Elton Landrew as the estranged musician husband Luke in The Amen Corner

Play explores what it takes to really be good Faith — be it of a religious, spiritual or personal nature — can be a complex animal.

The Amen Corner, a ’50s play by influential American writer James Baldwin, examines the nature of faith as it reflects on the human condition, using the congregants of an evangelical church to illustrate its point.

Under the considered direction of James Ngcobo, it doesn’t stoop to blasphemy or disrespect (although there is one instance that is appropriate to the context, to which some may object), but rather insightfully scrutinises why we fallible beings do the things we do.

Nadya Cohen’s set design is inspired: the stage is divided in two, with rows of church chairs on the left and the pastor’s kitchen on the right. This indicates the inextricable link between church and household that characterises the lives of so many believers whose day-to-day doings are informed by their religion. The two are knit into a single fabric.

Ngcobo has adapted the play to modern-day Durban, but the transplant is a successful one, as the African-American community of the original text bears several similarities to South Africa. Social ills such as poverty, alcoholism and hopelessness frequently fuel the fervour of adherents who find comfort in faith.

Ilse Klink gives the performance of her life as Pastor Margaret, who has elevated God above all else and appears to be a man-hater.

While she is inspiring — exclamations of “amen!” and “hallelujah!” from her parishioners punctuate her sermon — she believes it is sinful for her flock to do “ungodly” things such as driving a liquor truck for a living.

This inflexible attitude causes mutiny to brew among some of her congregants — chiefly Brother and Sister Madjadji (Sello Sebotsane and Molebatsi Lekgetha) and Sister Sibisi (Meme Ditshego), who steals the show with her interpretation of a pious, self-righteous and ultra-bitchy prude.

When Pastor Margaret’s estranged musician husband Luke rocks up (a sensational performance from Elton Landrew), and their son David starts acting in a “worldly” manner, her carefully assembled life starts to crumble and the vultures in the church begin to circle.

The play exposes society’s hypocrisy, where some people give the appearance of being holier-than-thou yet routinely judge others. For others, faith is a shelter, a haven, an escape from their problems.

The play questions the nature of goodness, and suggests genuine, pure faith arises from coming to terms with one’s own demons and finding one’s own voice.

The often explosive drama is interlaced with lighter moments and stirring musical interludes, many of which are original compositions by Ngcobo and Mthandeni Mvelase.

Simphiwe Khumalo from gospel outfit Joyous Celebration is an inspired casting decision, though he needs to loosen up and gain confidence on the acting side.

Baldwin’s original three-act piece is now a one-act play which, at one and a half hours in length, is a numb-bum affair on the theatre’s uncomfortable benches — but it’s worth every minute. As a penetrating meditation on the factors that drive and inform people’s faith, rather than a pronouncement on its desirability, The Amen Corner is theatrical manna from heaven.

The Amen Corner is on at the Laager Theatre at the Market Theatre until February 17. Tickets R40 to R110. Book at Computicket.

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