garalt. 2000. “Honeyman’s curtain trick” in The Star Tonight, 17 November 2000. Odendaal, Thys. 2000. “Rooikappie-pantomime in die Breytie” in Die Beeld, 29 November 2000. Outwait, William and Bottomore, Tom (Eds). 1993. The Blackwell Dictionary of Twentieth Century Social Thought. Cambridge: Basil Blackwell. Padayachee, Nicki. 2000. “Go ahead, Laugh” in Sunday Times Metro, 17 November 2000. Pickering, David. 1993. Encyclopedia of Pantomime. London: Gate Research International. Rose, Margaret A. 1993. Parody: ancient, modern, and post modern. Cambridge: Cambridge University Press. Schoombie, Schalk. 2000. “Val dié Krismiskoek dalk plat omdat nar nie daar is?” in Die Beeld, 22 November 2000. Shils, Edward. 1981. Tradition. London/Boston: Faber and Faber. Sorell, Walter. 1972. Facets of Comedy. New York: Grosset and Dunlop.

Downloaded by [University of Kent] at 10:03 23 August 2013

152