The Space

The Space was an enormously influential alternative theatre space in Cape Town, active in the period 1972-1979.

Officially named The Space/ Die Ruimte initially, later The Space/ Die Ruimte/ Indawo, but best known as The Space (or referred to as the Space Theatre by some authors). (Die Ruimte and Indawo simply mean "The space" in Afrikaans and Xhosa respectively).

Not to be confused with Space.com at the Joburg Theatre

The Venue

The theatre was founded and managed by Brian Astbury and his wife Yvonne Bryceland, with the close involvement of Athol Fugard. Moyra Fine, one of the founding fund-raisers for The Space, also remained a bastion through its seven year life. In addition the venture also had the help of numerous other people active in the Cape Town theatre scene, including students and staff from the Universities of Cape Town and Stellenbosch.

By July 1973 the permanent company included Yvonne Bryceland, Bill Flynn, Christopher Prophet, Jacqui Singer and Maralin Vanrenen.

Over the years it became the home and training ground to numerous South African performers, directors and other theatre artists, including such prominent individuals as Yvonne Bryceland, Bill Tanner, Dmitri Nicolas-Fanourakis, Bee Berman, Pieter-Dirk Uys, Bill Curry, Fatima Dike, Barney Simon, Paul Slabolepszy, Bill Flynn, Janice Honeyman, Robin Malan, Vincent Ebrahim, Wilson Dunster, Thoko Ntshinga, James Mthoba, Jaqui Singer, Val Fletcher, Christopher Prophet, Shirley Johnston Blaise Koch, Christene Basson, Nomhle Nkonyeni, Marthinus Basson, Dawie Malan, and Grethe Fox. Designers like John Nankin,

Performance venues

Its first venue was in the premises of Sebba and Co in Bloem Street, Cape Town and was converted by was The venue opened on 28 May 1972 with an early version of Athol Fugard's Statements after an Arrest under the Immorality Act, starring Fugard and Yvonne Bryceland.

In 1973 an art gallery was also built in the space, and in 1974 a second venue was added on the ground floor and called The Outer Space, (which opened with Pieter-Dirk Uys’s Pity about People) .

In 1976 The Space moved to the YMCA building in Long Street, putting on a performance of Tsafendas by William (Bill) Tanner on the evening and asking the audience to carry their chairs to the new building. Besides the main theatre, other, smaller, venues in the old and the new buildings were also utilized from time to time (e.g. The Gym, The Rehearsal Room, Upstairs at the Space, and so on).

Productions

The theatre opened on 28 May 1972 with a production of Fugard’s Statements After an Arrest Under the Immorality Act, starring Fugard, Yvonne and Christopher Prophet. This was followed by Athol Fugard, John Kani and Winston Ntshona’s Sizwe Bansi is Dead in October 1972 and the seminal production of The Hodoshe Span (The Island) by Athol Fugard, John Kani and Winston Ntshona in July 1973.

Among the other major productions done at The Space were Athol Fugard’s People are Living There, Hello and Goodbye and Dimetos; Pieter-Dirk Uys’s Selle Ou Storie (1975), Karnaval and God’s Forgotten; , Genet’s The Maids, Survival (1976) by Theatre Workshop ’71, Imfuduso by the Women of Crossroads (1978), Fatima Dike’s The Sacrifice of Kreli (1976), The First South African (1977) and Glasshouse (1979), Geraldine Aron’s Bar and Ger (1978), Mickey Kannis Caught my Eye (197*) and Zombie (197*), Othello – Slegs vir Blankes [“Othello - For Whites Only”], Enemy – An Anti-War Collage and Scarborough by Donald Howarth, **** (197*), **

Other facilities

Particularly in the early years, The Space undertook a number of linked enterprises in their quest for relevance.

Among them:

The Space Theatre Club

To avoid the apartheid legislation of the times The Space was run as a "theatre club", called the Space Theatre Club, thus allowing for racially mixed casts and audiences. The first performance of Athol Fugard, John Kani and Winston Ntshona’s Sizwe Bansi is Dead, for example, was offered in October 1972, for “members only".

Foundation for Art and Theatre

To encourage new writing the fund-raisers who had initially collected the money for The Space formed a group called the Foundation for Art and Theatre under the leadership of Kate Jowell. They organised a one-act play competition with Robin Malan, Brian Astbury and Mavis Taylor as the judges. In the end 105 plays were submitted and these were then reduced down to ten stageable ones, of which 5 were eventually produced. Die Laaste Middagmaal by Wilma Stockenström and It’s My Weekend, Too by Sheila Roberts were tied at first place.

The Yvonne Bryceland School of Drama

The Yvonne Bryceland School of Drama was a training facility for young people (12 years of age or older) opened at 21 Bloem Street, Cape Town, in 1972.

An offshoot of The Space, it had Yvonne Bryceland, Athol Fugard and Brian Astbury as directors of the venture, with Bryceland as managing director.

The teachers were drawn from both The Space theatre company as well as prominent theatre practitioners. Full time staff included Val Donald, Jacqui Singer, Paul Slabolepszy, Steve Daitch and Lianda Martin. Among the guest lecturers were Robert Mohr, Donald Howarth, Robin Malan, Tessa Marwick and Gisela Taeger-Berger. Bryceland and Fugard also gave occasional lectures.

The aims of the school were summarised as follows in their original brochure (a pamphlet written by Amanda Botha, with artwork by Issy Sacks):

1. To awaken and foster within each student a sensitive awareness of his environment through the arts.

2. To discover and encourage future professional actors.

3. To give students an essentially PRACTICAL training by using teachers actively involved in theatre.

The school followed the Western Cape schools calendar, and the original fee was R16 per term. It offically opened on 15 July 1972, with a welcoming address by Yvonne Bryceland.

The classes were scheduled for Saturday mornings , beginning with a movement or yoga class, and afterwards small group exercises in improvisation, mime, practical acting techniques and public speaking, as well as discussions of all aspects of theatre making. Students could participate in special theatre projects during the holidays. Students were also able to see The Space productions at concession prices.

The end

by 1978 the theatre was struggling financially and otherwise. Libby Morris for example, offered her show Edith Piaf, Je vous aime as a fund raiser to the struggling theatre in December/January 1977/8, but ultimately to no avail. The Space closed its doors in September 1979 and Brian Astbury and his wife Yvonne Bryceland left for England, to pursue their careers there.

However it had a brief respite when, soon after, it resurfaced as The People's Space, now under the guidance of Rob Amato, Muriel Fine and others. This finally closed down in 1981. (See the entry under People's Space.)

Influence of The Space

Besides its influence on the lives and careers of the many people involved and the many new South African works it helped create and launch, (see above ), the theatre also became venue for productions by other experimental and political groups, and became the inspiration for other similar theatres, notably the Market Theatre in Johannesburg.

In 1997 Cape Town celebrated the 25th anniversary of the founding of The Space and Pieter-Dirk Uys wrote his nostalgic remembrance of it in the play No Space on Long Street, performed at its successor, the Baxter Theatre, and published in the South African Theatre Journal of that year.

Sources

Brian Astbury, 1979,

Percy Tucker, 1997;

Kruger, 1999

25th anniversary: Mail and Guardian, 14-19 March 1997.

Amanda Botha and Issy Sacks. 1972. The Yvonne Bryceland School of Drama (a brochure – in the ESAT archive, University of Stellenbosch).

Go to ESAT Bibliography

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NOTES FOR EDITING

Venues

Its first venue was in the premises of Sebba and Co in Bloem Street, Cape Town and was converted by was opened on 28 May 1972. In 1973 an art gallery was also built in the space, and in 1974 a second venue was added on the ground floor (The Outer Space, opened with Pieter-Dirk Uys’s Pity about People) . In 1976 it moved to the YMCA building in Long Street, putting on a performance of Tsafendas by William (Bill) Tanner on the evening and asking the audience to carry their chairs to the new building. Besides the main theatre, other, smaller, venues in the old and the new buildings were also utilized from time to time (e.g. The Gym, The Rehearsal Room, Upstairs at the Space).

Productions

Its first venue was in the premises of Sebba and Co in Bloem Street, Cape Town and was converted by was opened on 28 May with the first production of an early version of Statements after an Arrest under the Immorality Act, starring Athol Fugard and Yvonne Bryceland. In July 1973 the seminal production of their next play, The Hodoshe Span (The Island) took place there as well. ** Among the other major productions were Athol Fugard’s Statements, People are Living There, Hello and Goodbye, Dimetos, Pieter-Dirk Uys’s Selle Ou Storie (1975), Karnaval and God’s Forgotten, Genet’s The Maids, Survival (1976) by Theatre Workshop ’71, Imfuduso by the women from Crossroads (1978), Fatima Dike’s The Sacrifice of Kreli (1976), The First South African (1977) and Glasshouse (1979), Geraldine Aron’s Bar and Ger (1978), Mickey Kannis Caught my Eye (197*) and Zombie (197*), Othello – Slegs vir Blankes [“For Whtes Only”], Enemy – An Anti-War Collage and Scarborough by Donald Howarth, **** (197*), **

The Space Theatre Club

To avoid the apartheid legislation of the times The Space was run as a theatre club, called the Space Theatre Club, thus allowing for racially mixed casts and audiences, and thus the first performance of Athol Fugard, John Kani and Winston Ntshona’s Sizwe Bansi is Dead for example was offered in October 1972, for “members only".

Foundation for Art and Theatre

To encourage new writing the fund-raisers who had initially collected the money for The Space formed a group called the Foundation for Art and Theatre under the leadership of Kate Jowell. They organised a one-act play competition with Robin Malan, Brian Astbury and Mavis Taylor as the judges. 105 plays were submitted and these were then reduced down to ten stageable ones, of which 5 were eventually produced. (Die Laaste Middagmaal by Wilma Stockenström and It’s My Weekend, Too were tied at first place.)

Influence

Over the years it was home and training ground to numerous South African performers, directors and other theatre artists, including Yvonne Bryceland, Bill Tanner, Dmitri Nicolas-Fanourakis, Bee Berman, Pieter-Dirk Uys, Bill Curry, Fatima Dike, Barney Simon, Paul Slabolepszy, Bill Flynn, Janice Honeyman, Robin Malan, Vincent Ebrahim, Wilson Dunster, Thoko Ntshinga, James Mthoba, Jaqui Singer, Val Fletcher, Christopher Prophet, Shirley Johnston Blaise Koch, Christene Basson, Nomhle Nkonyeni, Marthinus Basson, Dawie Malan, and Grethe Fox.

It also became venue for productions by other experimental and political groups, and became the inspiration for other similar theatres, notably the Market Theatre in Johannesburg. In September 1979 it closed its doors as Astbury and his wife Yvonne Bryceland left for England. Space Theatre: In Cape Town. It was founded by Brian Astbury and his wife Yvonne Bryceland with the close involvement of Athol Fugard. Moyra Fine, one of the founding fund-raisers for The Space remained its bastion through its seven year life. It opened on 28 May 1972 with Fugard’s Statements After an Arrest Under the Immorality Act starring Fugard, Yvonne and Christopher Prophet. Athol Fugard, John Kani and Winston Ntshona created The Island which was staged here circa 1973. Libby Morris offered her show Edith Piaf, Je vous aime as a fund raiser to the struggling theatre in December/January 1977/8 ****

The end

It then resurfaced as The People's Space under Rob Amato, Muriel Fine and others ***, and finally closed down in 1981.

In 1997 Cape Town celebrated the 25th anniversary of the founding of the Space and Pieter-Dirk Uys wrote his nostalgic rememberence of it in the play No Space on Long Street, performed at its successor, the Baxter Theatre, and published in the South African Theatre Journal of that year.