Staying at Paulet House in KwaNjoli was nothing short of extraordinary. As I reflect on the time spent there, it wasn’t just a residency – it was a community, a sanctuary, and a crucible of creativity that transformed both me and my writing. Being surrounded by five incredible thespians, each with their own vulnerabilities and stories, created an environment where we could explore the depths of ourselves and our art without fear of judgment. Every day, we pushed the boundaries of our creativity, our emotions, and ultimately, our craft.
One of the most memorable parts of the residency was the first week of introspection led by the remarkable Lee-Ann van Rooi. She challenged us to strip away the masks we often hide behind as artists and to lean into our raw, unfiltered truths. Every evening, we debriefed with a glass of wine, exchanging stories about our lives and our place in the industry as emerging artists. It was cathartic and chaotic all at once – our mental states fluctuating as we confronted the ups and downs of the creative process.
Gilbert, the in-house chef, played a pivotal role in keeping our spirits high and our minds sharp. His meals were more than just food; they were love served on a plate, fuelling our long days of writing. And of course, the excursions we took were like breathing space for the soul. The waterfall in KwaNojoli was breathtaking – seeing it up close for the first time was a humbling experience that helped us reconnect with the world outside of our scripts. It reminded us that balance is crucial, both in our writing and in maintaining our mental and physical health.
Lee-Ann was more than a mentor; she was like a mother to us. Her wisdom, care, and insistence on nurturing every aspect of our journey turned a rough concept into a fully realised script. She pushed us, celebrated us, and gave us a valuable piece of advice that will stay with me forever: “You don’t have to bleed for your work.” Her words became a mantra, reminding me that creativity doesn’t have to come from suffering – it can emerge from joy, reflection, and honesty.
The experience wasn’t only about the writing but also the people I shared this journey with. The five fellow residents became more than just colleagues – they became family. We saw each other at our worst, celebrated each other at our best, and formed bonds that I know will last a lifetime. Even in moments of tension, we navigated our differences, knowing that beneath it all, we had a shared passion for storytelling. And of course, Charmaine and Siena, the wonderful ladies who took care of us at Paulet House, added a touch of warmth to every moment. Their kindness and attention made the house feel like a true home.
The time at Paulet House was especially crucial for me while writing my new theatre script, Vannie wal af. The play centres on Adam and Jethro, two young men navigating love and secrets in Stellenbosch’s Lover’s Lane. It began as a poem, written after a tough breakup, but under Lee-Ann’s guidance, it evolved into something much more. Writing this script required me to unpack my own romantic traumas and to explore what love means, how we give and receive it, and what we sacrifice for it. Jethro and Adam’s story is deeply personal because much of my own experiences are woven into their journey.
What makes Vannie wal af so important to me is that it tells a story rarely seen on stage – about love, not necessarily about being gay, but about the universal complexities of love itself. As a gay, brown male, being able to express this story from my own perspective was both liberating and terrifying. Throughout the residency, I felt supported by everyone around me, from fellow residents to Lee-Ann, and they helped me find the courage to write my truth. The tears shed during those intense three weeks weren’t in vain; they were part of the process of crafting something meaningful.
The support I received while writing this play was unparalleled. I had a community to lean on, and it made all the difference. Knowing that my script would be taken seriously, developed with care, and eventually see the light of day on stage is a privilege I do not take lightly. I’m immensely grateful for the opportunity to work with brilliant actors like Angelo Bergh and Dean Smith, who have breathed life into Jethro and Adam with such skill and emotion. My director, Amelda Brand, has handled the script with such grace and insight that I know the reading this Friday will be nothing short of spectacular.
This journey, from the quiet corners of Paulet House to the bustling rehearsal rooms preparing for our play reading at Artscape, has been a transformative one. It has made me a better artist, a more introspective writer, and a stronger person. The residency allowed us to experiment, make mistakes, and most importantly, to give life to stories that might otherwise never have been told. I’m excited to see where this play will go next and the doors this experience will open, not just for me but for the entire group of young artists I shared this unforgettable experience with.
If you’re free this Friday, I urge you to come to our reading at Artscape and witness these stories unfold. These aren’t just plays – they’re pieces of us, shaped by the vulnerability, courage, and support we found at Paulet House.
Mikyall Harris
Mikyall David Harris is a young actor, writer and director from Worcester whose theatre works are making an impact on children (Ko’ lat o’s speel) and adult (Tsekmate) audiences alike. He completed his honours in applied theatre studies cum laude at Stellenbosch University in 2023. He wrote the script of Su’walla Kassam that was performed at this year’s KKNK and that received three prizes at the Stellenbosch University’s Première Theatre Festival for which it was originally created. He is currently a production and scriptwriting intern for the eTV soap Kelders van geheime. He is also busy with an own writing project with working title Vannie wal af in which he aims to explore themes such as cultural differences and LGBTQI+ identity in a raw and unfiltered narrative light.
