SCENE IT: Darkness entertains and enlightens in shrewd social satire THE VULGARIANS

Beverley Brommert

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Vitriol pervades this comedy of coarse manners, in which dramatist/director Louis Viljoen serves up dollops of malicious mirth with aplomb.

Photo by Daniel Rutland Manners.

The plot for THE VULGARIANS is of classic simplicity: a two-year-old marriage, hitherto untroubled and placid as a sunny bowling green, is suddenly at risk when the husband (Thomas) discovers evidence of a bizarre sexual fantasy harboured by his wife (Florence), for another man...

A further threat to the couple's marital bliss is their latent dissatisfaction with a lifestyle they have embraced without due regard for their essential nature (both are ex-gangsters opting unwisely for the brittle, competitive ennui attendant on yuppiedom). Thus shrewd social satire is cunningly blended with psychological insight (add humorous voyeurism for good measure) -  and we have a reliable recipe for theatre that both entertains and enlightens.

Equally thought provoking, in the manner of absurdist theatre or the novels of Robbe-Grillet and Sarraute, is the vexing question of whether the crisis is based on anything or nothing? Is there any justification for conjugal wrath? More to the point, was any concrete infidelity actually committed? Or was it simply a momentary indulgence in imaginative perversion? A dash of intellectual conundrum adds another layer of interest while fuelling ferocious exchange between husband and wife.

Photo by Daniel Rutland Manners.

Viljoen's direction is as insightful as his script. The comedy is divided into four acts, a linear progression from accusation to heated dispute to attempted reconciliation to...the dénouement. (No spoiler alert). 

Each act is prefaced with a beautifully articulated explanation of what is to come (courtesy of narrator Maria Vos), accompanied by soulful strains of instrumental Bach and, at the end, lyrical ballet music to reflect the mercurial quality of the plot. All of it piquantly at odds with the unabashed scatology of the action.

Predictably, Emily Child gleams with authenticity in her role as Florence, whose sweet, old-fashioned name ironically belies her dark character. Nicholas Pauling, making a welcome comeback to the local stage from his residence in Canada, complements her performance with professional savoir-faire as the pair navigate the challenges, mental and physical, of their ignoble acrobatics in the pursuit of a way forward. Emotional arabesques are also part of the demanding agenda.

Photo by Daniel Rutland Manners.

The only flaw in an excellent opening night performance was an initial tendency to deliver Viljoen's opulent text at breakneck speed, swallowing many a well-turned phrase, until both leads settled down to do it justice as the evening progressed.

This merry celebration of vulgarity is effectively showcased by Kieran McGregor 's well conceived set and lighting design, which complement each other to underscore the work's shifting moods.

Here is another Viljoenesque ray of darkness to disconcert and delight audiences, particularly those of the non-squeamish and open-minded variety; some, however, may never again find lemon drizzle cake an appealing option for dessert.

THE VULGARIANS runs at the Baxter Theatre Centre’s Masambe until 22 November 2025. The production carries an age restriction of 18. Tickets can be booked online through Webtickets.