By Adam Rafferty
Millennial playwright and actress Kirsty Marillier writes about the experiences of her South African forebears in this historical fiction about family living under the system of apartheid in 1976.
After years of hearing stories from her family about their experiences, Marillier has built her story, with further research, around the time just prior to the Soweto uprising. That was when a demonstration by thousands of black school children to protest a recently enforced rule to teach in Afrikaans language led to shocking police brutality and many being killed.
At the period in which Destiny is set, the stresses of the Afrikaans decree have been bubbling for a couple of years, leading to smaller scale student rallies objecting to the gradually introduced diktat. One of those protestors was Ezra Jones (Barry Conrad), the ex-boyfriend of Della Meth (played by the author, Marillier) a young woman working hard to keep her widowed father Cliff (Patrick Williams) and precocious teenage brother Rocky (Gaz Dutlow) on the straight and narrow.
Ezra has been away at university and his return home to visit his old neighbours – Della in particular – sends ripples through the family as she fears his political views and activist intentions could have worrying ramifications, especially for her brother. The easily influenced Rocky is quickly besotted both by Ezra’s charismatic points of view, and his imposing physique, so before she can do anything about it, the ‘destiny’ of the title feels set in place.
Marillier’s style feels strongly influenced by classic plays of the 40s and 50s; works by Tennessee Williams, Arthur Miller, Ray Lawler and Lorraine Hansberry evoke similar portrayals of families in upheaval and the inevitability of outside influences. Destiny is also full of local references and cultural touch stones, designed to appeal to expats and to presumably ensure a feeling of South African authenticity. Although, it does feel like those who are less familiar with this period in the country’s history, which I’d argue would be most of a local audience, are left with only a minimal explanation of the historical context.
Sophie Woodward’s impressive, multi-level set design, stacking a general store on top of the family home, creates a great sense of place and time. Likewise, Woodward’s costume designs are wonderfully evocative of the 70s. Lighting design by Kelsey Lee imbues the stage with the warmth of a South African summer and Kelly Ryall’s sound and compositions round off the perfectly oppressive feeling of both environment and situation.
Marillier’s passion for the story is clear in her forceful performance that bristles with tension throughout and balances perfectly with co-stars. Conrad is a charming force of nature, Dutlow a fabulously camp breath of fresh air, and Williams a world-weary father who knows he relies too much on his daughter to keep things together. Nuanced support is given by Clare Chihambakwe as Mrs Jones, and John Shearman as an intimidating white police officer.
Director Zindzi Okenyo has guided her cast through a refined presentation that is delicately balanced and thought provoking, shining light on a part of world history that remains important to convey for its reflections on human rights that for many around the world are still sadly threatened.
