Taking Theatre to TV During Covid19: Dean Balie on A Christmas Chorus and other productions

 

Dean Balie is an actor, musician and composer, having worked mostly in theatre and radio. He graduated from Stellenbosch University with a BA in Drama in 2010, making his professional debut in the Maynardville production of Antony and Cleopatra and Die Kortstondige raklewe van Anastasia W, both directed by Mathinus Basson. He is most known for performances in musical and drama productions at the Fugard Theatre, a few which include David Kramer and Taliep Petersen’s Kat and the Kings in 2012 (Cultsha Kennis has fond memories of him playing the charming young Kat Diamond!), for which he won a Fleur Du Cap award for Best Actor in a Musical, and Kramer’s Blood Brothers (2014), Happy New Year and Orpheus in Africa (2015). He has also performed locally and internationally at the Grahamstown Festival in 2015, the International Shakespeare Festival in Romania and the Tennessee Williams Festival in the USA. Other theatre credits include Abrahamse and Meyer’s productions of The Tragedy of Hamlet, Sweet bird of youth, Peter Pan, Alice in Wonderland and Shakespeare’s RnJ, as well as !Khagan, die Bidsprinkaan which had a Namaqualand tour. His TV and film credits include Die Byl on Showmax, Ekstra Medium and Motel on Kyknet as well as a shortfilm, Bergie.

Upon receiving ample award recognition for his latest productions Die poet, wie’s hy? and A Christmas Chorus on Showmax, we’re finally pinning him down to talk about all things theatre. Read more below!

Congrats on the nomination for A Christmas Chorus. What was it like bringing theatre to TV during the Covid19 pandemic?

Dean: Well, firstly it was great to be working on anything ‘performance-wise’. When Charl-Johan Lingenvelder called me about the project I was in before he could explain what the movie was about! As a team we are extremely proud of the nomination and recognition of work. It was a special project for all involved. Almost all of the cast started their careers at the Fugard. It dealt with the reality of what artists had to and still deal with and it gave the viewer a glimpse into the life of a performing artist. On top of that it was the fear of going to work in an environment and with people and putting yourself at [Covid19] risk. I admire all the safety precautions that the production company took to make sure we all felt safe. I decided early on that I wouldn’t see it as theatre to film but rather a movie that revolves around a company of actors trying to re-create the magic of theatre. I think TV and film are quite different mediums, but the balance of this story was relatable for both a TV and a theatre going audience.

The themes unpacked in the film relate to the reality of artists in the theatre and entertainment. Were there any specific themes from the film that stood out for you in your own personal experiences as an artist?   

Dean: It was a very meta process for all involved. While writing the movie Charl touched on the very real reality of the actors portraying the parts in the movie. It was a version of oneself that mirrored not only our own individual stories, but also those of many artists in South Africa and around the world. In a short discussion I touched on the resilience and the role of artists in our society. Hence the motivation in the movie to remind people of the importance of the arts and the magic it brings.  The other important theme in the film was work and the validation in work. It was especially hard for me during heavy lockdown to stay in a positive mindset but not actively being able to work on projects. I resorted to writing rap songs for myself (no, I’m not a good rapper) just to keep the muscle going. When you put so much of yourself in the work it can be difficult to be optimistic when that work no longer exists. Luckily, I had my fiancé and my baby kitten to keep me sane.

How did you feel filming in the Fugard Theatre, particularly upon its recent closure? Take us through one or two moments in the Fugard Theatre and people you worked with there. 

Dean: I felt both nostalgic, sad and hopeful whilst filming at the Fugard. It has been a house where I’ve honed my craft, gotten loads of opportunities, and made friends that I respect and love to this day. At the time of filming, I think many were still hopeful that the theatre would return and be part of the recovery of our performing arts. I certainly didn’t imagine that we would be the last company to take a bow on that stage. However, I always reminisce about the good times, the laughs and the joy that came with it. I remember my first audition for Kat and the Kings; walking onto the stage, extremely nervous and meeting David Kramer. I am thankful that he remains a mentor and a friend to this day. I remember my grandmother and family watching the shows and the wonderment on their faces. The great thing about working there was that everyone felt a sense of belonging. From Auntie Iris at front of house, to the staff, the crew, the production team, the actors and especially the audience that supported the countless shows. I felt like I was flying in those days.

Die poet, wie’s hy? has also received ample award recognition at Toyota US Woordfees 2020 and the 2021 Fiesta Awards, and you also just did a Children’s Theatre piece with Bianca Flanders at Suidoosterfees 2021. Tell us about your experience with these shows.  

Dean: Die Poet, wie’s hy? has been a dream come true for me. It started when the late Margot Luyt asked me to “toonset” Adam Small’s Groot Krismisgabed for their Christmas program on Radio Sonder Grense way back in 2012. After the recording she mentioned that Small’s writing, together with my guitar playing style, could work well as a theatre show. It would take another few years to finally realize what I wanted to do. I then played with some of his poetry and decided to marry traditional Khoi sounds, my Namakwaland guitar influences and his writing. After I got my friend, De Klerk Oelofse involved, we put together an amazing band called Die Khoisan Gypsy Band. This band are all artists in their own right, and we gave ourselves over to the writing of Adam Small. I was very adamant that the star of the show will be the verse. I am extremely happy about how the show was received – I call it “hoop teater” because it’s made by South Africans for South Africa and her children. The rest, as they say, is history! We only hope for the show to have a full run and for communities to see and experience the message.

Dean: Pietersielie en Roosmaryn developed when Rafiek Mammon asked Bianca Flanders and myself to write a story incorporating both his children’s book Faizel en die sterre and Bianca’s Prinses Pampoenpit into a narrative to inspire kids to read again and to positively affirm messages of acceptance and uniqueness. It is an acoustic show with music and dancing and lots of different instruments and sounds. We did everything from writing to composing, and we had Koos Marais make the most beautiful puppets to bring the stars of our show, Faizel and Pampoenpit, to life. We felt lucky to have a platform to perform at Artscape for the Suidoosterfees. It was an interesting experience seeing these small little faces with masks on at the show – but their eyes shining! It is also the kind of show we hope to take to schools all over.

What do you see for theatre in the post-covid world?

Dean: To be honest I haven’t really given myself time to think about post-covid because covid-now is still such a big part of our reality. I am only sure of a few things. Artists, whether its theatre, dance, literature, visual arts, TV or film, are resilient. I am not ashamed to say that I’ve known downtown in my career. I know what its like not to have work for months. I had to learn like many others have that, regardless if our government wants to admit it or not, the arts is a vital component to the sanity of our society. That’s how I know storytelling will come back even stronger. What those stories will be or how they reflect on the times we live in, we will have to wait and see!