The John Kani Theatre at the Market Theatre in Johannesburg is buzzing with excitement as the opening night of Life & Times of Michael K unfolds before an eager audience.
The theatre, named after one of South Africa’s most iconic actors and playwrights, feels like a tribute to the legacy of the arts in South Africa.
But I’m a bit frustrated. I had hoped to grab a quick bite to eat before the show, opting instead for a light snack on my way here.
I had planned to indulge in Market Theatre popcorn — a treat I always look forward to. Imagine my surprise and mild disappointment at being told that they’ve run out. I should have made that snack a bit heartier.
However, as the curtain rises, my little grievance fades away. For tonight is about much more than popcorn. It’s about one of South Africa’s literary giants — JM Coetzee — and the captivating artistry of puppeteering.
JM Coetzee is one of those names every South African who cares about literature has come across. He’s the type of writer whose work will inevitably come up in any conversation about the most important contemporary voices in world literature.
Coetzee’s influence is monumental, and his words resonate not only in the literary community but also in the broader cultural conversation.
The themes he grapples with —colonialism, power, identity — are both vast and deeply personal, addressing the intricate complexities of human existence.
Born in Cape Town, Coetzee has established a global literary presence with works that explore the uncomfortable realities of the relationship between the coloniser and the colonised. His writing is often dark, profound and unapologetically honest.
As Alexander Parker writes in the book 50 Flippen Brilliant South Africans, “The themes of Coetzee’s writing, as with any great author, are vast, complex and the subject of numerous post-doctoral theses and literary essays.”
From Disgrace to Waiting for the Barbarians, Coetzee’s body of work has become essential reading for anyone interested in the intersection of history, politics and the human psyche.
It’s no surprise, then, that Life & Times of Michael K, one of Coetzee’s most haunting works, is being brought to life on stage at the Market.
The cast consists of Sandra Prinsloo, Andrew Buckland, Faniswa Yisa, puppet master Craig Leo, Roshina Ratnam, Carlo Daniels, Billy Langa, Markus Schabbing, Nolufefe Ntshuntshe and Nkosinathi Mngomezulu. Susan Danford will replace Sandra Prinsloo for the last week of the run.
The story follows Michael K, a man whose life is marked by suffering, isolation and a relentless desire to fulfil his mother’s dying wish — to return to the farm she was born on. It is a story of survival, of navigating a world that is hostile to difference.
And as I sit in the audience, watching it unfold, I am reminded of the harsh realities of Coetzee’s world — a world where survival itself can feel like a political act.
I have to admit, I’m not usually a fan of puppets. The idea of a puppet show has never appealed to me.
My earliest memory of a puppet show dates back to my primary school days when a troupe came to perform for us.
I remember paying R1.50 to watch the show, only to sleep through the entire thing. I was punished by having to sit in the principal’s office and write an essay explaining why I had slept through the performance.
Frankly, I wasn’t upset by the punishment — I would have preferred to write an essay than sit through another puppet show.
But tonight, all that changes.
The puppet performance of Life & Times of Michael K is unlike anything I have experienced before.
From the moment the show begins, I am struck by how real the Michael K puppet feels. It is not simply an object moved by strings or rods; it is a living, breathing entity.
It is impossible not to feel that the puppet and its puppeteer are one.
Leo, the puppeteer, brings Michael K to life with such precision and empathy that the puppet no longer feels like a mere representation — it feels like a real person. I find myself sitting up straighter, my attention fully captivated.
The connection between Leo and Michael K is palpable. It’s as though Leo has studied every nuance of the puppet’s movements, anticipating its every gesture and emotion.
There is no separation between Leo and the puppet; they move as one. Every subtle shift in Michael K’s posture, every tilt of the head, every gesture is an intimate moment shared between the two.
And although the audience can clearly see the puppet master at work, there is an overwhelming sense that Michael K is alive, that he is real.
At that moment, it hits me — puppeteering is an art form that requires an incredible amount of skill, patience and empathy.
It is not just about moving a figure, it is about breathing life into something inanimate. In the world of puppetry, the puppet becomes an extension of the puppeteer, a vessel for expression, a conduit for storytelling.
The beauty of puppeteering lies in its ability to create a profound emotional connection between the audience and the story.
There is no need for flashy special effects or elaborate set designs. The puppet itself, with the help of a talented puppeteer, can tell a story that resonates on a deeply human level.
The life of Michael K, as depicted in Coetzee’s novel and this stage adaptation, is a heartbreaking one.
Born with a physical deformity, a cleft lip, Michael K is immediately set apart from what society deems “normal.”
His mother is a domestic worker, and Michael K grows up in the shadow of poverty, struggling to survive in a world that offers him no opportunities.
Despite his challenges, Michael K remains steadfast in his commitment to his mother, fulfilling her dying wish to return to the farm where she was born.
The story is heavy with themes of isolation, the failure of institutions and the futility of trying to achieve something meaningful in a world that seems intent on breaking you.
Yet, through it all, Michael K never gives up on his goal. His determination to carry his mother’s ashes to Prince Albert, despite the obstacles he faces, is nothing short of heroic.
There is something deeply inspiring about Michael K’s resilience. His life is a series of setbacks and struggles, but through it all, he persists.
In many ways, Michael K is the archetype of the everyman — the person who never seems to catch a break, yet who refuses to give up, no matter how difficult the journey.
There are so many Michael Ks in the world, people whose lives are filled with hardship, yet whose strength and determination carry them forward.
Life & Times of Michael K is a work of profound emotional depth, brought to life by the genius of Coetzee and the artistry of Leo.
The fusion of literature and puppetry creates an experience that is both moving and thought-provoking.
Through the lens of Michael K’s life, we are reminded of the resilience of the human spirit, the unwavering pursuit of a goal and the power of art to transcend the limitations of the physical world.
As I leave the theatre, I realise that perhaps I have been missing something in my previous encounters with puppetry.
It is not simply a child’s pastime or an old-fashioned form of entertainment; it is an art that requires skill, precision and deep emotional intelligence.
And just like the life of Michael K, it reminds us that, even in the face of overwhelming adversity, we can still find meaning, connection and hope.
Life & Times of Michael K runs until 13 April at the Market Theatre in Johannesburg.