Harry Kalmer
Harry Kalmer (1956-). Writer of short stories, novels and plays. He graduated in 1979 (University of Pretoria), majoring in Afrikaans and Drama Studies. He wrote his first play in 1973. Jacqui Singer produced his play Bloed in die Strate for PACT in 1984, starring Andrew Buckland. It was performed in the Market Theatre in 1985. The drama Hartland was performed in the Baxter Theatre in 1986, directed by Marcel van Heerden. Die Wit van Hulle Oë (1988) and Antjie Somers and I (1989) were produced by PACT, both directed by Jacqui Singer, followed by Watercolour Days in 1991. They Say Heaven is like TV is directed by Craig Freimond for PACT, winning the Vita Potpourri Prize in 1992. He writes and directs the cabaret The Secret of my Excess for Lynn Joffe in 1992. In 1995 Frida Kahlo's Eyes is directed by Sandra Prinsloo and the following year Gerrit Schoonhoven directs Sleeping with Alice for the Arts Festivals. Kalmer adapts Marita van Vyver's novel Die Dinge van 'n Kind for the stage and it is performed with great acclaim in 1998 at the KKNK, the Grahamstown Festival and in the Little Theatre, Pretoria.
The Bitterbek Blues of Ben (die Breker) Bartman and Briewe aan 'n Rooi Dak. Aardklop festival, 2001.
Wie is Spek Harmse en waarom skryf hy Afrikaanse advertensies?. 2004 for the tenth birthday of the Pendoring competition. eenmanstuk Meneer de Beer, waarin die bekende akteur Frank Opperman speel 2006 (Source: Litnet http://www.argief.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news_item&news_id=34114&cause_id=1270).
He was awarded a silver Ovation Prize at the 2013 Grahamstown Festival for his play The Bram Fischer Waltz.
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By 2001 se Aardklopfees in Potchefstroom word twee van Harry se produksies op die planke gebring, naamlik The Bitterbek Blues of Ben (die breker) Bartman en Briewe aan ’n rooi dak. Laasgenoemde stuk, wat sentreer om die eensaamheid van die ouderdom, is die wenner van die AngloGold Smeltkroesprys by die fees. Paul Boekkooi, die voorsitter van die beoordelaarspaneel vir die prys, skryf in sy motivering dat Briewe aan ’n rooi dak “’n empatiewekkende teks is byna in die styl van kamermusiek. Dit is sielskommunikerend, maar op ’n werklikheidsvlak totaal geloofwaardig. Dit breek deur bestaande grense.”
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