At the time, there were multiple theatre productions underway of my work, being staged by me, and by others.

As usual, alongside the ‘playwright’ persona, I was now also operating as ‘an actor’ (for instance, as in ‘Bring me Gandhi’ and ‘Charles Manson’) - but I was also doing the parallel thing of being a ‘comedian’.

Here’s one of my annual ongoing ‘comedy show’ posters - which as you can see, took the circular ‘face’ logo, and screwed with it, to make a faux ‘political’ poster.

At the time, in South Africa, and ignoring the inherent sexism - the phrase ‘One Man, One Vote’ , was the big catchphrase for the voteless majority, and the progressive anti-Apartheid movement at large.

So naturally, I decided to mess with this idea.

Again, I made a small, carefully and delicately scrawled little drawing, and enlarged it, and centered it.

I turned the title into a banner, in the manner of the various anti Apartheid posters and images of the times, and - I guess, to use the Marxist vernacular of the day, ‘co-opted the revolutionary imagery, for my own reactionary purposes.’

I was reasonably proud of the balancing act I’d achieved, given the ‘top heavy’ design of the poster, so that it pretty much felt centered in poster form.

It also looked kind of cool to me, which was really all I cared about.

With hindsight, I look at the font at the bottom of the poster, detailing the various other plays and sigh. What was I thinking? Oh yes, 'make sure the crowds know that I'm the same guy who's responsible for those other plays.'

I never made the assumption that people would automatically come and see my work - I always assumed the worst, which isn't a bad thing. It meant, I always tried very hard to sell my work when it seemed necessary to me.

Even if it meant spoiling a perfectly good poster design to do it. D'oh!