Let’s Talk Theatre Again #6: A Dialogue with Bianca Flanders on Theatre, TV and Her New Children’s Book!

Bianca Flanders is best known for playing strong, emotive female roles in the multiple theatre productions we’ve seen her in over the years. After seeing her play an ‘onnie’ in The Riviera on SABC 2, we thought it’s time for a dialogue with her!  

Cultsha Kennis: Congratulations on publishing your children's book, Pumpkin Finds Her Queen. Tell us what inspired you to write this book and why you've also written the Afrikaans version, Prinses Pampoenpit. 

BF: When I was a child I absolutely hated my hair. I was also an avid reader, but as an adult I remember that none of the characters in my books looked like me. I wanted to write a book about a topic that I struggled with as child, and I wanted to create a hero for kids who perhaps haven't felt represented. I wanted to write the book that I never had. 

Cultsha Kennis: You've also been part of the cast in David Kramer's Orpheus in Africa. How do you go about preparing to perform a character from another time and place?

BF: You have to do a fair amount of research, which I love! You have to make sure that you understand as much as you can about that time period, because all this information informs the way you okay your character. I loved being part of that production! 

Cultsha Kennis: You've also performed in Krotoa and a gender-based violence themed production with the Theatre Arts Admin Collective in 2017. Tell us why theatre stories about our women are important.

BF: They're important because we need to feel seen, represented and heard. For so much of history, women have been marginalised and silenced. We have a wealth of stories to share, feelings to express and wisdom to impart. I also believe that knowledge is power, so especially with a play like Krotoa, the more we know about where we come from, the more powerful we are. I did Niqabi Ninja with Loren Laubser, and it was directed by Megan Furniss. That production was especially powerful as it explored themes of gender-based violence. The response we had was amazing, because every single women who came to watch the play could relate to it, and men could learn something from it. 

Cultsha Kennis: Congratulations on your TV appearance in SABC 2's The Riviera. How does preparing for a TV acting role differ from preparing for a theatre acting role? 

BF: They're very different mediums, so I find the biggest difference in preparation would be the time constraints. In theatre, you have weeks of rehearsals to examine your character and your choices, you rehearse with a cast to make sure that you're all on the same page. With film, you have much less time and most of your rehearsals are on your own. Generally, you have a couple of takes to do a scene and you better make sure you get it right! 

Cultsha Kennis: Name a few people in the theatre industry whom you've enjoyed working with and why. 

BF: There are so many! I loved working with David Kramer. I enjoy musicals and he has a lot of trust in his actors, so you're free to be very creative. I loved working with Dean Balie! He's funny and I feel safe on stage with him. Jill Levenberg is a dear sister and friend of mine. I love working with her. She's generous and kind and I learn a lot from watching her. Charl Johan Lingenfelder is an incredible music director. Any process with him is an absolute joy. Basil Appollis has challenged me and taught me a lot about myself as an actor. Megan Furniss had the best way of asking for what she needed. It was an absolute pleasure to be directed by her. I could really go on and on. My list is super long. 

Cultsha Kennis: You've also travelled to the Northern Cape recently. Tell us about this production tour and how Northern Cape audiences differ from a Cape Town audience.  

BF: The show was called Khagan, Die Bidsprinkaan. It was created by Iman Isaacs, Dean Balie, Carlo Daniels and myself. We wanted to do a children's production and take it to the Northern Cape as there isn't much opportunity there to see theatre. Marlo Minnaar played our villain and he was fabulous! I don't really think audiences differ. If they like a play, they like it, if they don't, they don't. 

Cultsha Kennis: Are you working on anything new at the moment? 

BF: I was supposed to do a few plays, but they've all been postponed. I'm mostly just doing some writing work but I can't say too much about it just yet. 

Cultsha Kennis: How has the coronavirus outbreak and subsequent lockdown affected your work? What lessons do you think the arts and theatre industries should consider for the future in light of this?

BF: It's been difficult because our work depends on gatherings of people, whether it be theatre or film. We are quite literally unable to produce art in the way we normally would. I don't think there are any 'lessons' that the virus will teach film and television industries that they don't already know. Everyone involved in the industry is very aware of the issues that we have. Funding plays a massive role in this and the way in which our profession is viewed. More government funding and confidence in our industry would go a long way.