“Theatre’s Truth-Teller: Mike Van Graan’s ‘The Good White’ Holds Up a Mirror to South Africa”
In the heart of Johannesburg’s Market Theatre, a powerful new production is making audiences snap their fingers and exclaim “Yoh!” as it fearlessly tackles South Africa’s post-apartheid realities. “The Good White,” the latest masterpiece from prolific playwright Mike Van Graan, directed by Market Theatre’s Artistic Director Grey Homann, is striking all the right chords with its bold examination of the nation’s “non-racial project” against the backdrop of the #FeesMustFall campaign.
Set in contemporary South Africa, the play weaves together the stories of four characters who navigate the complex political landscape of a nation still grappling with its past. Van Graan, known for his sharp wit and unflinching social commentary, brings to light an unexpected modern phenomenon: white South Africans seeking refugee status in the USA – a twist that few could have predicted in the hopeful days of 1994.
“Theatre is about holding a mirror up to society,” Van Graan reflects, with characteristic insight. “So that we can see what needs to be addressed. I need to comb my hair, I need to wash my face, I need to squeeze this pimple.” This mirror has been his tool through an impressive career spanning 40 plays, each one peeling back layers of social and political complexity.
Van Graan’s journey to becoming one of South Africa’s most influential theatrical voices is as compelling as his works. As a Colored youth under apartheid, he needed a special permit just to attend the University of Cape Town instead of the designated University of the Western Cape. That permit, ironically for Drama, set him on an unexpected path from aspiring teacher to cultural activist and acclaimed playwright.
Today, Van Graan’s calendar brims with seven major projects, including “The Good White,” “To Life, with Love,” and “Over The Rainbow.” His ambitions extend beyond South African borders, with plans to create works for international audiences – a strategic move to “generate euros and dollars” to sustain his local productions.
The playwright doesn’t shy away from critiquing leadership, identifying it as a critical challenge facing Africa and South Africa. “If we had better leadership in this country, this would be a very different place,” he asserts, lamenting how the goodwill of 1994 has been “squandered” through poor governance and corruption.
Despite the heavy themes, Van Graan maintains a sense of purpose and contentment. “I’ve lived a very rich life,” he reflects, acknowledging that while financial wealth may have eluded him, his work in theatre has offered something far more valuable – the privilege of impacting people’s lives and thinking.
His recent satire “My Fellow South Africans” (2022) exemplifies his commitment to engaging citizens in critical dialogue, particularly ahead of the crucial 2024 May elections. Through his work, Van Graan continues to provoke, challenge, and inspire audiences to think deeply about South Africa’s past, present, and future.
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