Robert Mohr

(1925-1984) Actor, dramatist, innovative director and enormously influential lecturer and head of the University of Cape Town Drama Department. Born in 1925 he studied speech at the University of Stellenbosch’s Conservatoire of Music under **. In 19** he became speech teacher at the University of Stellenbosch Conservatoire of Music, taking over from *** and heading the speech and drama course. He developed this into a fully fledged BA course, and directed a number of major plays for the University. (regie), Skrikkeljaar, Ugo Betti (Alewyn Lee) (vertaal), Berdine Grünewald, Eghard van der Hoven, Gerrit Wessels, Mathilde Hanekom, San de Lange, Louis/e/a Aucamp, Reenen van Niekerk, Salie Vermaak, Doreen Graves (kostuums), Frank Graves (dekor), 1958. At the same time he worked for NTO. In 1960 he left Stellenbosch to become a lecturer at the Department of Speech and Drama, University of Cape Town. In 1971 he became head of the department there till his retirement in 198*. He died tragically in 199*. His influence as teacher has been enormous and his graduate students have made their mark in all facets of the industry. As a free-lance professional writer and director Mohr had a major influence on South African theatre as , his interest in Eastern theatre and the work of Chekhov in particular influencing many directors. He staged Christopher Fry's Boy with a Cart as the first theatre-in-the-round production in South Africa for the University of Stellenbosch in 19**. Among his major professional works were original texts for Dracula (19**), The Trials of St Joan (19**) and the hugely popular compilations of Melt Brink works – Ons Hou Konsert ("We have a concert" - 19**) and Ons Hou Weer Konsert ("We have another concert" - 19**). Translations into Afrikaans include Charley's Aunt (19**), The Cherry Orchard (19**), The Three Sisters (19**) and Purcell's Dido and Aeneas, adaptations of plays such as the Japanese Chuchingara (19**), ****. Over the years he worked with many student, amateur, semi-professional and professioal companies, offering courses and directing. For example in June 1971 he conducted the first Drama Course for the Department of Coloured Affairs in Bellville South. His community theatre directing endeavours included work with the EOAN Group (e.g. Behind the Yellow Door by Flora Stohr, at the Little Theatre in 1962?*, and in Shreveport, Louisiana in 1966), ** and ** . He did a number of productions for NTO including ** and **, while he did *** , ***, *** for the Performing Arts Councils (**, **, **) Also directed for opera, film and radio, and was guest director in Canada, the USA and Great Britain a number of times. For example Mohr was invited to direct Flora Stohr’s play, Behind the Yellow Door, at The University of Shreveport in Louisiana in 1966. Due to its success he was invited back again in 1968 to direct Shakespeare’s Much Ado about Nothing, for which he received a special award. Awarded a Honorary Pendant ("Erepennning") for his contribution to theatre by the SA Akademie vir Wetenskap en Kuns in 19**. He directed King Lear, starring Joe Stewardson and Hadrian VII starring Siegfried Mynhardt for PACT at the Alexander in 1969. He directed Robin Maugham’s Enemy! for PACT at the Alexander in 1974. He also directed Elizabeth I for PACT at the Alexander in 1974. He directed The Tempest with Patrick Magee, Paul Slabolepszy, Bill Flynn and Michael Richard at the Alexander for PACT in 1975. He directed Michael Richard in Hamlet for PACT in March 1978. He directed the Afrikaans translations Die Kersietuin (Chekhov’s The Cherry Orchard) with Wilna Snyman, David van der Merwe, Rika Sennett and Carel Trichardt for PACT in 1979. His production of A Midsummer Night’s Dream with Etienne Puren, Louise Saint Claire, Michael Richard and Tobie Cronje was staged during the opening season of the Pretoria State Theatre in 1981.

Sources

(See Inskip, 197*)*** (Tucker, 1997)

Three Leaf Arts Award for Best Director for his direction of Richard III in Afrikaans and The Good Soldier Schweik for the year 1968. (Source: Teater SA, 1(3), 1969).

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