KAMPUSTONEEL 2025: EMOSIONEEL EN TRAGIES

Wilma Ernst & Shanell Binedell

@_wilhelmina_ernstig_

@shanell_lalalal

 

Emosie en ellende. Tragedie en trane. Lagwekkend en legendaries. Dít is tog toneel. Kampustoneel het vanjaar vanaf 21 tot 25 Julie in die Sanlam Ouditorium plaasgevind. Hierdie jaar is daar gespog met minstens vyf-en-twintig toneelstukke. Juis as gevolg van dié aantal ingeskrewe enkel- en sleeptonele, het vertonings vróég begin en talle toneelliefhebbers en koshuis ondersteuners tot laat in die aand wakker gehou.

 

Waar Kampustoneel 2024 deur Wapad skrywer, Nica-May van Zyl, opgesom is deur een woord: ‘Malligheid’, is die uiteenlopendheid van hierdie jaar se temas soms méér gewees as wat enige kyker kon verwag.

 

Aan die een kant was daar die voorspelbare tonele, wat oënskynlike diep, maar egter oppervlakkige verhale van moord vertel het – soos Troos, Krans en Knope. Dié eenvoudige opvoerings was ‘n klein bietjie teleurstellend in vergelyking met wat die Ouditorium al in die verlede opgelewer het. Alhoewel voorspelbaar vir kykers wat al die bekende boek Animal Farm van George Orwell gelees het, het die toneelstuk Dierepubiek, wat ‘n aanpassing van Orwell se boek was, nuwe betekenis gegee aan hierdie tydlose boek.

 

Dierepubliek

Dié toneelstuk het aan die oorspronklike boek ‘n paar interessante stertjies gelas. Alhoewel die boek ‘n dieper beeld van die menslike beskawing uitbeeld met die gebruik van diere as hoofkarakters, het dié produksie die Orwell boek weereens relevant gemaak vir die politieke krisisse wat vandag in Suid-Afrika beleef word. Met komiese karakters wat deurentyd kostuum aanpassings gemaak het om meer as een karakter te vertolk, het die toneel verseker lekker gemaak om te aanskou.

 

Madam Speaker, wat deur ‘n manlike student gespeel is, het hierdie toneelstuk gedra met sy veranderde aksente en lyftaal wat by elkeen van sy verskillende karakters gepas het. Dierepubliek is ‘n uitstekende verwerking wat jou definitief dieper laat dink en met meer humor na die oorspronklike boek sal laat kyk.

 

Aan die ander kant was daar hoogs verrassende vertonings ook wat die gehoor laat skaterlag het, soos Estro(geen) en Die Muse. Óf hulle het die gehoor totaal en al in skok of trane gelos, omdat die toneel so onverwags verander of geëindig het, soos Geleende Tyd, As die Sinkdakke Kon Skree, Toutjies Trek en Dear Diary. Oor hierdie optredes was daar baie meer om te prys en oor huistoe te skryf.

Die toneelstuk Dierepubliek wat op die verhoog plaasvind met al die akteurs (Bron: Tian du Preez – Instagram: @tiandupreez)

Estro(geen)

Die naam gee die toneelstuk dalk so effens weg, maar steeds was Estro(geen) iets om te aanskou. Die toneelstuk handel oor die kortverhaal van vier skoolseuns en hulle ontdekking van die vroulike geslag. Dit was aanmekaargesit met gepaste kostuums en dekor wat jou laat voel het asof jy, soos ‘n vlieg teen die muur, elke grap en vergelyking eerstehands beleef het. Die eenvoudige, lig, vloeiende produksie en storielyn het gesorg vir briljante stiltes, skreeusnaakse punchlines en onversteurde aandag aan wat ook al volgende kon gebeur.

 

Met die gehoor se skaterlag regdeur dié vertoning, moes die akteurs oortyd werk om gehoor te word. Die akteurs het die indrukwekkende stuk lewe gegee en die rolverdeling was perfek! Die vier skoolseuns en ál die gehoorlede wat video’s geneem het, sal beslis die akteurs se unieke ABBA dans-opvoeringe en lesse oor hoe om dames te verstaan, nooit vergeet nie. Die toneel opvoering is deur menige gehoorlede aangedui as ‘n gunsteling.

Twee karakters van die toneelstuk Estro(geen) wie bespreek wat die vroulike geslag presies is (Bron: Tian du Preez – Instagram: @tiandupreez)

Die Muse

Die Muse vertel die humoristiese en by tye satiriese verhaal van ’n kunstenaar wat inspirasie put uit jong vroue wat wanhopig smag daarna om sy muse te wees. Die toneel begin met ’n streng huishoudster, wie die aktrise self vergelyk met Juffrou Rottenmeier van die Heidi televisie reeks. Die huishoudster berei drie dames voor vir hul ontmoeting met die groot Kunstenaar. Elkeen van die jong vrouens beliggaam ’n argetipe: die beeldskone, die snaakse en die slimme.

 

Hulle stel hulself aan die gehoor bekend, en wanneer die huishoudster nie kyk nie, bars hulle persoonlikhede behoorlik uit. ’n Tussenstuk waarin die Kunstenaar en sy “muses” om ’n simboliese appel meeding, speel sonder dialoog af en word begelei deur oordrewe dramatiese musiek. Dit is ‘n meesterlike voorbeeld van fisiese komedie en die gebruik van perfekte lyftaal.

 

Die toneelstuk se styl en humor is aangevul deur oorspronklike sê-goed soos: “Sy ruik soos opvoeding,” en opvallende kostuums wat aan die karakters se unieke eienskappe getrou gebly het. Die gehoor het aanhoudend gelag en het die satiriese benadering tot kuns, inspirasie en vroulike stereotipering met groot plesier beleef.

 

Geleende Tyd

Die toneelstuk Geleende Tyd vertel die aangrypende verhaal van ’n groep manlike studente wat ’n hartverskeurende verlies ervaar wanneer die meisie en suster van twee vriende in die vriendegroep skielik in ‘n motorongeluk sterf. Die seer was tasbaar in die hoofkarakter se stem en lyftaal toe hy op die toneel van die ongeluk aankom en besef dat dit sy meisie is wat verongeluk het. Deur intieme gesprekke met sy koshuisvriende word dit onthul dat die ongeluk veroorsaak was deur ‘n dronk bestuurder.

 

Die emosionele impak word versterk wanneer die hoofkarakter na die bottel gryp om sy pyn te probeer verdoof. Die begrafnistoneel was rou en ongemaklik; die hoofkarakter kon nie woorde vind nie, sy vriende het hul frustrasie uitgespreek en die oorlede meisie se broer het met emosie gesukkel om deur te dring tot die groep. Die emosies van die akteurs was nie net hoorbaar nie, maar ook sigbaar in die intense beligting wat op die hoofkarakter se gesig geval het. Wat aanvanklik soos ‘n gewone liefdestoneel gelyk het, is skielik getransformeer toe rooi en blou polisieligte flitsend die verhoog gedeeltelik verlig het — ‘n visuele metafoor vir trauma wat onverwags toeslaan.

 

As Die Sinkdakke Kon Skree

Hoewel sommige gehoorlede dit moeilik gevind het om so ‘n sensitiewe onderwerp in lewende lywe te sien afspeel, was As Die Sinkdakke Kon Skree ‘n toneelstuk wat ‘n mens diep getref het: intens, reguit, en sonder verskoning. Twee manlike studente het die verhaal van twee broers uitgebeeld, wat in ‘n dorpie verlief raak op dieselfde meisie. Die spanning bou op tot ‘n tragiese klimaks waarin die onderwerp van verkragting sentraal staan.

 

Die toneelstuk het sonder sukkel gevloei tussen hede en verlede, met kreatiewe gebruik van kolligte om tydspronge visueel aan te dui. Die tonele het begin met ‘n amper komiese toon, maar het vinnig in ernst en donkerte verval — ‘n weerspieëling van hoe vinnig geweld en konflik ’n mens se werklikheid kan verander.

 

Die minimalisme van die dekor het nie die intensiteit van die toneel verminder nie. Inteendeel, die briljante gebruik van lyftaal, gesigsuitdrukkings en stem nuanses het die emosionele swaarte volledig oorgedra. Soos een gehoor lid ná die tyd met ‘n vriendin gedeel het: “Dit was soos emosionele whiplash.” Dié toneel het nie net bewusmaking geskep nie, maar het ook gesprekke oor skuld, trauma en geweld die kollig laat sien, alles binne minder as 40 minute op die verhoog.

Die twee broers wat kyk en praat oor die meisie vir wie hulle albei verlief op is (Bron: Tian du Preez – Instagram: @tiandupreez)

Toutjie Trek

Dié toneelstuk handel oor ‘n manlike sielkundige wat met poppe speel en sy pasiënte letterlik in marionette omskep, ‘n donker konsep wat vinnig ’n sinistere toon aangeneem het. Die stuk neem ‘n skerp draai wanneer dit duidelik word dat hierdie sogenaamd “goedhartige sielkundige” in werklikheid sy pasiënte teiken: mense wat so seer het dat hulle selfdood oorweeg.

 

In plaas van om te help, ontvoer hy hulle nadat hy hulle met ’n verlammingsmiddel inspuit. Die skok was tasbaar toe hy een van sy slagoffers se knie breek, haar arms uit lit trek en haar letterlik in ‘n marionet verander. Die toneelstuk het geen tyd gemors nie. Net toe die gehoor probeer verwerk wat hulle gesien het, begin die sielkundige alreeds sy volgende slagoffer benader.

 

Die toneelspel was meesterlik. Grillerig en ongemaklik, maar uiters effektief. Die dekor en beligting het die onheilspellende atmosfeer versterk en selfs die gehoor se ongemak het tot senuweeagtige lag gelei. Ná die gordyne gesak het, het die MC selfs gegrap-vra aan die regisseur se suster of sy “okay” is — ’n duidelike aanduiding van die impak wat hierdie toneel gehad het.

 

Dear Diary

Dear Diary was die perfekte uitbeelding van wel gekose aktrises. Dié toneel het die verhaal van twee vroulike studente wat ‘n koshuiskamer deel vertel; een ‘n amper-opgeleide verpleegster en een ‘n onderwysstudent. Alhoewel die storie meestal lig en snaaks was, het dit ‘n donker draai geneem toe gehoorlede besef dat die een student ‘n onkonvensionele verlede wegsteek. Met die fantastiese gebruik van ligte en liggaamstaal het dit gevoel asof die vertoning nie net naamlose studente was nie, maar mense wat jy ken.

 

Die klimaks was drasties en skielik. Die tema van selfmoord, wat in die lug gehang het nadat die gordyn gesak het, sal menige van die gehoor bybly, selfs lank nadat hulle die uitstekende dekor en stereotipiese onderwys grappies vergeet het.

 

Tog was daar ook dié toneelstukke wat net tussen-in uniek en ons-het-dit-al-gesien geval het, soos Stof en Grond, Sien Jou Daar, Die Ete, Lilies Vir My Lief en Sanity’s End. Ander noemenswaardige opvoerings soos Die Stem Van ‘n Kind, The Bunker, Net Nog ‘n Nommer, Alles Anders en C’est La Vie, het egter elkeen nie net ‘n unieke storie vertolk nie, maar het ‘n mens laat dink soms aan jou eie lewe of die lewens van ander jong mense om jou.

 

Alles Anders

Alles Anders bring ‘n chaotiese liefdesverhaal lewendig na die verhoog — ‘n tema wat vandag skaars onder teaterligte gesien word. Van die eerste toneel af word die gehoor ingetrek in ‘n wêreld waar dit voel asof elke rol spesifiek vir die akteur of aktrise self geskryf is, eerder as net ‘n blote vertolking. Die skrywer gebruik meesterlik voorbode wanneer hoofkarakter Luna erken dat sy nie dink liefde het ooit ‘n gelukkige einde nie. Nes sy vermoed het, draai dié verhaal presies só uit.

 

Vir almal wat al met liefde gesukkel het, tref die storie diep, maar ‘n waarskuwing oor die taalgebruik sou gepas gewees het. Nes die jong karakters wat uitgebeeld word, is die dialoog soms onverbloemd en skerp. Hoewel dit aanvanklik lag uitlok, selfs die tweede keer, begin dit ná die agtste herhaling geforseerd en selfs ongemaklik voel. Tog moet dit erken word dat die karakters met oortuiging en fyn aanvoeling vertolk is. Die vinnige ritme van die gesprekke, die tussenin gemompel, en die skynbaar ongedwonge vloei van die dialoog sou in min ander produksies só natuurlik en effektief kon werk.

 

C’est La Vie

Met ’n titel wat losweg vertaal na “Dis die lewe”, het hierdie toneelstuk baie studente diep geraak. C’est La Vie vertel die verhaal van vyf vroulike studente wat saam in ‘n koshuis bly. Dit wys hul roetine, studiestryd, kattekwaad, maar veral hul band met mekaar.

 

Die gehoor word ingenooi in hul wêreld van laatnag geselsies, gedeelde frustrasies en spontaanheid, maar ook hul pyn. Sonder om die rede duidelik te maak, besluit een van die vriendinne om die kampus en die vriendekring te verlaat. Sy sê nie eers ordentlik totsiens nie en haar vertrek laat ‘n leemte. Die res van die vriendinne word agtergelaat met vrae, hartseer en onuitgesproke emosies.

 

Die toneelstuk se krag lê in sy eenvoud: vloeiende toneelspel, natuurlike dialoog, goed gekoördineerde dekor en ’n balans tussen humor en emosionele egtheid. Hierdie stuk het nie net studente laat lag nie, maar het ook op ‘n empatiese manier gewys hoe kompleks en kosbaar vriendskappe is. Dit het ‘n werklikheid verbeeld waarin baie hulself kon herken, ’n herinnering dat party afskeide onverwags en sonder afsluiting kom.

Die daaglikse catch up sessie van die vyf kamermate in een van die koshuiskamers (Bron: Tian du Preez – Instagram: @tiandupreez)

Die Stem Van ’n Kind

Dié toneelstuk speel af in die vroeë 20ste eeu en spreek die sosiale kwessie van aborsie aan met die gebruik van ‘n onkonvensionele struktuur. Dit begin by die einde en beweeg dan, toneel vir toneel, terug na die begin. Die storie draai om ‘n jong, ongetroude vrou en verpleegster wat met skok uitvind dat sy swanger is. In die verlede was swangerskap buite die huwelik ‘n sosiale misdryf en daarom sukkel sy om haar geheime met haar vriendinne te deel. Die toneelstuk sluit af met ‘n treffende monoloog van die kind wat uiteindelik gebore is.

 

Sy deel haar gevoelens en plaas die hele verhaal in konteks vanuit haar perspektief. Die toneel bevat ‘n verskeidenheid karakters: ernstig, emosioneel en soms humoristies. Dit verken hoe die moeder se keuses nie net haar eie toekoms beïnvloed nie, maar ook dié van die fetus. Wat hierdie stuk besonders gemaak het, was die kreatiewe gebruik van ‘n wit skerm waarteen net die karakters se skaduwees sigbaar was — ’n eenvoudige, maar kragtige visuele hulpmiddel wat die gehoor diep geraak het. Dié produksie het beslis rou emosies en nadenke uitgelok, só dat ‘n mens amper nie jouself kon keer om op die verhoog te klim en die vrou te wil troos nie.

 

Net Nog ‘n Nommer

Dié produksie sluk jou in. Sommerso dat jy amper te bang is om jou oë te knip, vir ingeval jy ‘n reaksie, woord of lyftaal mis wat belangrik kan wees. Net Nog ‘n Nommer was dié toneel wat daar nog lank na Toneel 2025 gedink gaan word, juis omdat dit die belangrike probleem — vermiste meisies — aanspreek wat maar te gereeld onder die mat gevee word. Die verhoog, rekwisiete en kostuums het ‘n mens amper skuldig laat voel dat jy op ‘n gemaklike stoel kon sit en toekyk, terwyl die aktrises kaalvoet en kwesbaar hulle uiterlike emosies en innerlike gevoelens moes deel.

 

Die unieke opvoering het nie net oppervlakkige emosie gewek nie, maar ook van die gehoorlede tot trane gedryf. Met die uitstekende geskrewe stuk wys Storm Lotter, skrywer van die toneel, hoe om empatie en ingeligtheid saam te flans en emosie by die gehoor te ontlok.

 

The Bunker

The Bunker, ‘n Engelse toneelstuk was van die intrapslag ‘n effense chaotiese stuk. Alhoewel die dekor die indruk van ‘opgaar en oorleef’ by menige gehoorlede geskep het, het dit ‘n rukkie geneem vir die storie om agter die kap van die byl te kom. Uiteindelik kon daar uitgepluis word dat ‘n groep van vyf manstudente vasgevang sit in ‘n Bourbons stoorkamer, almal onder die indruk dat daar ‘n apocalypse aan die gebeur is.

 

Dis alles te danke aan verkeerdelik geïnterpreteerde partytjie advertensies en dekor. Wanneer die bekende lirieke van “Closing time” egter die atmosfeer vul, besef die gehoor dat die toneel amper soos ‘n ode aan dié gewilde kuierplek is, wat in 2024 sy deure gesluit het en ‘n groot leemte in menige studente se lewens gelos het. Die soms cringe maar uitstekende karakters het elk ‘n unieke rol gespeel, waarmee daar vereenselwig kon word en pret en gevoel na die verhoog gebring.

 

Altesaam het Kampustoneel 2025 bewys dat die verhoog steeds ‘n plek is waar elke emosie, van lag tot trane, sy regmatige plek kan vind. Met ‘n verskeidenheid vertonings wat gewissel het tussen voorspelbare verhale, treffende aanpassings en verrassende, oorspronklike stukke, is kykers op ‘n reis geneem wat soms gemaklik en bekend was en ander kere grensverskuiwend en onvoorspelbaar.

 

Of dit nou deur die nostalgie van ‘n klassieke verhaal soos Dierepubliek, die skerp humor van Estro(geen), of die emosionele diepte van Geleende Tyd en Dear Diary was, het elke stuk op sy eie manier ‘n bydrae gelewer tot die ryk tapisserie van die verhoog. So het die Sanlam Ouditorium, vir vyf dae lank, ‘n spieël geword waarin ons onsself, ons vreugdes en ons tragedies kon herken. Dit is tog die hartklop van goeie toneel.

 

Teksversorging deur Simoné de Witt

 

English Translation: 

 

Emotion and misery. Tragedy and tears. Hilarious and legendary. This is true theatre. Campus Theatre took place from July 21 to 25 in the Sanlam Auditorium. This year, there were at least twenty-five plays showcased. Precisely because of the large number of registered individual and sleep performances, shows started early and kept many theatre enthusiasts and residence supporters awake late into the night.

 

Where Campus Theatre 2024 is summarised by the Wapad writer, Nica-May van Zyl, in one word: ‘Insanity’, the diversity of this year’s themes has sometimes been more than what any viewer could expect.

 

On the one hand, there were the predictable plays, which told seemingly deep, but nonetheless superficial stories of murder – such as Troos, Krans en Knope. These performances were a little bit disappointing compared to what had been delivered in the past. Although predictable for viewers who had read the well-known book Animal Farm by George Orwell, the play Dierepubiek, which was an adaptation of Orwell’s book, gave new meaning to this timeless book.

 

Dierepubliek

This play added some interesting twists to the original book. Although the book portrays a deeper picture of human civilisation by using animals as main characters, this production once again made Orwell’s book relevant to the political crises happening in South Africa today. With comedic characters constantly making costume adjustments to play more than one character, the play was certainly enjoyable to watch.

 

Madam Speaker, played by a male student, carried this play with his changing accents and body language that suited each of his different characters. Dierepubliek is an excellent adaptation that will definitely make you think deeper and look at the original book with a more humoristic lens.

 

On the other hand, there were also highly surprising performances that made the audience laugh out loud, such as Estro(geen) and Die Muse, or they left the audience completely shocked or in tears, because the scene changed or ended so unexpectedly, such as Geleende Tyd, As die Sinkdakke Kon Skree, Toutjies Trek and Dear Diary. There was much more to praise and write home about about these performances.

The play Dierepubliek taking place on stage with all the performers (Source: Tian du Preez – Instagram: @tiandupreez)

Estro(geen)

The title may give the play away a bit, but Estro(geen) was still something to behold. The play is about the story of four male students and their discovery of the female gender. It was put together with appropriate costumes and decor that made you feel as if you were a fly on the wall, experiencing every joke and comparison firsthand. The simple, light, flowing production and storyline made for brilliant silences, hilarious punchlines and unwavering attention to whatever might happen next.

 

With the audience laughing their heads off throughout the performance, the actors had to work overtime to be heard. The actors gave an impressive piece of work life and the casting was perfect! The four male students and all the audience members who took videos will certainly never forget the actors’ unique ABBA dance performances and lessons on how to understand ladies. The stage performance was indicated by many audience members as a favourite.

Two characters of the play Estro(geen) discussing what exactly the female gender is (Source: Tian du Preez – Instagram: @tiandupreez)

Die Muse

Die Muse tells the humorous and at times satirical story of an artist who draws inspiration from young women who desperately yearn to be his muse. The play begins with a strict housekeeper, whom the actress herself compares to Miss Rottenmeier from the Heidi television series. The housekeeper prepares three ladies for their meeting with the great Artist. Each of the young women embodies an archetype: the beautiful one, the funny one and the smart one.

 

They introduce themselves to the audience, and when the housekeeper is not looking, their personalities burst forth. An interlude in which the Artist and his muses compete for a symbolic apple is played without dialogue and is accompanied by overly dramatic music. It is a masterful example of physical comedy and the use of perfect body language.

 

The stage’s style and humor were complemented by original sayings such as, “She smells like education,” and striking costumes that stayed true to the characters’ unique characteristics. The audience laughed non-stop and enjoyed the satirical approach to art, inspiration, and female stereotyping.

 

Geleende Tyd

The play Geleende Tyd tells the poignant story of a group of male students who experience a heartbreaking loss when the girlfriend and sister of two of their friends suddenly die in a car accident. The pain was palpable in the main character’s voice and body language when he arrived at the scene of the accident and realised that it was his girlfriend who had died. Through intimate conversations with his dorm friends, it was revealed that the accident was caused by a drunk driver.

 

The emotional impact is heightened when the main character reaches for the bottle to try to numb his pain. The funeral scene was raw and uncomfortable; the main character couldn’t find words, his friends expressed their frustration, and the deceased girl’s brother struggled with expressing emotion to reach the group.

 

The emotions of the actors were not only audible, but also visible in the intense lighting that fell on the main character’s face. What initially seemed like an ordinary love scene was suddenly transformed when flashing red and blue police lights partially illuminated the stage — a visual metaphor for trauma that strikes unexpectedly.

 

As Die Sinkdakke Kon Skree

Although some audience members found it difficult to watch such a sensitive subject played out in real life, As Die Sinkdakke Kon Skree was a deeply moving scene: intense, direct, and unapologetic. Two male students portrayed the story of two brothers who fall in love with the same girl in a small town. The tension builds to a tragic climax in which the subject of rape is central.

 

The play flowed effortlessly between present and past, with creative use of spotlights to visually indicate time jumps. The scenes began with an almost comic tone, but quickly descended into seriousness and darkness — a reflection of how quickly violence and conflict can change one’s reality. The minimalism of the set did not diminish the intensity of the scene.

 

On the contrary, the brilliant use of body language, facial expressions and vocal nuances conveyed the emotional weight perfectly. As one audience member shared with a friend afterwards, “It was like emotional whiplash.” This scene not only raised awareness, but also brought forth conversations about guilt, trauma and violence, all in less than 40 minutes on stage.

The two brothers glancing and talking about the girl they both fell for (Source: Tian du Preez – Instagram: @tiandupreez)

Toutjie Trek

The play is about a male psychologist who plays with dolls and literally turns his patients into marionettes, a dark concept that quickly takes on a sinister tone. The play takes a sharp turn when it becomes clear that this supposedly kind-hearted psychologist is actually targeting his patients: people who are in so much pain that they are contemplating suicide.

 

Instead of helping, he kidnaps them after injecting them with a numbing drug. The shock was palpable when he broke one of his victims’ knees, pulled her arms out of joint, and literally turned her into a puppet. The scene wasted no time. Just as the audience was trying to process what they had seen, the psychologist was already approaching his next victim. The acting was masterful. Creepy and uncomfortable, but extremely effective. The set and lighting enhanced the eerie atmosphere, and even the audience’s discomfort led to nervous laughter. After the curtains fell, the MC even jokingly asked the director’s sister if she was “okay” — a clear indication of the impact this scene had.

 

Dear Diary

Dear Diary was the perfect portrayal of well-chosen actresses. This scene told the story of two female students who share a dorm room; one a semi-trained nurse and one an education student. Although the story was mostly light and funny, it took a dark turn when audience members realised that one student was hiding an unconventional past. With the fantastic use of lights and body language, it felt as if the show was not just about nameless students, but people you know.

 

The climax was drastic and sudden. The theme of suicide, which hung in the air after the curtain fell, will remain with many in the audience, even long after they have forgotten the excellent decor and stereotypical educational jokes.

 

Yet there were also those plays that fell just between unique and we’ve-seen-it-before, such as Stof en Grond, Sien Jou Daar, Die Ete, Lilies Vir My Lief and Sanity’s End. Other notable performances such as Die Stem Van ‘n Kind, The Bunker, Net Nog ‘n Nommer, Alles Anders and C’est La Vie, not only told a unique story, but sometimes made one think about one’s own life or the lives of other young people around you.

 

Alles Anders

Alles Anders brings a chaotic love story to life on stage — a theme rarely seen under theatrical lights today. From the first scene, the audience is drawn into a world where it feels as if each role was written specifically for the actor or actress themselves, rather than just a mere performance. The author masterfully uses foreshadowing when main character Luna admits that she doesn’t think love ever has a happy ending. As she suspected, this story turns out exactly that way.

 

For anyone who has ever struggled with love, the story hits home, but a warning about the language would have been appropriate. Like the young characters portrayed, the dialogue is sometimes blunt and sharp. Although it initially provokes laughter, after the eighth repetition it begins to feel forced and even uncomfortable. Still, it must be admitted that the characters are played with conviction. The fast pace of the conversations, the mumbling in between, and the seemingly effortless flow of the dialogue could work so naturally and effectively in few other productions.

 

C’est La Vie

With a title that loosely translates to “That’s Life”, this play has deeply touched many students. C’est La Vie tells the story of five female students who live together in a residence. It shows their routine, study struggles, mischief, but especially their bond with each other. The audience is invited into their world of late-night chats, shared frustrations and spontaneity, but also their pain.

 

Without explaining why, one of the friends decides to leave the campus and the friend group. She doesn’t even say a proper goodbye, and her departure leaves a void. The rest of the friends are left with questions, sadness, and unspoken emotions. The scene’s power lies in its simplicity: flowing acting, natural dialogue, well-coordinated set design, and a balance between humor and emotional authenticity.

 

This play not only made students laugh, but also empathetically showed how complex and precious friendships are. It depicted a reality that many could identify with, a reminder that some farewells come unexpectedly and without closure.

The daily catch-up session of the five roommates in one of the residence rooms (Source: Tian du Preez – Instagram: @tiandupreez)

Die Stem Van ’n Kind

Set in the early 20th century, this play addresses the social issue of abortion using an unconventional structure. It begins at the end and then moves, scene by scene, back to the beginning. The story revolves around a young, unmarried woman and nurse who is shocked to discover that she is pregnant. In the past, pregnancy outside of marriage was a social offense, and therefore she struggles to share her secrets with her friends. The play concludes with a poignant monologue from the child who is eventually born.

 

She shares her feelings and puts the whole story into context from her perspective. The play features a variety of characters: serious, emotional and sometimes humorous. It explores how the mother’s choices affect not only her own future, but also that of the fetus. What made this play special was the creative use of a white screen against which only the characters’ shadows were visible — a simple, yet powerful visual aid that deeply touched the audience. This production certainly evoked raw emotions and reflection, so much so that one could hardly stop oneself from climbing on stage and wanting to comfort the woman.

 

Net Nog ‘n Nommer

This production reels you in. So much so that you are almost too afraid to blink, in case you miss a reaction, word or body language that could be important. Net Nog ‘n Nommer was the scene that will be remembered long after Campus Theatre 2025, precisely because it addresses the important problem — missing girls — that is all too often swept under the rug. The stage, props and costumes made you feel almost guilty that you could sit on a comfortable chair and watch, while the actresses had to share their outward emotions and inner feelings, barefoot and vulnerable.

 

The unique performance not only evoked superficial emotion, but also moved audience members to tears. With the excellently written piece, Storm Lotter, writer of the play, shows how to combine empathy and intelligence and evoke emotion from the audience.

 

The Bunker

The Bunker, an English play, was a slightly chaotic play from the start. Although the setting created the impression of ‘hoarding and surviving’ for many audience members, it took a while for the story to get to the point. Eventually, it was figured out that a group of five male students were trapped in a Bourbons storeroom, all under the impression that an apocalypse was happening.

 

It’s all thanks to misinterpreted party advertisements and decor. However, when the familiar lyrics of “Closing time” fill the atmosphere, the audience realises that the scene is almost like an ode to this popular hangout, which closed its doors in 2024 and left a huge void in the lives of many students. The sometimes cringe-worthy but excellent characters each played a unique role, which could be related to and brought fun and emotion to the stage.

 

Overall, Campus Theatre 2025 proved that the stage is still a place where every emotion, from joy to despair, can find its rightful place. With a variety of performances that ranged from predictable stories, striking adaptations and surprising, original pieces, viewers were taken on a journey that was sometimes comfortable and familiar and other times boundary-pushing and unpredictable.

 

Whether it was through the nostalgia of a classic story like Dierepubliek, the clever humor of Estro(geen), or the emotional depth of Geleende Tyd and Dear Diary, each piece contributed in its own way to the rich tapestry of the stage. Thus, for five days, the Sanlam Auditorium became a mirror in which we could recognise ourselves, our joys and our tragedies. This is the heartbeat of good theatre.

 

Translation by Simoné de Witt