Ntlolerole - Death of a Queen (an adaptation of Shakespeare's Macbeth) - Review

They concurred with that notion and asserted that it in their understanding and religious philosophy, it was the essence of a caring, nurturing and motherly sustenance, which convinced the early San and Khoikhoi people of the existence of a matriarchal presence existing within the Supreme Spirit despite their early conversion to the Christian faith. Elder Swartbooi, at his Nama-styled Kuboes straw hut in the Richtersveld, spoke in Afrikaans that his people – in fact, most of the Nama clans, often speak of: "die bres and skoot van die Almagtige’s se genader en barmagtigheid." (The breast and lap of the Almighty’s mercy and compassion) - which alludes to the English phrases: “the milk of God’s unending mercy” and “the milk of human kindness.” Need I say more.

Personally, and pertinent to this critique, it was indeed that sentient quality of possessing perceptive forces –and whether that element of a feminine persona that I noted, had been purposefully ‘contrived’ and included in the series by our astute and gifted writers, and that I confess to having been deeply enthralled and drawn to the stirring and powerful SABC TV1 adaptation 'Death of a Queen,' - based on William Shakespeare’s timeless classic, Macbeth. This indigenous se-Pedi version, gives a surreal and ‘supernatural’ quality to the present-day historic status of South Africa’s Modjadji Rain Queen, and in various ways, lends a spiritual and ‘goddess-like’ reverence to her image.

Further, and without fear of contradiction, and to underscore that notion, many (South) and other Africans in the continent - including this scribe, have been known and heard, to refer to our mothers as being our deities. In se-Tswana: "Mme motswadi waka, ke Modimo waka…" (My mother, she who gave birth to me, is my God.)

'Death of a Queen' is a superbly-produced masterpiece of dramatic force; start-to-finish; an emotional rollercoaster of action and an energetic and physical display of cascading passions. I was also touched by the excellent filmic and scenic portraits of South Africa’s pristine natural environment - enforced by the still prevailing occult belief in contemporary Limpopo, of the influence and power of the mystics and soothsayers which Shakespeare’s Macbeth so effectively demonstrates to the degree of creative genius. I traced subtle undertones and references to the erstwhile bloody tale of the ill-fated, young Modjadji whose mysterious death, and the circumstances surrounding it, continue to spark a controversy which has not been satisfactorily explained.

I confess that the Mud Hut production - created and written by the intrepid Marina Bekker - with a well-crafted script to match; stunning special effects and an enchanting music score with its heightened dramatic build-up, really made me eat my words and swallow my often-declared scepticism over attempts by South African production houses, to adapt for screen, local ethnic language versions of Shakespearean and other classics.

It is the sonorous Pedi language at its most beautiful and replete with se-Sotho and se-Tswana and vha-Venda phrases that are music to the initiated ear. But for a few errors in syntax and the odd spelling in the English translation text, the script is a well-constructed, creative and an almost poetic effort. The series is structurally and artistically faithful to the Bard’s original story and is strengthened by a strong and lucid emphasis - admirably acquitted by both protagonists and antagonists. However, it is the Maloro (Putla Sehlapelo) character particularly, which brings a defining, realistic force to his role supported by a cold, compelling and conniving performance by his spouse Grace - played by the radiant Shoki Sebotsane.

The muted police presence guarding the raucous, toyi-toying crowd was not convincing, as were most of the lame-duck photographers. Otherwise there is commendable originality in the series - from children to adult characters; good folk to henchmen; from the soothsayers perching bird-like in a gnarled tree and to the dissecting of the crocodile - every aspect the sterling production, is believable and in line with how people behave and express their emotions locally.

Most of the main and the supporting characters are scintillating and above the pale and force of dramatic exhibition which I was privileged to have watched in the other SABC TV1 Shakespearean adaptations. The scheming and enchantingly beautiful Grace and her thrilling and passionate, power-hungry and murderous spouse, Maloro, still deeply excite the cockles of my admiration. They are glittering names to watch. The ever-fresh, ever-free and mature, Mamodumedi (Candy Moloi) of television fame, always acquits herself with the experience, strength, resilience and dignity of a South African matriarch. It was her defining portrayal of a warm and knowledgeable oral historian and a committed dissident which lifted the aura and oracle of good over evil in the production.

The victory of the besieged Puno, the child who would inherit the future, was movingly and stoically interpreted by a talented Nteseng Kwedi. Her character defines the vision and possibility of the emergence of the new world which right-thinking folk want to create. A world in which the Modjadjis of tomorrow, can genuinely interact with their communities (not subjects), and not be isolated from the realities of pain, poverty and suffering and from the joys, promises and happiness of life. Puno and her Rain Queen mother become poignant beacons to the new thinking of reconciliation through transformation in which even the murderous Maloro is told: “You don’t have to die…”

The three mischievous and raggedy-dressed mystical harbingers, and their speaking ancestor-infants, were a potent but pleasurable special effects addition to the innovative element of mystery - which in my opinion, ‘outdoes’ the Bard’s three witches. Selaelo Maraka’s role as the Rain Queen, was not definitively convincing nor appropriate to her royal station, and neither was her commoner consort, the ill-fated Mugudo, played by David Mello.

I was impressed by the creative camera-work. It moved spontaneously without any visible coercive imposition to the senses. I loved the dotted mud and thatched dwellings in the lazy lap of the valley – juxtaposed against an austere mountain range and foreboding woodland under an ever-changing and growling skyline with its poetic beauty and temperament. There wasn’t any temptation by the producers to exaggerate the human drama or to impose or change the basic tonality of the intriguing Macbeth tragedy.

Finally, 'Death of a Queen' is more a South African tale than just a Shakespearean drama despite the same almost similar tragic and far-reaching consequences which emerge from the ancient propensities of good and ill; life and death that occur anywhere and everywhere in the world. This powerful series becomes a cultural window or an ethnic evocation and even a tapestry through and upon which the viewer is given glimpses into African folklore – and in this instance, Pedi myths and deeply-held beliefs which serve as a social historical cultural interplay between the traditional and the modern (the laptop and the speaking drum); the poisoned queen who sought love and change; the child who wants new beginnings and an end to hostilities and the narrow thread between illusion and reality; fantasy and actuality – all of these, are presented to the viewer as options and challenges towards a new humanity.

A fine production indeed, and as another Shakespearean character declares: “when cometh another…”

Death of a Queen – 6 x 24 minutes.was broadcast August 2008.
SABC 1 - 8.30 Tuesdays