NOT THE MIDNIGHT MASS
Performance in Musical 2009Winner of Fleur de Cap Most OutstandingDirector Alan Committie Please click on the link below to view the Whats on in Cape Town review.http://www.whatsonincapetown.com/post/review-hot-cross-nuns/ Please click on the link below to view the Astrid Stark review.http://astridstark1.wordpress.com/2011/05/31/theare-review-not-the-midnight-mass-hot-cross-nuns/
NCAMISI Kiss the Women /Grahamstown 2009 / 2010
Written and directed by: Peter Hayes, Hearts and Eyes Theatre Performed by: Pam NgwabeniChoreographed by: Fiona du Plooy AWARD: Intercultural Dialogue Award at The seventh International Dublin GayTheatre Festival Winner: Hearts and Eyes Theatre Company for Ncamisa! Kiss the Women and The Tricky Part (South Africa) Presented by HEARTS & EYES THEATRE COLLECTIVE,Cape Town, SOUTH AFRICA Allowing access to real stories and issuesLife as a gay woman in the townships June 15, 2009 Edition 1 Lucinda Jolly TRANSLATED from isiXhosa as “kiss the woman”, Ncamisa is a play about gay women’s experiences in the townships. It will be performed in Grahamstown at Masonic One from July 3 to 6, and will be previewed at the Intimate Theatre on June 27. The production is directed and written by Peter Hayes of the Hearts and Eyes theatre company. The play stars Nombulelo Ngwabeni (Pam) who, with Hayes, workshopped it from her experiences as a gay woman living in Khayelitsha. Hayes has been wanting to do a gay women play since 1997. A gay man wanting to do a lesbian play? He laughs “I’m a total dyke dude!” In 2008 Hayes went to Canada with a play called Tricky Part – “not a gay play” he adds. But the search since has been for “a project with passion but without needing too much money. “Why did I need to tell a gay African story when so many are dying in South Africa?” He answers his own question. Hayes was “totally shocked at the lack of outrage at Zoliswa Nkonyana’s murder in 2006.” He emphasises that “When Matthew Shepard was murdered there was protest right across America. And this is happening on our doorstep!” The idea of doing a township lesbian play became a reality when Hayes met Ngwabeni through Jaqueline Dommisse, Hayes’s theatre partner and Ngwabeni’s teacher at Arts and Media Access Centre (AMAC). “Finding an actor excited about the project and brave enough to tackle the project was incredibly rare. I needed a black actor to allow access to real stories,” explains Hayes. Although Ngwabeni tells me that there are no happy stories in the township lesbian scenario, Hayes counteracts this, saying, “theatre has the ability to show a potential world and – “please God” he pleads, laughing, “that there are some rainbows!” Interestingly, acting is not Ngwabeni’s first love. She always wanted to be a writer. She says so many stories are still untold. Her voice lecturer advised her that, “if people don’t write a story for you, go and write a story and cast yourself. ” I ask her about Zoliswa Nkonyana the young lesbian murdered in 2006. They were close friends. Around the time of her murder, Zoliswa had been hanging out with Ngwabeni in Gugulethu but her mother kept phoning to try to get her to go home. Later when she was walking home from a tavern in Khayelitsha, six men beat her to death because of her sexual orientation. Some of the men have been released from prison. I ask if Ngwabeni is afraid. She says that she is not afraid for herself, and that “there is nothing wrong with being me”. Ironically, she points out that Khayelitsha has been safer since the murder. Although the play doesn’t look at politics in its narrowest form, it reflects how the history of apartheid has affected us South Africans. Hayes describes Ncamisa as a play that is ” woven together with soccer and song”. He works with stereotype, ambiguity, perception and misperception. “I love leading an audience down a path that suddenly disappears” he says. In the place of a single narrative, Ncamisa is constructed from three main episodes. It starts with Ngwabeni’s life as a lesbian in Khayelitsha, which is followed by an exploration of Zoliswa’s life and the final episode is a celebration. “Anybody who is gay or has gay friends will absolutely recognise these prisms”, says Hayes. His western approach to theatre couples with that of the community actor to produce a “very funny, very hopeful piece” The opening scene is of Ngwabeni playing soccer. She also does the tango and contemporary dance and sings original and cover songs and opera. Jennifer Ferguson has written a song specially for the play. The atmosphere is created using astroturf and linoleum and hand-held lights. Hayes explains that Ncamisa is required to educate and entertain a middle class audience. He is insistent that this is to be a prestigious event – not a community affair or a fringe event. “I want you to come to a sophisticated play”. Although this is not a heavy play, it deals with profound issues Ncasmisa! Kiss the Women calls shame on South Africa To see this story with its related links on the guardian.co.uk site, please click here
TAINTED LOVE
Choreographer Fiona du Plooy, who made an impression in the camp country and western cabaret Angels on Horseback last year, directs. The fingerprints of that show are evident here. BRENT MEERSMAN Please click on the link below to view the Beefcakes review.http://realreview.co.za/2010/04/23/tainted-love-at-beefcakes-sunday-nights/ Please click on the link below to view the Astrid Stark review.http://astridstark1.wordpress.com/2010/04/15/theatre-review-tainted-love/
BETÉSDA
Directed by: Nicola HanekomChoreographed by: Fiona du PlooyBetésda wins three Kanna Awards 1. Kanna for Best Director, sponsored by Windhoek Lager – Nicola Hanekom for BetésdaThe other nominees in this category were: Marthinus Basson for As die broek pasThemba Ntuli in The Famished Road 2. Kanna for best Absa KKNK-debut work – The production BetésdaThe other productions nominated in this category, which aimed to award a piece created especially for the Absa KKNK including new text, musical composition, choreography and visual art work, were: The production AfrikaapsNataniël for the text of Swanemeer – Die ware verhaal3. Beste Aanbieding – BetesdaKanna for Best Presentation, sponsored by Absa – The production BetésdaThe other productions nominated for this award, which focused on the way in which all theatrical aspects, namely performance, production, technical aspects, and choreography, combined in a totally integrated and high quality production, were: Afrikaaps Bach GoldbergBach Goldberg
LAND VAN SKEDELS
Winner of 4 Kyknet Fiesta Awards, for Best Presentation, Best Newly Created Afrikaans Production, Best Theatre Design, and Best Director.
RICHARD III
Directed by Lara Bye for Artscape, Maynardville Richard III at Maynardville: An Epic Production The nights of Shakespearian entertainment under the stars at Maynardville have become an institution in Cape Town, and missing out on this unique opportunity to see an epic theatre production under the starry summer skies would be a real tragedy, albeit not as dramatic as that of Richard III My mind is still reeling from the sheer brilliance of what I saw on stage. Under the creative flair of director Lara Bye, this is one of those productions that slams home just why Shakespeare still rocks audiences 400 years after his death. Based on historical events of 15th century England, Richard III tells the story of power struggles between two families, the House of York and the House of Lancaster. After a blood-soaked war the House of York stands victorious and Edward IV (Nicky Rebelo) reigns as king. All seems well, but lurking in the dark corners Edward’s psychopathic brother Richard (Warrick Grier) is plotting to overthrow the kingdom and take the crown for himself. Deformed, miserable and just plain evil, Richard goes about like a steamroller of destruction, systematically ordering the deaths of every man who might stand in the way of his ascension to the throne, including his own brothers. With his snake-like tongue he seduces Lady Anne (Kate Liquorish) whose husband and father he has just murdered, only to later remove her from the equation as well. Richard is ruthless, corrupt to the core, malevolent. He’s the perfect character you love to hate. Lara Bye shows a keen eye for the multi-layered plot and intricate dialogue, wringing the most out of every pun and ensuring the clever wordplay comes fast and furious. At first, some witticisms went over my head as my brain adjusted to the Elizabethan English, but once I adapted to the lingo it all flowed in brilliance. Replete with murders and backstabs, the feuds between family members are fought with insults as sharp as drawn swords and curses that wreak the slow destruction of poison. Rooting for revenge, it is most satisfying to watch the curses placed upon Richard III come to fruition as the scenes progress. This production has many strengths, but the finest is its cast. Richard III is heavily carried by the eponymous character, and without an extremely strong actor to play the title role, the core of the play would collapse. Warrick Grier’s interpretation is a masterclass. The rest of the cast is a great match for this extraordinary lead, and between just 14 actors they cover 52 different characters with extraordinary fervour. Aided by stylized props, costumes and lighting, the design falls somewhere between future steam punk and classic medieval. At times it felt like watching a live production of Game of Thrones, only with less blood and snappier lines. The fact that the play is performed in the open air also brings a magical element to it: the live fire, the wind blowing through the Queen’s hair as she curses her son, the leaves falling from the trees as the death of the king is announced. This is a production of epic proportions, yet familiar. Director Lara Bye compares the protagonist’s ruthless climb to the top to the business practices of our modern corporate world, saying: “The greatest tragedy of all is that so little has changed since Shakespeare wrote the play.” Richard III’s moral wasteland holds up a mirror to our current political system – the greed, the corruption, the blatant lies, manipulation of the citizens, exploitation of the weak and the disturbing presence of holier-than-thou religious figures in the most deceitful of conspiracies. That Shakespeare guy, he got it: art imitating life imitating art. The year is but young but The Tragedy of King Richard III is one of the best productions I have seen to date. Go see Shakespeare like he intended his shows to be seen – under the open sky. Head to Maynardville Open Air Theatre a bit early, have a picnic by the pond and then take your seat to be enthralled, entertained, shocked and satisfied. Be part of the magic of this unique event that puts Cape Town in a special place on the world theatre map.Marilu Snyders The Tragedy of King Richard runs at Maynardville Open Air Theatre 15 January – 22 February 2014.
VASLAV
Directed by Lara Bye Performed by Godfrey Jonson Nominated for 3 Fleur de Cap Awards Including Best Performance by an Actor in a Cabaret and Best Performance in a One Person Show. Click here to read the Broadway World review…. Click here to read the Sunday Independent review….
Angels On Horseback
Directed by Fiona du Plooy Directed by Fiona du PlooyStarring Alicia McCormick and Genna GallowayMusical Direction by Jonathan TaitWith Wesley Wolhuter and Jono Tait Reviews Below: Angels-Weekend-Special-Review Angels-Press-TheatreScene-review Cape Times review
A feast of Celtic song delights in Sandton
Peter Feldman: Auto & General Theatre on the Square in Sandton is best known perhaps for staging many illuminating plays – but it also promotes live music. An excellent new production, Christine & The Kilts, up from Cape Town, commands the stage at this intimate venue until 29 September and they are well worth a visit. It’s been a long time since I found myself totally immersed in a feast of Celtic songs superbly brought about by singer, songwriter and actress Christine Weir and her merry little five-piece group, all clad in various tartan gear. There is even an Afro twist to the musical proceedings, thanks to the input of diminutive Skhumbuzo Qamata, who adds some flourishing touches. The Kilts also comprise Christine’s son, Matthew, on guitar; corpulent Leon Oosthuizen, a whiz on traditional Celtic accordion; acoustic guitarist Duncan Robinson; and Rayelle Goodman, an amazing violinist whose energy and style ooze from the stage and sets the tone for most of the compositions. Christine, best remembered for the audacious “Not the Midnight Mass” with husband Graham, which ran successfully for over 25 years, is the leader, raconteur and focus of the band. Not only does she sing with haunting intensity, but a couple of her own compositions touched the soul with their inspiringly beautiful lyrics and musical structures. The beauty of the show is that the musicians accompany the singer with such skill that they never overshadow her, thus allowing her vocals to shine through on some elegantly-woven imagery. Christine has focused her life on Scottish music and her outlet for this is her band. They have already produced a CD and their musical spin is beginning to gain much traction. What I also enjoyed about this presentation, apart from Fiona Du Plooy’s appealing staging, is Christine’s storytelling prowess. She has studied the Celtic genre and her knowledge and understanding of the many traditional songs performed made the experience so much more pleasurable. Each song had a history and the stories were told with conviction, not merely someone sticking rigidly to a script. It all came from the heart. Apart from familiar numbers such as a splendid rendition of Danny Boy and Mull of Kintyre, Christine mines some incredibly evocative material, one being a mournful song written by James McPherson, a Scottish cattle thief, condemned to death. The lyrics constitute his last thoughts and the noted Scottish bard, Robbie Burns, added a couple of lines of his own to the song. Other numbers in the repertoire include the “Dowie Dens of Yarrow,” “Bonnie Prince Charlie,” a song concerning the slaying of the McDonald clan, and Christine’s own composition, “Warriors Cry,” about brave Scottish soldiers taking on the British forces in their birthday suits. Another highpoint was an a cappella number in a style called Scottish mouth music. Overall, Christine and the Kilts is a refreshingly uplifting, highly professional and most enjoyable trip to the theatre – and lucky audience members even get a chance to win prizes. Christine & The Kilts are on at Auto & General Theatre on the Square, Sandton, until 29 September. Twitter: @petersdfeldman_Facebook: Peter Selwyn David Feldman Peter Feldman has been a journalist and arts critic for almost 50 years and served on The Star in various capacities for 35 years, ending up as a specialist writer on films, music and theatre. During that time, he travelled extensively on assignments and interviewed many international film and pop stars, both in South Africa and overseas. He also covered some of South Africa’s biggest film and musical events. He was one of only two South African journalists to be invited by Steven Spielberg to the Hook film junket in LA in 1991 where he interviewed the famous director as well as Dustin Hoffman and the late Robin Williams. He attended the gala James Bond premiere in London in 1981 and did an iconic interview in a Rolls Royce with Roger Moore who played Bond. He spent a week touring England with Queen prior to their Sun City visit in 1983, interviewed a host of international stars on films sets in Hollywood and London and was the first local journalist to nail an interview with The Rolling Stones prior to their SA visit in 1995. He is active in the freelance field and his work has appeared in a variety of South African newspapers and magazines, including Artslink.co.za. He has also worked on TV and radio (ChaiFM 101.9) in his specialist capacity. Over the years Feldman has been the recipient of several awards for his contribution to music journalism and the SA record industry. He is a recent recipient of the Standard Bank Joy of Jazz award in recognition for his long-standing journalistic support for the arts. He wrote lyrics for some top artists, including Sipho Mabuse, and had a hit disco single, “Video Games,” which was released in 1988. He coined the phrase “Local is Lekker.” Related Venue:Auto & General Theatre on the Square., West Street Sandown Johannesburg Gauteng South Africa
Take A Child to the theatre – Benefit Concert featuring Zolani Mahola
