Credit to our behind-the-scene professionals

As a young, closeted gay Jehovah's Witness teenager, I had some inkling of what lay ahead for me in life, but I could never have foreseen the significant shifts my life would take by the time I reached my late twenties. Those seven years were the toughest of my life, forcing me to bury that immense struggle and the resulting pain deep in my subconscious, never to be revisited until my late fifties. Only a handful of people knew what had happened, as I was never emotionally brave enough to share the story.

After returning from my second visit with my teacher, Ram Dass, in Hawaii, I decided to publish a memoir of the time I spent with him, primarily as a tribute to the profound positive influence he had on my life. Dr Peter Merrington, my book editor, noticed a brief paragraph towards the end of the manuscript, where I mentioned my imprisonment by the apartheid South African Defence Force for refusing to report for mandatory military service. Peter asked why I hadn't written more about this, insisting that I flesh it out fully. Reluctant to dredge up the emotions of my past, I tried to avoid Peter's request, but he persisted, and I eventually gave in. The account of those seven years became the opening of my book, which I published in January 2013.

A few years later, in early 2017, Hendrik Baird, then an acquaintance, asked if I would allow him to make a film about those pivotal years — I agreed. The idea lay dormant until 2022. By then, Hendrik and I had become close friends. Hendrik suggested we apply for a funding grant from the National Film and Video Foundation (NFVF). They provided enough funding for a forty-minute screenplay, but nothing beyond that. In late 2022, Hendrik and I hit upon the idea of creating South Africa's first feature-length audio drama podcast.

By December 2023, Hendrik, with the tenacity of a bull terrier, had written the first ninety-page dramatisation. His considerable skill as a creative writer had transformed my factual account of those fateful seven years into a gripping emotional drama.

That first draft required my input and guidance to enhance the authenticity of the characters. Within days, Hendrik had incorporated my extensive notes into the script. Working with Hendrik was both inspiring and enjoyable. While people often clash over subjective material, this never happened during our collaboration. Hendrik made a conscious effort to listen to my suggestions and explained why certain elements of the podcast needed to prioritise dramatisation over strict factual accuracy.

We sent an interim draft to professionals in the field for their valued input. This led to the removal of a few scenes and adjustments to some dialogue. Finally, we had a version we were satisfied with, and the excitement was palpable.

Hendrik seamlessly shifted into producer mode, presenting me with a Baird Media contract and production budget. Before the ink had dried on my signature, he had already reached out to casting agents, searching for actors to fill the various roles. What impressed me most was how Hendrik, now ably assisted by his son and business partner, Ethan, involved me in the audition process. I helped select actors who resembled the real people from that time, while they assessed other qualities such as vocal range, character portrayal, and performance versatility. We assembled a cast of seasoned professionals and promising young talent.

By the time we signed contracts with the actors, my initial reluctance to work with friends on a project of this scale had faded. I knew that a sense of ease and trust had been established while working with Baird Media. Often, one hears horror stories of relationships souring when friends or family work together, as personal connections can compromise accountability and derail projects. However, this was never the case while producing Stripped.

Once we secured the cast, Hendrik organised rehearsals. It was crucial for everyone to grasp the nuances of the drama and their character roles. By now, Hendrik had divided the script into individual documents for each actor. Initially, I wasn't sure why this was necessary, but it became clear during rehearsals and the main recording day at Solid Gold Studios in Randburg. Having separate scripts allowed us to record scenes out of sequence. By lunchtime, we had recorded all the smaller roles, leaving the main roles, played by experienced actors, for the afternoon session. Incredibly, we completed the recording an hour ahead of schedule.

Ethan, an award-winning sound engineer from The Martin Bester Breakfast Show on Jacaranda FM, meticulously planned the recording day. He organised the files for efficient editing, quality controlled each scene, and made sure the microphone recordings were on separate tracks. This was a brilliant decision, as it allowed us to adjust sound levels for each actor during post-production.

While Ethan managed the technical aspects, Hendrik directed the performances. Thanks to the rehearsals, every actor knew their role, leaving Hendrik to give only minor performance notes on the recording day. This thorough preparation paid off. The actors were well-prepared, the technical team at Solid Gold Studios had the setup perfectly arranged, and the entire process ran smoothly.

By the time of recording, Hendrik and I had already discussed the nature of each character in depth. Yet, Hendrik still took the time to ensure I was happy with each actor's performance. On the rare occasion when a change was needed, he patiently gave the actor notes before re-recording the scene.

Within days of the recording, Ethan had created a rough cut, stitching together the best scenes. The rough cut was impressive, but it needed more. Ethan sourced every sound effect he could find, while Hendrik and I spent a day at Constitution Hill in Braamfontein, recording the sounds of footsteps and cell doors in the old apartheid prison. As Ethan crafted each scene, Hendrik and I provided feedback. Their combined expertise is evident in the final product. Two essential elements that made Stripped what it is are Hendrik's creative vision and Ethan's sound design skills. Without them, Stripped would not be the same.

For years, I cringed at the thought of revisiting the painful memories of my twenties. It took great courage to write about those years, and even more to allow the dramatisation of that story. But now that this chapter of my life is immortalised in Stripped, my spirit is finally at peace. I am incredibly proud of the finished product, immensely grateful to Hendrik and Ethan for sharing their expertise, and deeply moved by how every actor brought to life the real people from my past. Everyone who contributed to this production is now an indelible part of my history.

To anyone with a story to tell, whether individuals or corporations, I can wholeheartedly recommend Baird Media as your production company. Audio drama podcasting is a new genre in South Africa, and I am proud that Stripped has set an extraordinary benchmark against which future productions, both locally and internationally, will be measured.