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"MANDELA MANDELA"
 A tribute to a 
legend

Cast:
Nelson Mandela - Vasantha Moragoda
Winnie Mandela - Vimalendra Kumari
Cindy Mandela and Reporter - Sriyani Dunuwila
Ian Botha and Bogard - Vasantha Vittachchi
De Clerk and Judge - Wijeratne Warakagoda
Walter - Damayantha Perera
Oliver - Athula Pathirana
Guards - Sarath Kothalawela, Shan Gammudali and Nalin Pradeep Uduwela
Police Sergeant - Sanath Wimalasiri
Cabinet Members -

The next show: September 13, 2002 at the Elphinstone Theatre, Maradana.

Accepting an invitation from the residents of Kilinochchi, Mandela Mandela will go on stage at Wanni during the month of September. The tentative date is September 23, 2002.

Mandela Mandela will also be staged: September 28, 2002 at Elphinstone, Maradana. October 6, 2002 at Lionel Wendt, Colombo 7.

Mandela-Mandela is much awaited internationally as well. It is scheduled to be staged in Malaysia and Osaka and Tokyo in Japan, within the year 2002 and in South Africa in March, 2003.

Mandela-Mandela is the Sinhala stage play depicting the life and times of Nelson Mandela. Directed by Sisil Gunasekera with Vasantha Moragoda and Vimalendra Kumari playing the main roles, Nelson and Winnie Mandela. It depicts the times of 'white' rule and the apartheid movement of South Africa. Nelson Mandela, a lawyer and a leader of the black community and some of his friends from the African National Congress were arrested and imprisoned. The story enacts their unfair trials, life imprisonment, the hardship they had to undergo in prison, the attitude of the 'whites' towards the 'black'... and the struggle Mandela and those around him had to go through to gain freedom for Mandela and the black community of South Africa....

by Vimukthi Fernando

Finally, it came on stage. It was a challenge, met with considerable difficulty and much support and encouragement from non other than Nelson Mandela himself. The much awaited portrayal of Nelson Mandela on Sinhala stage came into action at the Elphinstone on August 23.

The play is produced and directed by Sisil Gunasekera, who is a household name in the Sinhala Stage for over two decades. However, Mandela-Mandela is Gunasekera's initiation to serious drama. A different line altogether from the comedies he is noted for. And his efforts were supported by Tyronne Fernando, Minister of Foreign Affairs, himself a benefactor of Mandela's principles in building up Mandela's character. Gunasekera was also assisted by Ruwan Bandara Narasinghe and Athula Pathirana on the script and Wasantha Perera, with stage lighting.

Serious, well known, living hero... were the main challenges awaiting the artistes involved in this production. However, the cast included many artistes with at least 10 years of acting behind them, and some with over 25 years of experience. Those who did not have experience, compensated the years with their talent. So, the portrayal of characters by actors and actresses alike was encouraging. The performance showed them living in the characters they portrayed as best as they could, and a backstage interview with some, proved that they knew their characters well.

"The crux of his character, is his psyche. The challenge is to bring it out, rather than being a 'look alike' on stage. Lack of opportunity in re-casting the role to suit the stage is also an obstacle. Nelson Mandela is a living hero, well known throughout the world. That is the real challenge", said Vasantha Moragoda, who depicted Mandela on stage. In his opinion, it is a character that signifies respect, enthusiasm, vitality and most of all self-control. "He had a goal to achieve, and he did so at a cost of 27 years of his life. It is a good example for the so called politicians in countries such as ours", said Moragoda.

Vimalendra Kumari portrayed the controversial character Winnie Mandela. "She is a serious woman who had to shoulder the burden of the family as well as the party, during the imprisonment of Nelson Mandela. I see her as a woman who had gone through a lot of pain. One who smiled through her tears and stood up against the challenge of chauvinism. I see her as the mother of her nation", was Kumari's opinion.

Botha, the tyrant President was played by Vasantha Vittachchi. "It is a totally black character. Therefore, I act accordingly", said Vittachchi keeping his answer simple and to the point. But, Bogard his second role, is a "different story" according to Vittachchi. A character "created solely for the purpose of showing the difference of treatment to the political prisoners and the regular prisoner, he shows the general lifestyle of the poor classes in the African society, and the hardships they had to undergo."

The portrayal of characters was good and the play, overall, could also be commended as a good initial attempt. However, whether Mandela-Mandela was able to enlighten the audience of the true character of Nelson Mandela is of question. It is to be accepted that neither Nelson Mandela, nor the Anti Apartheid Movement of the African National Congress are 'light' subjects. They need to be treated with the seriousness they deserve. Creativity is the key word in bringing out such serious subjects, especially to a new audience in a different country. In that sense, the play was lacking much. It needs much improvement where dramatic effect is concerned.

Mandela-Mandela began with a very creative scene of Nelson Mandela travelling in a car with his friend at the wheels at the point of their arrest. Innovative and light with a pinch of sarcasm, it captured the hearts of the audience. However, it was soon dragged into long dialogues - discussions in a gloomy prison. A parroting of Nelson Mandela's imprisoned years.

While the script writers gave out the facts of Nelson Mandela's life precisely, what they seemed to have overlooked is the vigour, charisma and power of Mandela and the fact that though in prison for 27 years, he was the 'spear head' of the African National Congress. Since Mandela, an octogenarian, is still an active figure in the world scene, the audience would have appreciated more action. Perhaps an act or two on how he was revered and appreciated by the African nationals themselves could have been included.

The script was restricting the use of dramatic effect. Though, some of the shortcomings could have overcome by the use of music, colour and lighting, it was sad to note that the available resources were not utilised here. The music, for example. The beauty of the traditional African music was marred by using it as a 'cover-up' for the dimming of lights during the transition from one act to another. It is necessary, at this moment to pause a while. And to take a critical and realistic look at Mandela-Mandela. For, it is not just another drama, but a creative depiction of the character of an international hero and a play with great dreams and potential behind it.

The director, Gunasekera, nurtures the dream of staging the 100th show at African shores, with Nelson Mandela himself as the chief guest. However, what needs to be kept in mind is that Africa is the land of story-tellers, and very specially South Africa is the land of many a great playwright and play. Artistes from this little isle in the Indian ocean need be of equal grit, if not better than those great playwrights and actors, to portray the life and times of their hero and leader if Mandela's story is to be accepted by his kith and kin.

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