By Francois Conradie
In the realm of South African arts, Richard van der Westhuizen stands out as a true Renaissance man: actor, singer, songwriter, and storyteller. His career, spanning decades, weaves together acting, music, and writing into a tapestry of creativity and authenticity. For this exclusive article in The Vocalist, we had the opportunity to delve deeply with Van der Westhuizen about his journey—from his childhood in Namaqualand to his current projects. His story is one of passion, perseverance, and an unrelenting pursuit of honest expression, shaped by a unique Afrikaans cultural context. Here follows a comprehensive look at his life and work, a tribute to an artist whose contributions will resonate for years to come.
Early Life and the Seeds of Passion
Richard van der Westhuizen’s roots lie in the arid, rugged landscapes of Namaqualand, where he grew up in an era without television or FM radio. His initial interest in acting and music sprouted in the weekly films shown at the mine’s recreation club hall. “In the hill behind our house, with my friends, I was always Tarzan, King of the Jungle, like in the weekly movie. Sometimes Roy Rogers, King of the Cowboys,” he recounts. His father’s collection of 78rpm records, filled with classical music like the quartet from Rigoletto and the sextet from Lucia di Lammermoor, laid the foundation. Then came Elvis Presley with “Wooden Heart,” Jim Reeves with “Adios Amigo,” and the Beatles. Sunday evenings’ LM hit parade on shortwave radio, featuring John Gary’s “Unchained Melody,” were highlights. A defining moment was when his class teacher sang Toselli’s Serenade, and his father remarked, “Look, he doesn’t even take a breath.” These seeds grew into a lifelong passion.
At 13, his father sent him to a Cape Town school to learn English, exposing him to the music of the late 1960s: Paul Simon, The Rolling Stones, The Beatles, Crosby, Stills, Nash & Young, Neil Young, Neil Diamond, Bob Dylan, and even the Hair soundtrack—bought a week before it was banned. His matric English teacher introduced him to poetry, and he discovered Leonard Cohen’s The Spice Box of Earth. During military service in Pretoria, he bought Cohen’s first LP, and to this day, Cohen remains one of his “greats.”
Early experiences were mixed. Forced to audition for the school choir, he was sent away. A local band audition ended with the drummer warning, “Please never ever sing in your life.” Yet, at Tukkies (University of Pretoria), he joined the residence serenade group, playing guitar and winning. This led to his first professional role as a guitarist in Adam Small’s Kanna hy kô hystoe at the Breytenbach Theatre, alongside legends like Wilna Snyman and Don Lamprecht. In 1979, at SWARUK in Windhoek, he composed music for a cabaret based on Hennie Aucamp’s Die Lewe is ‘n Grenshotel. “If you struggle for more than five minutes, even I can write music,” he chuckles.
He decided to pursue both acting and music because he realized he wanted to write songs but needed to make a living. Challenges included the demands of a dual career, but opportunities arose: music for The Merchant of Venice, Lappies die Lappiesmous, and Double Trouble. In 1981, he played the lead in Plaston DNS-kind and got a music performance slot at the Sterrewag Theatre. “That’s how music and theatre went hand in hand for me.”
Acting Career: From Favorite Roles to Profound Preparation
Van der Westhuizen’s acting career is filled with iconic roles. His favorites include Tertius van Aarde in Pieter-Dirk Uys’s Die van Aardes van Grootoor, the lead in Die Potlooddief en die Engel (nominated for best actor), Jakkie in Die Meisie van Suidwes for TV, Andries Melck in Andries Plak (the hardest work of his life, directed by Koos Roets), and the sword fight with Marius Weyers in Hamlet. “It was the first time I heard an audience gasp in fear,” he recalls.
For challenging roles, he requires thorough text knowledge: “I read it a few times so the subconscious can kick in.” He delves deeply into the character’s core, adds honesty and detail, and develops an instinct to never bore the audience. He’s drawn to characters with potential, whether good or evil, or unique challenges like playing five roles in one play. “If I get an offer to play five different characters in one piece with about five minutes to change from one person to another, I can’t say no.”
Balancing acting with personal life was tough in his younger days, with tours and long performance seasons. “Luckily, I was always mixed up with people in the same industry who partly understood.”
Music Career: The Rhythm of Life
Music is an intimate expression for Van der Westhuizen. His hit “Tussen Treine” (Between Trains) was inspired by his train journeys: from Bitterfontein to Cape Town, military service, and studies. “There’s a certain beauty in iron and steel, and the sound of iron wheels rhythmically on steel tracks settles inside you.” It captures heartache, fear, and excitement, inspired by songs like “The City of New Orleans” and “Trans Karoo.” Despite the era’s doef-doef music, it endures: “So many young people still know the song and sing along at performances.”
He mainly performs his own songs but has translated and recorded others if they move him. Personal experiences and emotions drive his writing: feelings, fun, satire, memories, love. “Most of my songs are about my feelings and things that matter to me.”
Music complements theatre: on the music stage, it’s “all me,” while theatre relies on others’ vision. Both feed his stage instinct. A favorite memory is the 2017 Innibos Festival, where he and Lochner received lifetime achievement awards before 30,000 people, and the crowd sang along to “Tussen Treine.” “It was truly a very special evening.”
Writing and Creativity: Where Words and Melodies Converge
As a lyricist, Van der Westhuizen’s work influences his acting: songs like “Gatsak,” “Doringdraad,” and “Vuurkilp” offer social commentary. “Doringdraad” was a cabaret with him as MC, deeply upsetting audiences. He develops ideas early in the morning, expanding them without violating their essence. “There are no rules.”
Acting experience enhances his writing: knowledge of dialogue, one-liners, and what moves audiences. He’s written radio dramas for RSG and SAFM. His process brews in his mind, with revisions on the computer. “A lot happens in my head. Then I write a piece on the computer. Then I revise and add new ideas.”
Personal Life and Inspirations: The Pillars Behind the Artist
His wife supports him by managing tours and distances; his son, a sound engineer, helps with recordings. Outside work, he walks, discovers coffee shops, reads, gardens, and does Samurai Sudoku.
Inspirations include his matric English teacher, Mr. Doherty, who raised standards, and songwriters like Leonard Cohen, Bob Dylan, Paul Simon, Neil Young, Tom Waits, and Kris Kristofferson. “I wanted to write honest and good songs like them.”
He handles stress by staying grounded, with friends and self-irony. “I like it when people recognize me on the street, but it never goes to my head.”
Awards and Recognition: Boosts in a Career
He’s received nominations and awards: DALRO for best supporting actor, a gold record for Ballade vir ‘n Enkeling, Vonk Musiek for “Tussen Treine,” FAK, and Innibos for contributions to Afrikaans music. “All nice boosts.”
Audience reaction is crucial: “The audience’s response is of cardinal importance to me.” The Innibos sing-along stands out.
Legacy and Looking Forward: A Future of Authenticity
He hopes his songs are remembered when tastes cycle back to quality lyrics and melodies. “Something that touches people, makes them think, and sometimes leaves a warm feeling.” Upcoming projects include five roles in a comedy, a one-man show, music performances, and 18 new songs from Covid times. He wants to take it easier, write, and play more.
He connects through honesty: “There’s no room for bullshit.” A favorite memory is a couple moved after Songs uit my Binnesak, and the cello’s soul-piercing sound.
Advice to aspirants: “Stay true to your muse. Be honest with yourself and your art. Dig deep, learn, and respect.”
Looking back, he’s most grateful for doing what he loves, supported by colleagues, musicians, and audiences. “That I could do what I really wanted to do.”
Richard van der Westhuizen’s story is a testament to the power of perseverance in the arts. In a changing world, his voice—literal and figurative—remains a beacon for Afrikaans creativity. The Vocalist honors him as a true vocalist of the soul.
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