HELLO AND GOODBYE, written by Athol Fugard, directed by Briga Thomas, with Wesley Figaji and Suzi Gehr (fringe, drama, PJs today at 2.30pm)

WHILE this adaptation of Athol Fugard‘s Hello and Goodbye may focus on a nostalgic and at times painful look back at siblings‘ family history, the production is also a look back at our collective history. Set in the 1960s in Valley Road, Port Elizabeth, there are products, places and aspects of popular culture mentioned, which have long since faded into the past.

The use of certain derogatory terms, used freely by whites at the time but now frowned on in society, may seem shocking at first, but are authentic.

The production opens with Johnnie Smit (Wesley Figaji) suffering a sort of mental breakdown alone in his house.

His father has recently died. He is wallowing in self-pity and keeps ranting about facts, figures and calculations, which seem to give him some consolation, but not much.

Oblivious to the world, he is shocked when a woman he doesn‘t recognise arrives at his door with a suitcase.

It takes him a while to realise or believe that the woman is his sister, Hester (Suzi Gehr), who walked out on the family 15 years earlier.

She is unaware that their father has died but, suspecting that he may be near death‘s door, has come to claim her share of an inheritance she believes she deserves.

Johnnie decides Hester is better off not knowing that their father is dead, and pretends to keep checking on him in another room, claiming he is bed-ridden.

After a number of arguments, bringing up petty fights from their childhood, the siblings eventually agree to bring a number of boxes out of their “sleeping” father‘s room to search for money Hester believes may be hidden in one of them.

The second half of the production consists of the two pulling old clothes, shoes, curtains, photo albums, newspapers and other long-forgotten items from the boxes, as more and more memories come to mind.

As well as touching on family secrets, the production makes a lot of comments about religion. Hester‘s character is an atheist, Johnnie a Christian, but with some warped ideas.

While the climax is predictable, the outcome it has on the two is somewhat unexpected.

Figaji is very good as the mentally troubled brother.

He appears simultaneously deeply troubled but also quite devious in his dealings with his sister.

Gehr also portrays Hester as devious, but eventually shows the many fascinating facets to her character.

The production is quite lengthy – about two hours, without an interval – and the subject matter heavy, although some of the most dramatic moments for the characters prove quite funny for the audience.

For example, it is absolutely hilarious when Hester loses her cool and attacks Johnnie with their father‘s crutches.

It‘s one of the must-see shows of the festival, and today is the last chance to see it, so try to get there if you can. Reviewed by Leon Muston ARTS EDITOR mustonl@avusa.co.za