Neil Coppen – författare

Evil stalks the township of KwaMashu, near Durban. It comes in the form of Whoonga, a toxic mix of B-grade heroin, rat poison and other chemical components that almost immediately sucks its users into the vortex of addiction and the crime, deception and personal tragedy that goes with it. Caught up in the web, the ulwembu of the title, presided over by the dealer, Bongani Mseleku, are Lieutenant Portia Mthembu, a police officer in the frontline of the fight against the scourge; her son Sipho; his friend, Andile Nxumalo, and Emmanuel Abreu, a Mozambique-born spaza shopkeeper. As it traces Sipho’s descent from talented scholar and aspirant poet and songwriter to suicidal addict, Ulwembu explores the effects of addiction not only on those who suffer from it but on communities, families and the police, both those who try to control the murderous trade and those who benefit from it. Using a process they have dubbed Empatheatre, The Big Brotherhood, Neil Coppen, Dylan McGarry and Mpume Mtombeni, aim to share ‘people’s real-life stories, with the intention to inspire and develop a greater empathy and kindness in spaces where there is conflict or injustice’. Ulwembu is the dramatic result of their efforts.

Evil stalks the township of KwaMashu, near Durban. It comes in the form of Whoonga, a toxic mix of B-grade heroin, rat poison and other chemical components that almost immediately sucks its users into the vortex of addiction and the crime, deception and personal tragedy that goes with it. Caught up in the web, the ulwembu of the title, presided over by the dealer, Bongani Mseleku, are Lieutenant Portia Mthembu, a police officer in the frontline of the fight against the scourge; her son Sipho; his friend, Andile Nxumalo, and Emmanuel Abreu, a Mozambique-born spaza shopkeeper. As it traces Sipho’s descent from talented scholar and aspirant poet and songwriter to suicidal addict, Ulwembu explores the effects of addiction not only on those who suffer from it but on communities, families and the police, both those who try to control the murderous trade and those who benefit from it. Using a process they have dubbed Empatheatre, The Big Brotherhood, Neil Coppen, Dylan McGarry and Mpume Mtombeni, aim to share ‘people’s real-life stories, with the intention to inspire and develop a greater empathy and kindness in spaces where there is conflict or injustice’. Ulwembu is the dramatic result of their efforts.

On a ‘cold and starless night’ a young pregnant widow, Nandi, arrives in Tin Town, a bleak, drought-stricken place ruled by silence and fear. Little do the inhabitants know that Nandi is carrying the baby who will, in time, change that. Taken in by Mkhulu (grandfather), whose father established the tin bucket factory that gave the town its name, Nandi gives birth to Nomvula, the Little Drummer Girl. Mkhulu remembers a past when ‘people were free to sing and dance’, when the rain came and the townsfolk held up their tin buckets to catch the precious, life-giving drops. And then came the Silent Sir and his spokesman, the Censor, and the town went silent. As the singing and dancing and drumming dried up, so did the rain. The tin bucket factory closed, taking with it the life and purpose of Tin Town’s inhabitants. Only the Little Drummer Girl can bring back that life, but at enormous personal cost. In Tin Bucket Drum, Neil Coppen achieves a small miracle. Through his lyrical script and the creative use of lighting and sound, one woman, the Narrator, succeeds in evoking a host of characters as this allegorical tale of oppression and liberation plays itself out. It is a story that offers a host of lessons for many places and many times.

Isidlamlilo / The Fire Eater is a one-woman play inspired by the true story of a woman who served as a political assassin in the build-up to South Africa's first democratic elections. Zenzile Maseko, the protagonist, is a 60-year-old grandmother living in a women's hostel in Durban. Falsely declared dead by the Department of Home Affairs, she finds herself cast into a Kafkaesque nightmare that forces her to confront her past. Flown in on the wings of the Impundulu (the lightning bird), in Zulu folklore a shapeshifting bird associated with witchcraft and the harbinger of storms and death, Zenzile's story weaves a magical and terrifying tapestry. She draws on myth, religious symbolism and traditional beliefs as she shares the realities – at times brutal, at times forgiving – of survival in South Africa. Her story touches on what it means to live through political violence, the transition to democracy, the brutality of inequality, health epidemics like HIV/AIDS, patriarchy, and the apathetic bureaucracy of government departments. Ultimately, Isidlamlilo / The Fire Eater offers a critical and unflinching look at the eddying cycles of violence and revenge that play out across generations. Yet it is most of all a story about regeneration and redemption that speaks to both the country's haunted past and its present-day complexities.Written with pathos and empathy, this playscript will appeal to teachers, high school learners, and tertiary students in theatre, drama and English studies.

Isidlamlilo / The Fire Eater is a one-woman play inspired by the true story of a woman who served as a political assassin in the build-up to South Africa’s first democratic elections. Zenzile Maseko, the protagonist, is a 60-year-old grandmother living in a women’s hostel in Durban. Falsely declared dead by the Department of Home Affairs, she finds herself cast into a Kafkaesque nightmare that forces her to confront her past. Flown in on the wings of the Impundulu (the lightning bird), in Zulu folklore a shapeshifting bird associated with witchcraft and the harbinger of storms and death, Zenzile’s story weaves a magical and terrifying tapestry. She draws on myth, religious symbolism and traditional beliefs as she shares the realities – at times brutal, at times forgiving – of survival in South Africa. Her story touches on what it means to live through political violence, the transition to democracy, the brutality of inequality, health epidemics like HIV/AIDS, patriarchy, and the apathetic bureaucracy of government departments. Ultimately, Isidlamlilo / The Fire Eater offers a critical and unflinching look at the eddying cycles of violence and revenge that play out across generations. Yet it is most of all a story about regeneration and redemption that speaks to both the country’s haunted past and its present-day complexities. Written with pathos and empathy, this playscript will appeal to teachers, high school learners, and tertiary students in theatre, drama and English studies.

Isidlamlilo / The Fire Eater is a one-woman play inspired by the true story of a woman who served as a political assassin in the build-up to South Africa’s first democratic elections. Zenzile Maseko, the protagonist, is a 60-year-old grandmother living in a women’s hostel in Durban. Falsely declared dead by the Department of Home Affairs, she finds herself cast into a Kafkaesque nightmare that forces her to confront her past. Flown in on the wings of the Impundulu (the lightning bird), in Zulu folklore a shapeshifting bird associated with witchcraft and the harbinger of storms and death, Zenzile’s story weaves a magical and terrifying tapestry. She draws on myth, religious symbolism and traditional beliefs as she shares the realities – at times brutal, at times forgiving – of survival in South Africa. Her story touches on what it means to live through political violence, the transition to democracy, the brutality of inequality, health epidemics like HIV/AIDS, patriarchy, and the apathetic bureaucracy of government departments. Ultimately, Isidlamlilo / The Fire Eater offers a critical and unflinching look at the eddying cycles of violence and revenge that play out across generations. Yet it is most of all a story about regeneration and redemption that speaks to both the country’s haunted past and its present-day complexities. Written with pathos and empathy, this playscript will appeal to teachers, high school learners, and tertiary students in theatre, drama and English studies.

During embalming an arm jerks and strikes a mortician, leaving him unmoored. A pastor's wife encounters a young congregant in her kitchen wearing her apron and preparing breakfast. A man's attempt to make sense of why a tornado picked him up leads to a showdown with a cult leader. A daydreaming, gawky kid is appointed guardian of a watermelon that the ocean could snatch away. Love comes slowly, like water heating over a low fire or extra sugar being stirred into tea. In another story, the love of a father cannot save his musician son. A young woman living in a recognisable future contemplates the end of memory as her body transforms into the silver promise of a carapace. Another young woman feels she should be smiling but nothing stirs in her when her father wakes from death after 15 minutes. Battling portentous pre-dawn heat and still air, a bystander abandons removing caterpillars from a Ficus because the idea of touching them makes her squeamish. Elsewhere in the suburbs, in a fixer-upper from hell, crickets screech and squeal, their ringing like that of a demented alarm clock.When Water Wants To presents the winners of the DALRO Can Themba Short Story Award. Celebrating the legacy of master storyteller Can Themba, this collection provokes, inspires, challenges and entertains with bold storytelling and keen social commentary. The stories range from the deeply personal to the wildly allegorical, playing with genre conventions and inhabiting a multitude of perspectives and unruly voices. These exciting new authors confirm the pre-eminence of the short story, and its oral antecedents, by delving into the national psyche in the conversations they have, the connections they make, and the themes, concerns and water-soaked imagery they share.When Water Wants To brings together the ten winners of the literary competition, the DALRO Can Themba Short Story Award. In celebraton of Themba's legacy, these emerging South African authors provoke, inspire, challenge and entertain with bold storytelling and keen social commentary. Their stories range from the deeply personal to the wildly allegorical, playing with genre conventions and inhabiting a multitude of perspectives and unruly voices. Confirming the pre-eminence of the short story, and its oral antecedents in our culture, the stories delve into the national psyche in the conversations they have, the connections and parallels they make and the themes, concerns and water-soaked imagery they share. The featured stories include 'No Good Deed' (KJ Aires); 'Murmur Becomes a Wave' (Megan Choritz); 'Mr Duiker Sang the Blues' (Dyondzo Kwinika); 'Letters of Remembrance' (Sebabatso Madibu); 'Zombie' (Lerato Mahlangu); 'A Mortician's Instinct' (Kamva Majo), 'African Death, Western Medicine' ( Lethukukhanya Mzulwini); 'The Woman Who Buried Rain' (Rabada Unarine Princess); 'The Watermelon Caretaker' (Rosieda Shabodien); and 'Man of the House' (Dashalia Singaram).

During embalming an arm jerks and strikes a mortician, leaving him unmoored. A pastor's wife encounters a young congregant in her kitchen wearing her apron and preparing breakfast. A man's attempt to make sense of why a tornado picked him up leads to a showdown with a cult leader. A daydreaming, gawky kid is appointed guardian of a watermelon that the ocean could snatch away. Love comes slowly, like water heating over a low fire or extra sugar being stirred into tea. In another story, the love of a father cannot save his musician son. A young woman living in a recognisable future contemplates the end of memory as her body transforms into the silver promise of a carapace. Another young woman feels she should be smiling but nothing stirs in her when her father wakes from death after 15 minutes. Battling portentous pre-dawn heat and still air, a bystander abandons removing caterpillars from a Ficus because the idea of touching them makes her squeamish. Elsewhere in the suburbs, in a fixer-upper from hell, crickets screech and squeal, their ringing like that of a demented alarm clock. When Water Wants To presents the winners of the DALRO Can Themba Short Story Award. Celebrating the legacy of master storyteller Can Themba, this collection provokes, inspires, challenges and entertains with bold storytelling and keen social commentary. The stories range from the deeply personal to the wildly allegorical, playing with genre conventions and inhabiting a multitude of perspectives and unruly voices. These exciting new authors confirm the pre-eminence of the short story, and its oral antecedents, by delving into the national psyche in the conversations they have, the connections they make, and the themes, concerns and water-soaked imagery they share.

During embalming an arm jerks and strikes a mortician, leaving him unmoored. A pastor's wife encounters a young congregant in her kitchen wearing her apron and preparing breakfast. A man's attempt to make sense of why a tornado picked him up leads to a showdown with a cult leader. A daydreaming, gawky kid is appointed guardian of a watermelon that the ocean could snatch away. Love comes slowly, like water heating over a low fire or extra sugar being stirred into tea. In another story, the love of a father cannot save his musician son. A young woman living in a recognisable future contemplates the end of memory as her body transforms into the silver promise of a carapace. Another young woman feels she should be smiling but nothing stirs in her when her father wakes from death after 15 minutes. Battling portentous pre-dawn heat and still air, a bystander abandons removing caterpillars from a Ficus because the idea of touching them makes her squeamish. Elsewhere in the suburbs, in a fixer-upper from hell, crickets screech and squeal, their ringing like that of a demented alarm clock. When Water Wants To presents the winners of the DALRO Can Themba Short Story Award. Celebrating the legacy of master storyteller Can Themba, this collection provokes, inspires, challenges and entertains with bold storytelling and keen social commentary. The stories range from the deeply personal to the wildly allegorical, playing with genre conventions and inhabiting a multitude of perspectives and unruly voices. These exciting new authors confirm the pre-eminence of the short story, and its oral antecedents, by delving into the national psyche in the conversations they have, the connections they make, and the themes, concerns and water-soaked imagery they share.

Through a lyrical script and the creative use of lighting and sound, one woman, the Narrator, succeeds in evoking a host of characters as this allegorical tale of oppression and liberation plays itself out. On a 'cold and starless night' a young pregnant widow, Nandi, arrives in Tin Town, a bleak, drought-stricken place ruled by silence and fear. Little do the inhabitants know that Nandi is carrying the baby who will, in time, change that. Taken in by Umkhulu (grandfather), whose father established the tin bucket factory that gave the town its name, Nandi gives birth to Nomvula, the Little Drummer Girl. Umkhulu remembers a past when 'people were free to sing and dance', when the rain came and the townsfolk held up their tin buckets to catch the precious, life-giving drops. And then came the Silent Sir and his spokesman, the Censor, and the town went silent. As the singing and dancing and drumming dried up, so did the rain. The tin bucket factory closed, taking with it the life and purpose of Tin Town?s inhabitants. Only the Little Drummer Girl can bring back that life, but at enormous personal cost. In Tin Bucket Drum, Neil Coppen achieves a small miracle. Through his lyrical script and the creative use of lighting and sound, one woman, the Narrator, succeeds in evoking a host of characters as this allegorical tale of oppression and liberation plays itself out. It is a story that offers a host of lessons for many places and many times.