A Human Being Died That Night
by Nicholas Wright
Adapted from the book by Pumla Gobodo-Madikizela
Directed by Patrick Siler
Upstream Theater
May 12, 2017

Jacqueline Thompson, Christopher Harris
Photo by ProPhotoSTL.com
Upstream Theater
The latest production from Upstream Theater is an interview play. Based on true events and a book by Pumla Gobodo-Madikizela, A Human Being Died That Night looks back at events in the relatively recent history of South Africa, personalizing them by telling the author’s story of meeting with a convicted man who has committed many heinous crimes. It’s an exploration of the concepts of guilt, justice, racial injustice and reconciliation, and forgiveness, as well as humanity itself, and in the hands of the excellent cast and creative team at Upstream, it’s a powerful, thought-provoking production.
The story follows the book’s author, Pumla (Jacqueline Thompson), who is a psychologist for the Truth and Reconciliation Commission in South Africa following the dissolution of the Apartheid system of government in the 1990s. Pumla introduces her story via a lecture at a podium, but then the wall opens up behind her to reveal the room at the jail where infamous former Police officer and assassin Eugene De Kock (Christopher Harris), or “Prime Evil” as he was called in the press. Following De Kocks’s conviction for numerous horrific crimes, Pumla interviews him in jail and tries to get an idea about what made him do what he has done, and what kind of person would do such things. Eugene doesn’t deny his crimes, and seems quite defensive at first, while also pointing out that while he did all the things he was accused of doing (and probably more), he wasn’t the only one doing them, as he tells stories of organized and systematic crime in his department and among other branches of government. This is a very personal story, but the interview format somewhat limits it, although the portrayals here are excellent. The concepts of reconciliation, forgiveness, guilt, blame, and justice are dealt with as Pumla and Eugene talk about their lives and what has happened over years of a corrupt, unjust, and brutal system of government in South Africa. Also dealt with is the idea of humanity–the humanity of the victims as well as of the perpetrators of the crimes. Is it easier to see a mass-murderer as a soulless monster or as a human being who did horrible things? And conversely, what happens when the murderer is finally forced to recognize the humanity of his victims, and how does that change what he thinks about what he has done? Those last two questions become the source of the title of the book, and this play. There’s a lot to talk and think about here in this relatively short play.
The performances here are excellent, and a lot of the drama of the play comes from the interpersonal dynamic between the characters. As Pumla, Thompson projects authority as well as empathy, and as more of her own personal story comes out through the course of the interview process, Thompson makes the process compelling. Also well-portrayed is Pumla’s increasing investment in the interview process and in hearing Eugene’s story and contributing to his realization of the real human weight of his crimes. Harris is equally convincing in portraying Eugene’s process of not just admitting his guilt, but owning it. These performances are augmented by the staging and presentation of the piece, with Patrick Huber’s inventive set, Michele Friedman Siler’s excellent costumes, Joseph W. Clapper’s vivid lighting design, and Michael Dorsey’s striking media design contributing to the atmosphere and mood of the production.
A Human Being Died That Night is another provocative, thoughtful production from Upstream. Despite its format limitations, the performances and presentation work to make this a compelling piece of theatre. It’s sure to provoke a great deal of thought and discussion, not just concerning South Africa, but concerning how the concepts portrayed here apply here, and universally.
Upstream Theater is presenting A Human Being Died That Night at the Kranzberg Arts Center until May 28, 2017
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