Janice Honeyman speaks to BEVERLEY BROMMERT on directing the premiere of Hendrik Hofmeyr’s new work, Sara Baartman – the Opera:
When that doyenne of South African theatremakers, Janice Honeyman (pictured left) was invited to direct Sara Baartman (a new opera by Hendrik Hofmeyr), her acceptance was swift and enthusiastic. This not surprising, since although this versatile director has staged most genres, from family pantomime to intellectually demanding drama, she has loved and respected operatic performance from an early age.
She recalls, “While I was still at the very start of my career in theatre, in Pretoria, I acquired a recording of Joan Sutherland titled ‘The Art of the Prima Donna’ for the vast sum of 99c – and used to play it every night for recreation after a hard day’s work.”
Furthermore, she is no stranger to staging opera, having directed Così fan Tutte as far back as 1988. The human voice raised in song is dear to her.
Undertaking a brand new work like Sara Baartman, with no precedents for guidance, is daunting. Fortunately Honeyman relishes a challenge, and if asked to identify her favourite production, she will reply, “The one on which I’m currently working, regardless of genre”.
A woman with a mind of her own
After familiarising herself with the score – which she describes as “eclectic and very lovely, full of clever inclusions from diverse sources such as Khoi and Afrikaans, in order to trace Baartman’s emotional journey” – she has to confront the major issue of how to approach the eponymous icon of this opera.
She considers Baartman as “a woman with a mind of her own who makes her own choices until exploited by ruthless males … Simplistic psychology in interpreting her does not work.”
Hofmeyr’s rich libretto has make her task easier, while extensive research as well as input from her assistant director Zenobia Kloppers has helped to expand and identify the character and background of this tragic figure.
Honeyman is generous in acknowledging all the support she enjoys from a variety of contributors to this production to maximise a shoestring budget: to Cape Town Opera for the loan of period costumes, the Baxter Theatre for the venue, veteran designer Michael Mitchell for the set, Mannie Manim for lighting, choreographer Celeste Botha for styling and body language, Widaad Albertus for wardrobe, and Maestro Jeremy Silver, under whose baton some 30 members of the Cape Town Philharmonic Orchestra will accompany the singers’ performance.
Excellent, talented young students
She is equally warm in her praise of the fledgling artists under her direction, from soloists in the double cast to the 24 vocalists in the chorus, whom she has been “taming” (her term) in the afternoons since 25 July. Principals rehearse with her in the evenings.
“They are all excellent, talented young students,” she comments, adding that another rewarding feature of her current work is the essentially South African character of this opera. “For some time now, I’m happy to say that I’ve only undertaken productions of South African origin, and after this, I’ll be busy with my new pantomime, Adventures in Pantoland.” (Also South African)
Her pleasure is palpable at continuing along a path that extends repertoire in this country’s performing arts.
What: Sara Baartman – the Opera
Where and when: Pam Golding Theatre at the Baxter Theatre Centre on 7, 9 and 10 September 2022
Tickets: Webtickets
WS
