Shakespeare gives hope to the homeless

CHARISSE ZEIFERT

Yet, when Sipho Nyhila stood up and gave his performance, changing the word, “Jew” to “homeless”, I felt myself moved to tears. Himself once homeless, Sipho’s rendition was heartfelt and heartrending.

I was further compelled to put my Shakespeare prejudices aside as other cast members – either still or once homeless – recited Shakespeare passages that resonated with them. For Michael Mazibuko, it was Hamlet’s “To be or Not to be”.  He said that he had been on the streets because of alcoholism, and had often thought of taking his own life. His mind-shift came when he learned the piece. Hamlet’s own agony about whether or not to take his life resonated with him. He is now off alcohol. 

For Lwazi Myeki, this passage from Richard III, takes on an especially wrenching meaning: “I, that am curtail’d of this fair proportion; cheated of feature by dissembling nature; deformed, unfinish’d; sent before my time, into this breathing world, scarce half made up; And that so lamely and unfashionable; That dogs bark at me as I halt by them”.

Shakespeare inspired Congolese refugee Louis Kalombo in another way. He suffered from a tumour, and found himself destitute and living in parks and under bridges. On learning Shakespeare with Dorothy Ann Gould, the founder of JAM and one of South Africa’s premier actresses, teachers and directors, he was encouraged to write his own story of living in the street. 

In his soliloquy, he questions why those who have everything want to impoverish those who have nothing. Why sell nyaope to the poor? Why deny those who have nothing the little they have, when you want for nothing? His face contorts in pain, as he describes his hurt when people tell him that he stinks. “Of course I do. I have walked in the hot sun for four hours to wait my turn in the queue for food. You too would be in this situation, if it happened to you.”

Yet, through Gould and JAM, Kalombo was given a second-chance in life. He had a seven-hour operation, organised by volunteers and now goes back into his community to share what he has learnt. 

Gould, who came up with JAM, has performed in America, Canada, Europe, and on London’s West End, and has appeared on local programmes such as Generations, 90 Plein Street, and Erfsondes.  Yet, she has become associated with Shakespeare, having played 18 of his heroines. Her passion for his work was inspired by Dame Janet Suzman, who taught her the real magic of Shakespeare, which is the passion and rhythm that it contains.

Seven years ago, Gould came across homeless men at a soup kitchen in Hillbrow. Wanting to make a difference, she offered them her skills of teaching drama, mainly Shakespeare. The group initially started with seven men (there are currently no women members), and she met them once a week. 

It has now grown to more than 20, with many of them having gone on to perform in Generations or study at the Market Theatre. JAM offers a sanctuary where the men can find relief from their difficult lives on the streets and gain self-respect, dignity, and a sense of belonging. Performing gives them pride, helps to keep them drug and alcohol free, and enables them to earn a little money.  Gould has become their mother. They refer to her as “Mma Dorothy”.   

Some of them are no longer homeless. They also have a purpose in life. While they meet with Gould on a Monday, they join forces without her on Wednesday to practise their lines, and offer each other support.

The evening revealed many of my prejudices. I saw the teaching and learning of Shakespeare in a new light. Mma Dorothy says she isn’t one of those who believe that Shakespeare should be dropped from the school curriculum. It still has value. Perhaps it’s not the learning of Shakespeare that’s the problem, but the teaching of it. Maybe one needs a bit more life-experience than the average school goer to enjoy it fully, or perhaps one needs to act it out, rather than learn it as a set text.

The evening also challenged the way I see the homeless (whom I have been told should rather be referred to as “destitute”). I no longer see them just as faces on street corners worthy of no more than pity and hand-outs. Now, I see them as potential performing artists deserving of the opportunity to further their skills. 

While there is always magic in any theatre production, this evening had an extra star quality, which likewise challenged my cynical self. As mawkish as it sounds, it had love. Mma Dorothy, say the men, has given them neither food nor money. Rather, she gave them her skills, a belief in them, and the confidence to find their voice.  She also gave them something they all believed they had hitherto been denied – love – which was clearly reciprocated.

Gould says that her biggest achievement has not been her international acting acclaim, nor has it been the opportunity of working with some of the greatest talents among her peers, but helping the voiceless find their voice. 

Concluding the performance, Gould quoted the Talmudic axiom that whoever saves a single life is considered to have saved the whole world. She has done just that. 

Any potential volunteers should contact Dale (0837780169/dale.russellhowell@gmail.com).