Review: THE GOOD DAD/ DIE GOEIE PA Is Riveting, Raw and Redemptive

I knew going into THE GOOD DAD that this production was not going to make for easy watching. And it doesn’t. The subject matter is rough and audience members should know that sexual abuse and rape are prominent topics in this piece of theatre. That being said, the piece is superb and should not be missed. Despite the fact that I am a highly sensitive viewer, I was not just able to watch THE GOOD DAD – I was totally riveted and enthralled.

The production is staged in English as THE GOOD DAD and in Afrikaans as DIE GOEIE PA with the same, bilingual actress, Erika Breytenbach-Marais, performing both versions. I attended the English show. The English play, inspired by true events in South Africa during the 1980s, was written by Gail Louw and was then translated into Afrikaans as DIE GOEIE PA. It is directed by the renowned Paul du Toit and produced by Unlikely Productions. Having debuted the show in 2022, Breytenbach-Marais earned a Fleur du Cap nomination for Best Performance in a One-person Show.

Such an accolade is certainly deserved: Breytenbach-Marais is superb. I have watched her perform in a number of shows and she is a most versatile actress. In this production, she takes on various roles: Among them are Donna, the protagonist, the latter’s feisty twin sister, Carrol, and their submissive mother, Sue. Breytenbach-Marais’ expressive eyes play a pivotal role in her acting and much of her characterisation shines through them as she seamlessly evokes both the frivolity and the darkness within the characters. She does a particularly excellent job of portraying the often-childlike Donna. Indeed, I was impressed by the actress’ ability to transition so smoothly from one character to another. There were a couple of moments when I was unsure which character was speaking and I sometimes would have liked clearer distinctions to point this out. However, for the most part, I was easily able to identify who was talking, based on the actress’ change in vocal qualities, mannerisms, and tones, which she adopted for each different woman.

The set is simple: a wooden base connoting a mattress and a red blanket that is artfully used as a versatile prop. Breytenbach-Marais’ performance and du Toit’s inspired directing give life and meaning to these otherwise ordinary objects and items.

While I don’t want to reveal too much of the plot, this is not just a tale of victimhood (and there would be nothing shameful if this were the case) but it is also a tale of redemption, of addressing intergenerational trauma, of taking back one’s power, and, ultimately, of self-sacrifice.

Louw’s stellar writing, du Toit’s tight directing, and Breytenbach-Marais’ top-class performance makes this a production that must be seen – especially in the context of South Africa’s pandemic of gender-based violence.

While the show’s run at the Baxter is now complete, and while THE GOOD DAD / DIE GOEIE PA does not currently have upcoming show dates, check out the Unlikely Productions Facebook and Instagram pages for updates. Note that the production carries an age restriction of PG16. Viewer discretion is advised.

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