Review: DIE MOEDER at The Baxter Explores the Nightmarish Conclusion of Motherhood

DIE MOEDER needs no introduction. After a highly acclaimed run at the TOYOTA US WOORDFEES last year and another successful run at this year's KKNK, DIE MOEDER graces The Baxter's Flipside theatre stage for a limited run. Starring a stellar cast with Sandra Prinsloo at the helm, DIE MOEDER marks Christiaan Olwagen's return to theatre.

DIE MOEDER was translated into Afrikaans by Olwagen from Christopher Hampton's English translation. The original script is by French playwright Florian Zeller, which was followed by THE FATHER and THE SON, forming his 'family trilogy'. DIE MOEDER shows a mother, Anna (Sandra Prinsloo), grappling to adjust to her empty nest after her son (Ludwig Binge) leaves to start his new life with his girlfriend (Ashley de Lange). The absence of Anna's husband (Dawid Minnaar) only exacerbates her struggle, and she is left adrift after the tethering of her identity to motherhood is disrupted.

The production feels like entering Anna's disturbed psyche, with the use of repetition and variation creating a fractured nightmare. Similar scenes are repeated with different emotional tones, obscuring the boundary between the real and the hallucinated. Olwagen incorporates his cinematic flair and projects live footage of the actors onto a backdrop with English subtitles. At first, this technique is jarring, but it later blends with the show and is used for particular moments that emphasize the descent of Anna's well-being. Charl Fölscher expertly operates the camera and the technical choreography of the show is immensely impressive. Consequently, the viewing experience is voyeuristic and uniquely filmic, and with the show's psychological claustrophobia and moments of high absurdism, it feels like Darren Aronofsky for the stage.

The show's portrayal of motherhood is harrowing and left me with a complex personal response. The role of Anna is perfectly suited for a veteran actress, and Prinsloo delivers the full weight and scope of the character's internal world effortlessly. The cast's portrayal of their characters is pinpoint, and they can show the broad strokes of their theatrical performance while leaning into the finer character details when under the glare of the camera.

The production's set is clinical - the hen's nest has been bleached to a sterile white. It is serviced with a functioning kitchen set; Anna cooks, cleans, and washes dishes. The high realism of the set grounds the more absurd moments of the production, and the unravelling of certain set pieces reflect Anna's mental fragility. Eventually, the environment becomes hostile and an adversary to her well-being. The production is varnished with a certain frigidity, and despite witnessing Anna's intense turmoil, one feels emotionally removed. Regardless of not necessarily feeling sympathy for the characters, the production's closure leaves one haunted.

DIE MOEDER is certainly arresting theatre and perfect for those interested in prestige theatre experiences. It will satisfy both a hunger for traditional dramatic theatre and more experimental tastes. Classic yet innovative, DIE MOEDER is a new Afrikaans theatre essential.

DIE MOEDER will be performed until 29 April at The Baxter's Flipside Theatre. Bookings can be made on Webtickets.

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