Anyone who missed Technikon Natal’s department of drama studies production of Lost in the Stars which ended its run last night, missed an intensely dramatic and moving experience. Directed by Jacky Vermaas, Lost in the Stars ran for a week at the Courtyard Theatre from September 4 to 11.

Within a year of the publication of Alan Paton’s novel Cry the Beloved Country, the film rights had been snatched up by Alexander Korda. Shortly after that, Kurt Weill and Maxwell Anderson had written a musical based on the book, titled Lost in the Stars. The show includes numbers such as There is a Lovely Road, Train go down to Johannesburg, 14 Krause Street, Who’ll Buy?, Trouble Man, Murder in Parkwold , Cry the Beloved Country and the sensitive title piece, Lost in the Stars which has become a popular signing number.

While the musical score is brilliant, this is not easy music to perform and the student cast (numbering over 40) coped admirably well. The full company sound was impressive in numbers such as Train go down to Johannesburg and . Musical director Juan Burgers controlled the pace well and the accompaniment was well balanced although I found the keyboard at times intrusive and inappropriate.

The story, set in 1949, starts in the surrounding areas of Ixopo as the upright and just Reverend Stephen Khumalo (a beautiful performance by Edwin Sthembiso Khumalo) sets off for Johannesburg at the urgings of his wife (nicely played by Sibongile Mthiyane) to find out what has happened to his son Absolom. The search takes him to many locations, most of them sleazy and each leading him towards the realisation that perhaps his son is not living the kind of life he would wish him to lead.

Running parallel to this story is another - that of James Jarvis (a strong-portrayal by James Parker), a bigoted colonialist at odds with the liberal beliefs of his son Arthur (Bryan Hiles), who lives in Johannesburg. The fate of the two fathers is tragically entwined as Arthur Jarvis will eventually be killed by Absolom Khumalo. While parole officers argue, relatives threaten and lawyers debate, Stephen Khumalo remains firm to the belief that the ability to tell the truth under extreme pressure should be recognised and not punished.

His belief is shattered, Absolom receives the death penalty and the last scene finds Stephen seated on a lonely hill awaiting the dreaded hour of 4 am which will signal his son’s death. The scene that follows was particularly impressive and moving as James Jarvis approaches the priest for forgiveness for his attitude and does something previously unthinkable: he clasps a black man’s hand in friendship.

Particularly notable was Siyabonga Shibe as Absolom whose performance throughout was powerful, emotional and impressively controlled. As his loyal and devoted Irina, Winnie Majozi handled both solos well with a voice that shows tremendous promise. Absolom’s two cronies were well played by Jabulani Msomi and Sibongiseni Mbambo while Momelezi Ntshiba exuded a suppressed evil as John Khumalo. Hlengiwe Lushaba brought a lithe sex appeal to Who’ll Buy?.

The simple set consisting of four movable blocks set against a backdrop studded with stars was highly effective. Costumes and choreography stayed true to the period.

All round, this was a highly impressive production, particularly considering that it was produced on a minimal budget. All credit to director Jacky Vermaas and Technikon Natal for tackling such an ambitious project and coming out tops.