by Joanna Trainor

“I am always performing.”

A tin shack has appeared on an empty patch of land in the exclusive neighbourhood of Stillwater in Cape Town. The only black couple on the cul-de-sac have been elected by the other “concerned residents” to serve an eviction notice.

It’s the perfect setup for comically painful interactions. Lynette (Olivia Darnley) and Christopher (Scott Sparrow) are, quite literally, falling over themselves not to be seen as racist by Bonolo (Mimî M Khayisa) and Sihle (Sifiso Mazibuko). It’s excruciating, but Nancy Medina’s energetic direction and the fact the tension never bubbles over into real anger gives the opening scene a farcical quality. It’s impossible not to laugh.

There’s quite a lot of set dressing for a 100 minute play – wine aerators from Italy, rugs from Marrakech and many, many throw pillows are paraded on and off the stage. It really hammers home how important it is for the characters to mark their territory. ULTZ’s clever set design gives us more insight into the people of Stillwater – every time we lose sight of the infamous shack it comes back bigger and more imposing. The shutters re-open and suddenly there’s painted window frames and a satellite dish where there wasn’t a minute ago. Sitting at the back of the stage the structure looms over the action. In the end we get to make up our mind as to whether it had been growing in reality or just in the minds of the characters.

It’s Mazibuko’s performance as Sihle that steals the show. Called ‘Slinky’ in his previous job because of his ability to bend to any situation, the character has been performing his whole life, whether it’s to be a good colleague or a good neighbour. Even when he and Bonolo are mistaken for being the owners of the shack by the street’s newest residents, Jess (Robyn Rainsford) and Andrew (Kai Luke Brummer), he goes out of his way to make sure they don’t feel uncomfortable for their racist mistake. Then Mazibuko lets the mask slip, letting everyone know how he really feels. Or is he just doing what he thinks his wife wants him to? It’s an outstanding performance in such a strong cast.

Amy Jephta said in a recent interview that she wanted to write a race play with no villain and no hero. No-one comes off tremendously well, but that’s part of being human and Jepta’s script has that down to a tee. All in all it’s a bloody good play.

A Good House runs at Bristol Old Vic through 8 March.

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