THE OLDEST HAVE BORNE MOST…
Jack is an ageing, terminally ill, scruffy, alcoholic remnant of an actor, with a grubby cardigan and Falstaff gut. He is muttering lines from King Lear in his chaotic flat. Lunga Kunene – played by the play’s author John Kani – is his nurse, another ageing man but as dignified and calm as Antony Sher’s Jack is chaotic. Having sprung himself and his cancer from hospital on condition he hired a nurse, Jack expected a woman, ideally a white one. Graceless and grumpy, he reluctantly has to accept that “Sister” Kunene will live in – and not in the old servants’ quarters.
This is the new South Africa 2019: 25 years after the end of apartheid and Mandela’s freedom and rise to leadership. Even apart from Jack’s shuddering horror of death (“As an actor, you think you know about fear…”) both men have adjustments to make. Both, apart from anything else, need to shake the habit of treating the other as a specimen: one of “you people”, white or black. This is not always easy. Jack’s disavowal “I’m not political” meets contempt from Kunene who observes quite rightly that people who say that are usually profiting from something very political indeed. It’s a scratchy subject in any country, especially here: but in Kani’s hands often funny, sometimes explosive, sometimes poignant, always, arresting and important. Specific though the SA setting is, it opens great vistas of heart-stopping universal wisdom about death, guilt, reconciliation and human need. Its 95 minutes will be with me for months, and if there is any justice it will be seen more widely. I shall go again.
I should admit that it is close to home for me: for two years at the height of 1960’s apartheid my father was posted to Johannesburg . In termtime I was at school (a racist and brutally odd convent) in Krugersdorp. In the holidays, with parents anxious we should not think apartheid in any way normal or excusable, I helped my mother with food distribution in the townships and got shunned by white neighbours for teaching the maid’s teenage children to swim. Decades later at the elctions I marvelled at the comparative benignity of Mandela and of his people: even in 1963 when nightmares had haunted me that my father, following us home later, would die in a well-justified uprising. Twenty years on, I grieve that justice and equality are so far from complete.
But it needs no private connection to be swept into this honest, humane and thoughtful play. White-man Jack is determined to play Lear before he dies; Kunene, taught only Julius Caesar at school because it is about conspiracy failing and “one Shakespeare was considered enough for the native child”, doesn’t know Lear. But he becomes engaged with it, though horrified by the unwise King’s lamentable failure to consult “ancestors” like a good African. He remarks that Mandela was a Lear when he stood down to “crawl unburdened towards death” and that Zuma was both Goneril and Regan.
Sher is wonderful, fine-tuned in every move, playing against Kani to perfection: part enthusiastic sharer, part furious codger, sometimes horrifyingly a white Massa once more, but sometimes opening fissures of stark feeling. Kunene is patient, gentle, infuriated, repressed, embodying every thwarted human emotion of a downtrodden people and its gentle heart. It takes more than nursely authority to track down all the gin half-bottles in Jack’s stash, and more than professionalism to tolerate his eruptions. It is beyond a nurse’s duty to drape a dying delusional actor in a table-runner to take pictures for the Lear he will never live to play.
We laugh aloud often, we gasp in shock, we are confronted by the pity and shame of incontinence , but listen with fascination to Jack’s explanation of how a great actor interrogates every line, learns to mean it. A terrible mutual rage flares, becomes a fiery dance of laughter, subsides to glowing embers in the beauty of still, wry reconciliation.
box office rsc.org.uk to 23 April