Tot Nut en Vermaak

Tot Nut en Vermaak ("For Use and Entertainment"), Cape Town. This was the motto used by a Dutch-language amateur dramatic society sporadically active in the Cape from 1809 till 1819, then resurface in 1822 till 1836 (although it officially existed until 1839). It became active once more between 1842 to 1847.

First period

Founded 1809. It contributed enormously to the Dutch amateur theatre and Cape theatricals in general. It was most likely a continuation of Tot Leering en Vermaak (1804). J.G. Tredouw was manager until 1826 and J.C. Gie was a leading member as well.

It performed mostly serious works in Dutch, opening on 10 June 1809 with Kotzebue's De Kluizenaar op het Eiland Formentera ("The Hermit on the Island Formentera") and De Verwarring ("The Confusion"), played "for the advantage of the newly erected Orphan House".

The years 1817 and 1818 constituted its most successful period. In this time it built its own theatre, under the guidance of J.C. Gie and W.A. Lacable and was very active on stage. For example, among the plays listed for 1818 are:

2 May Het Geweeten (Iffland); 23 May De Broeders Op Den Toets (Volméranges) and Het Misverstand, of Elk is Een Dief in Zyn Neering ("K"); 6 June De Lauwerkrans, of Het Gezag der Wetten (Ziegler); 18 July De Bevrediging (Van Guttenberg); 15 August De Gebroeders (Von Kotzebue or Young); 12 September De Jonge Filosoof, of De Grilligheden van de Fortuin (Tréogate) and De Spraaklooze (Von Kotzebue); 10 October Dienspligt (Iffland) and Het Hoogste Lot (Hagemeister); 5 November Kwade Luim (Von Kotzebue, wrongly listed by the company and/or Bosman as De Kwade Luim); 2 December De Goedhartige Losbol (Anon.) and De Deserteur (Von Kotzebue).

In 1819 it disintegrated. Some of its members apparently transferred to Men Doet Wat Men Kan.

Second period

It recommenced its productions in 1822, performing in the African Theatre, and continued until 1839 when it sold all its possessions.

In this period productions included:

1822: Volsan, of De Menschenhater Door Tegenspoed (Villenhoven), De Deserteur (Von Kotzebue); (Von Kotzebue); Ransdorp (Van de Wart); De Vreesachtige uit Vooroordeel, Wegens syne Geboorte op Zondag (Hafner/Perinet); Makin, of De Ontdekking van Madera (Barbaz); Het Losse Schot (Von Kotzebue); De Lotery Briefjes (Bingley)

1825: Niets en Iets, of De Vyf Gestorvenen (Stoopendaal), Edele Harten door Driften Geslingert, of Gevolgen van Jeugdige Ligtzinnigheid(Eberstein); De Kluizenaar op Formentera

Third period

In 1842 resurfaced once more at the Roeland Street Theatre and by the following year was again performing regularly, in rivalry with Door Yver Vruchtbaar, with which Tot Nut en Vermaak eventually joined forces in 1844, to be known either as Tot Nut en Vermaak en Door Yver Vruchtbaar, or Het Privaat Hollandsch Toneellievend Gezelschap (“Private Dutch Amateur Company”). This latter company remained the only Dutch company active in the Cape until 1847. Its secretary was one C.J.O. Werdmüller and among its players are mentioned messrs Mr Boonzaier, Mr Combrink, C. Spolander, Mr Desvages, Mr Wentzel , Mr Wannenburg and Mr Keytel.

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Sources

F.C.L. Bosman. 1928. Drama en Toneel in Suid-Afrika, Deel I: 1652-1855. Pretoria: J.H. de Bussy. [1]: pp. 123, 134, 384-5, 492;

Jill Fletcher. 1994. The Story of Theatre in South Africa: A Guide to its History from 1780-1930. Cape Town: Vlaeberg.

P.W. Laidler. 1926. The Annals of the Cape Stage. Edinburgh: William Bryce.

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