If you’ve spent any time in the South African film and television landscape, you’ve likely crossed paths with Matthew Kalil – the international screenwriting guru and author of ‘The Three Wells of Screenwriting’ – or Stephen “Spling” Aspeling, the ubiquitous film critic whose insights have guided local audiences for years.
Now, the two are stepping out from behind the critic’s desk and the teacher’s podium to pioneer something delightfully old-school yet refreshing: a live audio drama double-bill at Muizenberg’s Mask Theatre. Featuring Kalil’s ‘To Kill a Hadeda’ and Ian Rijsdijk’s ‘Crows’, the event promises an evening of local comedy, unpredictable live Foley and a healthy dose of theatrical nostalgia.
We sat down with the creators at Peak Valley Studio in Muizenberg to chat about their inner creative children, the superpower of live bloopers, and why audio drama is ripe for a massive comeback.
The Seed is Sown: Reel-to-Reel Tape Recorders and BMX Bikes
ReviewMyScript (RMS): To kick things off, where did this fascination with audio drama actually begin? It’s not exactly the first medium people rush to in the era of TikTok and streaming.
MATTHEW KALIL: For me, it goes back to school. The first thing I ever did creatively that got noticed was a radio play during an English class. I wasn’t a sports guy, and I wasn’t great at maths, but this audio drama thing really stayed with me. It was the first time I realised I could do something different. A few years ago, I had some success with a play on SAfm that won a Muse Award, so the medium has always been simmering in the background.
SPLING: It’s uncanny how similar our journeys were. I grew up recording things on my mom’s old, bulky reel-to-reel tape player. Before parents could just plonk kids in front of a TV channel, my cousins and I would record these wild, improvised murder mysteries or comedy sketches. We even did a fake X-Files episode where Mulder and Scully investigated alien life forms. Everything we did devolved into comedy. We weren’t writing scripts back then; we were just riffing. That’s where the kernel started.
MATTHEW: (Laughs) You just reminded me! I used to ride around on my BMX bike with a little tape recorder playing TV show theme songs. You’d hear The A-Team theme blasting as I came ramping around the corner. So yeah, there’s definitely a resurgence of our youthful creativity happening here. It feels like being true to your inner creative child.
“Those Who Can’t Do, Teach” – Proving the Adage Wrong
RMS: Both of you have built massive reputations helping other people with their stories. Matthew, you teach internationally, and Spling, you edit scripts and review films. What was the catalyst to finally say, “Now it’s my turn”?
SPLING: It really comes down to that old, annoying comment about teachers: “Those who can’t do, teach.” Being a teacher and script consultant myself, I wanted to prove that wrong. I had an idea brewing about a writer on a solo retreat confronting the demons of her past. When I heard about the SAfm national playwriting competition, I used it as motivation. There were over 650 submissions from some very accomplished writers, and my script ended up placing in the top three. Audio drama allows you to create a living product that protects your IP. You can market it, sell the story rights, or adapt it later. It proves the concept. That win gave me the confidence to approach Matt and say, “Let’s write something together. Let’s get it out there.”
MATTHEW: And it evolved so organically. We got the first draft together, I took over the heavy lifting of the script writing, and Spling moved into a producer/advisory role, joining the dots. Then Ian Rijsdijk came on board with ‘Crows’, and it felt like absolute kismet because his play was also about birds and murder. The parallels perfectly tied the double-bill together.
Why Audio Drama is Fighting Back Against Screen Fatigue
RMS: We live in a world where everyone is glued to a screen. Why do you think audiences are ready to sit in a dark room and just listen to a play?
MATTHEW: There’s a massive bounce-back happening with podcasts. People are realising you can create incredibly immersive worlds yourself. But more than that, audiences are hungry for something that isn’t computer-generated or easily scroll-pastable. They want to be present in a theatre.
SPLING: We are burning our retinas out there. What’s beautiful about audio drama in a theatre is that it’s fully accessible to the visually impaired, and for everyone else, it’s an invitation to just close your eyes and let your imagination do the world-building.
Plus, both of these stories have deep themes, but they are wrapped in a madcap, light-hearted comedy package. It’s not going to make you feel guilty about the world; it’s a fun night out where the community can just kick back.
The Danger Zone: Live Bloopers and Audience Disruption
RMS: What makes the live element of a recorded audio drama so exciting?
SPLING: I absolutely love bloopers. I love seeing the illusion crash down and watching actors break character. The live show lives in that space between the real and the unreal.
MATTHEW: Exactly. Because it’s a comedy with a bit of a madcap feeling, if a sound effect comes in at the wrong time, the actors have to live in the moment and respond to it. The audience becomes a living part of the recording. Their laughter, their gasps – they are completely in on it.
SPLING: Though we might have to monitor the audience if the “real-life” audience hadedas start screeching in the theatre intermittently! You can’t have random bird chirping ruining the scene.
A Testing Ground for Writers and “Local is Lekker” Vibes
RMS: This ties beautifully into what we do at ReviewMyScript.com. How can this model benefit other independent writers?
MATTHEW: This is an incredible, low-budget testing ground for writers. If you have a story but don’t have the massive capital to shoot a film, you can test your dialogue and pacing right here with a live audience and walk away with a polished audio product for a podcast. If this event succeeds, Spling and I want to turn this into a regular thing – maybe even host script competitions where winning writers get their audio plays produced.
SPLING: It’s a world-first for these stories, and the audience gets to be part of the development process. Most importantly, these are uniquely South African stories.
MATTHEW: Yes! We’re not putting on ‘Death of a Salesman’ or ‘To Kill a Mockingbird’. We’re putting on ‘To Kill a Hadeda’. It’s a “local is lekker” vibe that AI couldn’t replicate if it tried. It has heart, humour and it doesn’t take itself too seriously.
SPLING: With the rising cost of living, people just need an opportunity to let their hair down. We’re even trying to organize a literal “Tequila Hadeda” cocktail at the theatre bar – grapefruit juice, salt around the rim, and a shot of tequila.
The Masterminds Behind the Mic
RMS: Before we let you go, let’s do a quick mutual appreciation round. What has it been like collaborating with each other?
SPLING: Matthew is just exceptionally accomplished but incredibly humble. He’s an adjunct professor at the David Lynch Film School in the US, he’s toured the world with his book, and yet he’s completely down-to-earth. The funniest thing is walking anywhere with him in public – he knows everyone. Every few metres, it’s an old student or a colleague.
MATTHEW: And Spling is easily one of the most insightful film critics in the country. He looks straight into the heart of a story and understands exactly what makes it tick. It’s been amazing watching him jump into the creative side. Plus, he’s a total entrepreneur. He built this slick podcast studio from scratch with his own hands because in South Africa, you have to be versatile. You can’t just be one thing.
We also have our brilliant professor friend and fellow playwright, Ian Rijsdijk, who won the Distinguished Teacher Award at UCT. He’s an active birder, photographer, and an absolute encyclopedia of film knowledge – he is literally IMDB before IMDB existed. He’s put his students first for decades, so seeing him finally spread his wings and get ‘Crows’ on stage is incredibly special.
Event Details
There’s an undeniable, experimental thrill to this pioneering project, and tickets are already 50% sold out. Don’t let the FOMO get you.
Date: 3rd of July
Time: 17:00 (7 PM)
Venue: The Mask Theatre, Muizenberg
What to expect: Laughs, live audio mishaps, a festive community spirit, and potentially a very distinct tequila cocktail.
SPLING: We’ll probably be super nervous on the night, but we’re looking to entertain you. Grab your tickets, support local theatre, and come be a part of the audio drama!