Full Edition 7 for WEB-1

Transcription

Facebook: @cueonlinefest
Instagram: cue.online
E-mail: cue-editor@ru.ac.za
Wednesday 6 July 2016
Volume 30 No. 7 R5.00
INCLUDES
Online: cuemedia.co.za
YouTube: cuetube
Twitter: @fest
the
a
word
Fringe supplement by
AMSTERDAM
Richard Antrobus and #EverythingMustFall
Photo: Cue/Michelle Laver
PLUS: food, Cribs & today’s programme
IS HYPNOSIS ETHICAL?
THE STATE of PUBLISHING & THEATRE
MAN IN A BOX
COCK
WITH THE GENEROUS
SUPPORT OF:
Mateo Mera
Guy Buttery & the Odeion String Quartet
celebr ating 30 years of A rts journalism
Chanje Kunda, a Zambian-British
poet and performer, whose show at
Festival is set between Manchester and
Amsterdam. Photo: Cue/Joshua Stein
QA
Chanje
Kunda
Ashleigh Dean
Cue student reporter
How would you describe your identity and
selfhood?
I’ve been working on a new show called
Superposition, looking at female sexuality
using existentialism and quantum mechanics.
An electron in superposition means it can be
in multiple places at the same time. I can be a
mother, a lover, a poet, a dancer – depending
on the observer, that’s how they see me. But
I’m many things at the same time. I view
myself as a part of the universe, and this is
where existentialism comes in. In the moment
of the Big Bang, all the particles in the
universe were created and these evolved into
the planets, galaxies, oceans, and mountains,
and they evolved into us. We are the universe,
manifesting through the human nervous
system and becoming self-aware.
What made you fall in love with Amsterdam?
I fell in love with a man who lived in the
city, but the city itself is gorgeous. It wasn’t
ever bombed during the Second World War,
so it’s still got these beautiful 17th century
terraces and cobbled streets, and all these
canals that run through it. On the canal, you
can see a reflection of the sky and the trees
and the light dancing off it.
In the play, your mother’s voice is represented
by the megaphone. What influence does your
mother have in your choices and decisions?
I do what I want, and she protests! If my
mum is agreeing with what I’m doing, I think
to myself, “Perhaps I’m being a bit too sensible
– I need to shake things up a bit.” So that’s
my thermometer of my life: Would my mum
approve? “Yes” – it’s boring. “No” – do it!
That’s generally how I behave.
What are your thoughts on the racism and
intolerance that fuelled the Brexit Leave vote?
I was born in Zambia and moved to the
UK. I’m a black African and an immigrant,
and I’ve not been causing any problems in
England. I got a medal of bravery from the
Queen, because I risked my life to save a
woman who was being attacked by a man with
a knife. I’m there doing positive things and
positive work, so I just don’t understand why
the xenophobia.
What do you think the role of poetry and
performance art is in addressing issues like
these?
You’re probably preaching to the converted
– people who voted Leave don’t read poetry or
go to the theatre, they sit in the pub, talking
nonsense. But I think if you write something
to express yourself or have a voice, you can be
heard.
Love, lust and loss
in poetic delight
Review: Amsterdam
Nigel Vermaas
Cue contributing editor
I
’m not a great one for audience participation – I
avoid the front row at any Raiders production,
for example. But I was unexpectedly roped in by
Chanje Kunda yesterday morning. Well, okay, it was
just to provide her with a sheet of paper when she
seemed to have trouble detaching the one she had
pasted under the table, and, seeing me scribbling
away in the front row, she improvised. The A5
page torn from my notebook probably made a less
impressive paper plane than her original prop, but it
did the work: representing her flights back and forth
from Manchester to Amsterdam and back again.
Amsterdam tells the story of a Mancunian woman
who visits Amsterdam on holiday and meets Kwazi,
a sexy DJ. He’s partly Dutch, part Surinamese.
Soon she finds herself returning and eventually
lust turns to love. (Her sensual verse is delivered
with suitably erotic but never crude movement). So,
with her son she moves to the Netherlands. As an
artist-in-residence, she performs her poetry. She
luxuriates in the bright lights reflected in the water
of the Amsterdam canals. She’s in love with her man,
she’s in love with the city. Then comes the crash: she
discovers her man has another girlfriend.
She returns to grey Manchester, its greyness
echoed in the colour of the set. She ignores her
lover’s calls. But eventually she capitulates, returns,
is once again betrayed and returns to her home town
for good. A hole opens up on the raked floor and she
disappears into it. Is this the end? No, like the green
light atop the set, Spring arrives and the buried seed/
bulb/Chanje stretches out above ground – she’s back.
She learns lessons from her son, who jumps
into the pool without knowing how to swim, who
doesn’t avoid the rain but revels in it. His interest in
mathematics, which always has a right answer and
a wrong answer, teaches her how to deal with her
anguish, if not measure it. “What is the square root
of pain?”
Kunda is, first and foremost, a poet. A poet of
insight, quirkiness and depth. In fact, Amsterdam
began as a book of poetry. It’s on sale at the
Hangar. Although culturally very different, her
work occasionally reminds me of the work of South
African poet Finuala Dowling. Slightly tongue-incheek, Kunda lists a number of more recent bands
(including Joy Division) as being representative of the
cultural heritage of Manchester, but at one point she
quotes from the Beatles (“kaleidoscope eyes”), also
from the North.
The staged version is imaginatively directed by
Juliet Ellis, with a set by Guilia Scrimieri that is
vaguely reminiscent of those educational toys in
which the child has to post various plastic shapes
in the corresponding holes. From the set emerges
furniture, including a lopsided table (which she uses
as an out-of-kilter piece but also more conventionally
horizontal, counteracted by the rake of the set.)
Frequently Kunda goes behind the set and speaks to
us through various window-holes, in sort of peekaboo
mode. It all contributes to the playfulness.
The use of a loud-hailer complete with hideous
siren to represent the warnings of her African
mother, who worries about her daughter’s trip to
Amsterdam – “Smoking ganja is not African!”–, is
doubly effective when contrasted with a miniature
toy loud-hailer representing the voice of her son. The
visual wit echoes the verbal wit of her verse.
There are occasional moments of physical
clumsiness in transitions and one or two small fluffs,
but Kunda is an excellent performer, who engages, in
more than one sense. She has a marked Mancunian
accent (“up” is “oop”, and so on). This entirely
Northern English sound combined with her African
heritage, and her acceptance by the arts community
of Amsterdam, all combine to prove how art defies
narrow categorisation; her poetry and her show,
deeply personal, show us the colour under the grey.
Amsterdam, The Hangar,
today, 1pm
email: cue-editor@ru.ac.za
Actors relish snappy dialogue
Review: Cock
Nigel Vermaas
Y
Matt Newman (left) and Francis Chouler perform in Cock.
CuePix/Aaliyah Tshabalala
ou may have heard about
Cock. This Ovation Awardwinner was sold out in
Cape Town, where I missed it, so I
took myself off to see what all the
fuss is about.
You’ve no doubt read that it’s
about a man (John) who lives
with another man, but then meets
a woman, and has sex with her.
John admits this to Gay Partner.
He then leaves the woman,
returning to GP (annoyingly, only
John has a name in this play).
But then John goes back to the
woman. Eventually, the three
of them have dinner. Bizarrely,
GP has invited his dad along to
give him support in this sexual
tug-o-war. An evening from hell
ensues. Turns out it’s not really
about being straight or gay or bi;
ja, it’s not about what you are
but who you are. Not the deepest
message – you might find it in a
rom-com with Paul Rudd. Or even
Jim Carrey.
What distinguishes this play
from the rom-com genre is the
sparkling dialogue by Mike
Bartlett. The production tends
to play the angst more than the
comedy, although there’s quite
a lot of that: it’s particularly
well-delivered by producer
Matt Newman, who has all the
best lines as GP. He is also the
only one who sounds genuinely
English; there are very specific
references to Greater London
(the Tube, etc). Melissa Haiden
gives an intelligent and sexy
performance as the 28-year-old
woman who is in love with John,
played with suitable bewilderment
by Francis Chouler. No one camps
it up. James Skilton underplays as
Dad in the last scene.
Just because the play is
about stuff like identity and
relationships doesn’t mean sex
is not included. It is. Penises
and vaginas are mentioned, even
pointed at, but any actual sex
(interestingly only heterosexual)
is performed fully clothed. Paul
Griffiths’ tight production is
highly stylised – no props, no
miming of drinking or eating, and,
yes, naked people are clothed. So
if you’re there for titillation, you’ll
probably be disappointed. Who
knows?
The best thing about Cock is
the snappy (sometimes snippy)
dialogue, which the actors clearly
relish. The script bears the
hallmark of having been carefully
honed. Many South African
writers could pick up a few
pointers.
Cock, Vicky’s,
tomorrow, 12pm
Cue
vendor
stabbed
Anna Christensen
L
ulamile Nondlwana
was stabbed yesterday
morning while on the job,
selling Cue newspapers
at the corner of Somerset
and Prince Alfred streets.
He was taken to Settlers’
Hospital and later
released.
Witnesses said that an
unnamed man asked for a
free newspaper and when
Nondlwana refused, he
stabbed him in the chest
with a knife.
Police arrived quickly
at the scene and took
the perpetrator away in
handcuffs. Nondlwana
was treated for an injury
to his right lung and
released.
The staff and
management of Cue wish
Nondlwana a speedy and
full recovery.
I miss Gavin Krastin’s performance works
every year, forced to experience them
vicariously through dazzling reviews. This
year I plan to see Pig Headed in the flesh.
Liezl de Kock’s pieces are always these
wonderfully complex things that tend to
stay with me long after the curtain falls.
I’m excited to see how Heart’s Hotel will
nestle itself into my mind this year.
Samthing Soweto’s voice has found a
near-permanent home in my earphones.
To hear it live for the first time is going to
be a personal Festival highlight.
I first encountered Klara van Wyk as the
silently expressive Chalk Girl in Jemma
Kahn’s The Epicene Butcher. I look forward
to seeing her this year as the more vocal
Prettina in her own show You Suck (and
other inescapable truths).
The visual for The Day on Which a Man
Dies shows a pale man hunched over a
sizeable bottle of Jack Daniels. Relatable
theatre often makes for enjoyable theatre,
so I think I’ll head through to this.
Mateo Mera (and his band)
Uruguayan multiinstrumentalist rock
‘n rollers
Guy Buttery
& the Odeion
String Quartet:
It’s exciting to
play at a Festival
with this kind of
quality musician.
Guy is a nice, nice,
nice guitar player, and he plays sitar, like
Mateo. He’ll probably be playing with us
at our next show, too.
Ottoman Slap: Spice Roots: This Festival
has a lot of good jazz and blues on the
programme – we really liked Tigerlily
and Afrika Mkhize – but we want to see
something else too. These guys seem
very different and cool.
Kudu at the Albany Club: South Africa
has surpassed our expectations with
food and drink. South Africa and South
America have a lot of similarities: the
meat is super-good. (Mateo is vegetarian,
though, so he’s eating a lot of spinach.)
Lowest average
temperature:
19˚C (2016) 8˚C (2008)
Average annual
temperature:
13˚C
A graph showing the difference in annual average temperature at the National Arts Festival since 1974. Illustration: Cue/Ash Erasmus
Environmental issues
left out in the cold
Leila Stein
Cue online reporter
B
y now you would have heard
at least one Grahamstown
local tell you that the weather
system in this tiny town is unique
and unpredictable. Four seasons in
one day, and so on. You have possibly
already experienced it yourself after
shivering through the beginning of
Festival and now suddenly being
given the relief of warmer days.
While these sunnier days may be
appreciated, they remind us about
the current crisis our planet is facing
– climate change – and its lack of
representation at this year’s National
Arts Festival.
Besides a few events on the
programme, such as the Think!Fest
talk on Traditional Fishing
Methods in Africa, and the play
Warrior Green, there is little other
engagement with the subject. This
is incredibly surprising as it is such
a pressing topic, especially in light
of April’s Paris Agreement, when
175 world governments signed a
legally-binding deal to ensure the
reduction of carbon emissions
and the slowing-down of global
warming.
While it may seem as though
the hotter, dry weather is unusual
during the Festival, long-time
Grahamstown resident Roger
What’s
online
Dave Mann
F-Word co-editor
Highest average
temperature:
Roswell, who tracks the rainfall
patterns in the area, argues that it
is not out of the ordinary.
“We’ve had hot festivals and
cold festivals,” he says. “We’ve had
similarly dry winters. It is the El
Niño effect, so I expect it to be dry
for a few more months.”
El Niño is a climate cycle in the
Pacific Ocean which occurs every
two to seven years and has recently
played havoc with local weather
patterns. The current El Niño has
had a particularly bad effect on
South African harvests.
Our graph of average
temperatures for the Festival since
its inauguration indicates that the
weather over the past two years has
been warmer than in previous years.
So while the weather is not
particularly out of the ordinary,
its presence does bring to mind
the concern that large events such
as the Festival can be significant
contributors to climate change.
Beyond academic discussion,
the Festival is not particularly
environmentally friendly. There
are more cars in town producing
emissions, the influx of people
results in a significant strain on
resources such as water, and despite
the recycling bins placed in main
areas, litter frequently lines the
streets after the day’s shows are
over.
Talks about environmental issues
could easily take place as part of
Think!Fest, as Rhodes University
has access to a host of academics,
such as Professor Heila Lotz-Sisitka
of the Environmental Learning
Research Centre, who could
contribute to an impressive selection
of talks.
Think!Fest co-ordinator,
Anthea Garman, says that she
wanted to include talks relating
to the environment in this year’s
programme, but it was unfortunately
not feasible: “The budget did not
allow us to do everything and so the
more pressing political things got
higher priority.”
Subsidies might also be offered to
those who help Festival become more
environmentally-friendly, by picking
up litter near venues, for instance.
There could be incentives for vendors
to sell environmentally-friendly
products. Such initiatives have
been a great success at other large
festivals, such as Rocking the Daisies
in the Western Cape.
The Festival creates a space
for discussion and insight and
while there is limited time to cover
every important discussion, the
environment and climate change
must be a bigger part of the agenda,
especially when it is society’s most
vulnerable who are and will continue
to be worst affected.
Live music at Slipstream
SSS Top bar is an official #NAF16
music venue. Check out the line-up
and an awesome 360˚ video of The
Fishwives gig.
Epic rap battle
Comedian Tyson Ngubeni faces
off against the Oxford Imps in this
episode of Carpool Karaoke. Warning:
these bars are on fire.
Satire: What’s the point?
We interviewed a bunch of comedians
about the role of political commentary
and critique in their work, including
performers from Thenx and Boet ‘n
Swaer.
#NAF16 in 24 hours
Wondering how to spend your day at
the National Arts Festival? We made
a timeline that’s got you covered from
morning to night.
Cue debuts 360-degree
video during festival
Steve Kromberg
Cue online consultant
H
a
:Z
oto
Ph
ow does one recreate the desolation and
horror of months in solitary confinement?
The Abrahamse and Meyer production,
Ruth First: 117 Days attempts to answer the
question with a powerful evocation of that
experience. On Cue’s website (www.cuemedia.
co.za), our Facebook page and our YouTube channel,
you can see a 360-degree rendition of the first few
minutes of the play, positioning you in the front row
and allowing you to direct your gaze around the
stage, or even at the audience behind you.
Cue’s 360° video shows how the set and
lighting are carefully constructed to convey the
stark reality of the piece, and how Jackie Rens’
performance shows the deeply personal and painful
dimension of First’s struggle to retain and regain her
commitment, dignity and humanity.
Similarly, our 360° video of Semi-Gloss gives
you a child’s eye view of the wastepaper monsters
looming overhead and stomping around the
Village Green. You can also catch a few hilariously
frenetic moments of Rob van Vuuren’s Life, or
immerse yourself in The Fishwives’ late-night gig at
Slipstream.
Each day during Festival, more 360° videos can
be viewed on Cue’s website, giving you an immersive
experience of indoor and outdoor performances.
360° video, among the hottest new trends in
social media, has been brought to the National Arts
Festival by Cue online and Social Weaver (www.
socialweaver.co.za). Facebook recently introduced
the ability for anyone to upload
and view 360° content,
while Google-owned
YouTube is seeing
a sharp increase
in 360° and 3D
content, viewable
with the lowcost Google
Cardboard
Virtual
Reality
Viewer.
The
videos can
also be
viewed on
a laptop,
tablet or
smartphone.
With a
smartphone, you
direct your point of
ne
le
view by moving your
Mu
phone around. Aware
kh
ari
that 360° video enables
fascinating new forms of
storytelling and journalism, Social
Weaver’s Michael Salzwedel and Steve
Kromberg imported a Ricoh Theta S camera – a
camera with two 180° lenses, creating two images
which are stitched together by the camera’s software
– and are working with Cue throughout National
Arts Festival to produce a number of 360° videos.
Social Weaver are also
offering free one-hour
workshops at the festival,
demonstrating how
to shoot, edit, view
and share your
own immersive
360° content, so
you can also
get in on the
action. You’ll
also hear
about Social
Weaver’s
other social
media training
courses and
its work with
major South
African media
houses. You will
be able to try out
the Ricoh Theta S
camera and Google
Cardboard VR viewers.
The first 10 people to
register for each workshop will
receive a free Google Cardboard
Viewer. We will also have a limited number
of Cardboards available for sale at the workshops at
a price of R250.
To register for the workshop, click on the Social
Weaver advert on www.cuemedia.co.za or email
steve@socialweaver.co.za.
Unmasking the mime:
Richard Antrobus
Anima McBrown
W
ith one of
my favourite
photographers beside
me, I rush off to Memory Hall
at St Andrew’s Preparatory
School. We want to catch
mime Richard Antrobus after
The Cloud-Catcher, a new
children’s piece he has written
and is directing, among the
other work he’s bringing to
the Festival. What will I find?
A frantic face? A panicky
director? A mime who’ll
surprise me with a bizarre
wordless interview?
For an artist who is
working with five different
productions, Antrobus is a
calm man. I didn’t expect him
to be crazy or spontaneous
enough to marshal a trip to
the Rat and Parrot for a beer
tower at 1pm – but I was
expecting NAF’s favourite
mime to reveal what’s behind
the white face paint. He didn’t;
not exactly.
He defines himself as
much more than an actor or
dancer. He is a dramatist who
is concerned with making
theatre that is more accessible
to everyone – on different
levels. His style is informed
by his training at Rhodes
University’s First Physical
Theatre Company and the
London School of Physical
Theatre.
Antrobus is more used to
performing than to directing
producing, but still takes on
different three roles to bring
unique shows that provide for
the tastes of diverse audiences.
But what is behind the white
face paint of the mime who
traps himself inside the
Suggestion Box? Antrobus
doesn’t give too much away.
The mime is, ahem, mum.
He concedes to being
someone who keeps to
himself, especially now that he
is married (to someone who
is not involved in theatre at
all.) “I do keep a bit of myself
to myself,” he shares, “just
to keep humble.” Clearly he
intends the theatre to do all
the talking.
“I want to broaden
people’s awareness of
different things,” he says,
adding, “but you don’t have
to try and save the world with
one theatre piece.”
The Cloud-Catcher,
which features Asiphe Lili, is
very educational. The work
is close to his heart, says
Antrobus, who wrote it for a
strong female performer. It’s
important to him to challenge
the underrepresentation of
women in theatre.
He does acknowledge that
works like this will always
be “a bit problematic coming
from a guy”. Yet, Antrobus still
sees it as essential to critique
and start moving further away
from “heteronormative, maledominated art.”
These are wonderful
intellectual concepts,
essential if you’re a thinking
participant in this year’s
Festival. But hey, a beer
tower at the Rat is also a
vital part of the Festival
experience, so I wonder
what it takes to really get the
mime talking.
Suggestion Box
#Everything Must Fall, Village
Green, today, 12pm and 2pm
Death of a Clown, Masonic
Back, today, 12pm
Dreams, NELM Museum of
Theatre, today, 4:30pm
The Cloud-Catcher,
Memory Hall, today, 7pm
Richard Antrobus. Photo: Cue/Michelle Laver
Lick, stick, mime
Review: Suggestion Box
#EverythingMustFall
Anima McBrown
R
ichard Antrobus has
brought his Suggestion
Box back to Festival, which
once more sees the mime
trap himself in a glass box
for an hour, handing his
audience the power to direct
the show. The theme this
year is #EverythingMustFall
and spectators get to interact
with the mime throughout the
piece.
Antrobus wants his
performance to speak to
the “current socio-political
cube in which the whiteface
clown finds himself”. His
show adapts audience
suggestions – the predictable
ones and those that are
a little cheekier – to his
#Mexit subtheme. This is
a clever play on the recent
Brexit debacle involving the
UK’s withdrawal from the
European Union. The mime
encourages the audience to
Richard Antrobus performs in Suggestion Box #EverythingMustFall on
the Drostdy Lawns. Photo: CuePix/Jane Berg
vote: should he remain in the
box or leave it?
What I really enjoyed
about his performance, which
opened on Drostdy Lawns
under the shadow of the
clock tower, was its strong
interactive element. Antrobus
explains that traditionally
the mime builds his own
imaginary box with his hands.
But this time around,
the box already exists – it’s
real. So essentially the mime
has nothing to do but wait
for his audience to step up
to the box and slip in some
interesting suggestions for
“actions, pictures, words,
sketches, or ideas” he can
act out. The trapped mime
collects suggestions, licks
and sticks them on the glass,
before coming up with quirky
interpretations that don’t
always meet our expectations.
The show encourages
viewers to be creative,
and they get to own
their experience of the
performance to a profound
degree. If people think they
can just walk up, perch a seat
on the grass and stare at the
mime for an hour, they’ll only
end up watching the mime
watching them.
But his first crowd – mostly
featuring excited, inquisitive
little faces of children who are
eager to start suggesting even
before the show starts – were
not shy. The best suggestions
elicit risqué responses. To “act
like an elephant”, the mime
responds by taking out his
pocket linings and proceeding
to unzip his pants, before the
crowd, howling with laughter,
scream for him to stop; to
“come out”, he responds by
scribbling “from what?” on a
small whiteboard; and for “act
like the president”, he takes
an imaginary shower but
seems to struggle to get his
entire head under the faucet.
It’s a brilliant show for all
age groups, and encourages
interaction and collaboration
among strangers. What the
show needs, however, is a
designated person to stand
just outside the box and read
the suggestions out loud for
everyone to hear.
There can be a little
confusion when spectators
who aren’t sitting close
enough can’t see what’s
being suggested and
responded to. This is only a
problem, however, because
of the crowds that Antrobus
justifiably attracts.
Suggestion Box
#EverythingMustFall,
Village Green, today,
12pm and 2pm
7
An electric bouquet of Chinese dance
A dancer from The Guangzhou
Song and Dance Theatre
Company performs in Dance
of the Orient, in the Guy Butler
Theatre. The municipally-funded
professional arts troupe was
founded in 1965. Photo: CuePix/
Mia van der Merwe
Illustration: Sarah Rose de Villiers
Review: Guangzhou Song and Dance
Company
Sarah Rose de Villiers
L
ike a ribbon under neon lights,
Lingnan culture unravels in
the air. The performers are a
dancing bouquet of electric colours,
the animated flowers of a Chinese
city.
The Guangzhou Song and
Dance Theatre Company arrives in
spectacular fashion and performs
with an energy that is almost
indescribable. Their show is alive
with flashing lights, faces that
look like porcelain and costumes
that could be petals. Their dances
entrance, excite and educate as
they explore Chinese customs,
Guangzhou traditions and the
human truths of love, hope and
heartache.
In the unlit intervals between
dances, a narrator in the wings
names and explains the inspiration
of each piece. A woman twirling
with a white umbrella is “Teasing
the Moon”; fabric floats around her
like night-time clouds. Men seem
to fly as rainbows twist in the air;
they’re celebrating the “Desire of
Colour”. Striking opera masks and
beating sticks make “Dynamic
Guangzhou” an intimidating
affair, and in “Beauty is by the
River”, women in sparkling silk
give ornamental fans to audience
members.
In other displays of music and
movement, lovers find each other,
marry and say goodbye; home is
remembered, and young women
dance with flowers. Every performer
embodies power, passion and
perfection.
In the closing piece, fading
fabrics ripple while muscles stretch
and fingers reach for yellow lights
– it’s a dance about peace and the
future of a world that we share. It’s a
rare moment of magic.
Navigating displacement
and disjointed identities
Yasthiel Devraj
T
his year’s main Festival
programme is not
alone in exploring
themes of displacement and
negotiating multiple identities.
Think!Fest has a series of
events collectively titled
Awash in the World: People,
Place, and Politics, which also
addresses global and local
perceptions of displacement.
Yesterday’s panel
discussion, Contemporary
Migration and the Plight of
Refugees, considered factors
contributing to an evergrowing global refugee crisis.
Panellists were unanimous in
their assertion that Britain’s
departure from the European
Union is representative of a
crisis of both leadership and
social development.
“The outcome of Brexit
has taken the insanity
of fearmongering to new
heights,” says Ray Hartle,
a journalist at the Daily
Dispatch conducting Masters
research on the representation
of foreign nationals in local
media.
Deprose Muchena, the
Regional Director of Amnesty
International’s Southern
Africa office, highlights the
problematic approaches of
developed nations in handling
influxes of refugees, indicative
of what he calls “a shameful
response: inward looking,
unimaginative, addressing
migration as a security issue
rather than one of human
development.”
Community leader
Naveed Anjum, who played
a pivotal role in assisting
displaced shopkeepers
following xenophobic attacks
in Grahamstown last year,
echoed a derisive view of
political interventions in
crises that rendered 65 million
people forcibly displaced in
2015 alone.
“It’s just a game of power,
hunger and nations,” he says.
War correspondent Paula
Slier expressed cynicism at the
self-interested interventions of
conventional superpowers in
the Middle East.
A panel hosted later in
the day, concerning multiple
identities, dislocation and
belonging, featured Gulshan
Mia, Chanje Kunda and Sylvia
Vollenhoven. The panellists –
all performers on this year’s
programme, in Unveiled,
Amsterdam and Keeper of
the Kumm respectively –
explore the creative processes
underpinning their works.
At the core of their
inspiration lies a drive to
negotiate and reconcile
multiple identities – the
fragmented labels of
race, gender, culture and
nationhood.
As Mia says, referring to
the five female characters that
comprise her performance,
“a lot of them are either
immigrants or daughters of
immigrants. As a Muslim,
South African, Indian actress
now living in Brooklyn, I have
many of those identities.”
While all three panellists
represent a diversity of
locales, having lived in
a multitude of regions,
Vollenhoven emphasises
the influence geography
holds over the creative
process, arguing that, “place
does govern us in a way. It
influences art and what it
creates.”
Responding to a question
regarding her experiences of
racism and how it informs
her work, Vollenhoven
recalls, “There are certain
places where it’s much more
palpable. It’s not as clear in
some cosmopolitan societies,
but there are places in the
world where it hit me over the
head, it was so blatant.”
Kunda explains the need
for positive black stories to
enter mainstream discourse,
echoing the sentiments
of the day’s earlier panel,
which denounced the value
of sensationalist media in
exacerbating fearmongering.
“Often with black
narratives, you hear about the
struggles,” she says. “Where
are the stories that are hopeful
and celebratory?”
Illustration: Sarah Rose de Villiers
FEST A bed far from home
CRIBS
Who: Judith Constance Ntsieno, 45,
Brazzaville, Congo, fashion retailer.
Where: It’s inconsistent; sometimes with
friends, but most of the time at her stall on
Church Square.
Size: 6 x 6 metres
Cost: “The stall is R1650 per week. I end
up paying up to R3300 for the whole time
– that is besides other costs like food and
transport that I have to take care of.”
Comfort level: Not great, she says: “I sleep
on the floor, and it gets cold at night.”
Best features: Besides selling her products
(doeks, female clothing, jewellery) during
the day, which she rates as a good thing,
she adds that sleeping there at night is not
very comfortable.
Better than home: “No, it is not.”
Words: Jason Olivier
Judith Constance Ntsieno sleeps in her stall at Church Square. Ntsieno is selling material products. Photo: Cue/Lauren Buckle
When
silence
is not
golden
Ignatius van Heerden and Teri Scott perform in (the) Last Supper.
Photo: CuePix/Jodi van Vuuren
Review: (the) Last Supper
Nompilo Ndlovu
W
ritten by Pinto Ferreira and directed by
Lihan Pretorius, (the) Last Supper is a play
that leaves you in shambles. This gripping
story of a man named Ignatius is set in Richmond,
a small town in the Karoo. Ignatius stays with his
mother, Roseline, for whom gossip is the equivalent of
opium.
Ignatius is more feminine than masculine, and
attracts women by creating beautifully woven hats.
All that Ignatius seeks is to be woven into the tapestry
of society and to be loved for who he is. His divergent
behaviour however goes against the grain of his
Karoo domicile, which causes him to be cast out.
A victim of sexual abuse, Ignatius is pushed into a
dark corner (literally) as things continue as usual. Of
course, it all comes at a cost.
Roseline parades the stage in a loud orange coat,
rambling about the elaborate party she is planning to
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Fresh Roasted Coffee & much more
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host that night. She hardly acknowledges Ignatius,
who sits in the shadows, washing clothes in jerky
movements. He sniffs his clothes and smiles to
himself, lost in a world of his own.
I watch Roseline, initially oblivious to her son’s
actions, until finally they become too strange to
ignore. Her gossip and incessant chattering fade into
a hum as my attention shifts to this strange character
who sits on a tin basin in the shadows.
“Oh,” she says, “that’s Ignatius – he hardly
speaks.”
There is a disturbing undercurrent to the play. It
is brought to the surface most harshly when Ignatius
applies his make-up and dresses himself in an elaborate
1920s purple satin dress. His ecstasy is cut short when
he is sexually assaulted by his uncle. Bafflingly, his
mother doesn’t seem to care. Life goes on.
Is this not the case for those who have
suffered sexual assault? Life gets disrupted, then
continues as if nothing has happened. A similar
scenario is discernible in the recent case of the
#RUReferenceList, when a list of alleged rapists was
released on Facebook. Rhodes University tipped over
into chaos. Flashbacks, emotions and the angry voices
were released. Then, life went on.
Like Ignatius, victims of sexual abuse are cast in
the shadows, barred in their own world. In a visually
tormenting scene in (the) Last Supper, Ignatius
appears stark naked on stage. I feel a wave of disgust
and sorrow sweep over me. I feel complicit in the
sexual assault by watching.
But I am also powerless to do anything. So I just
sit and watch – in the same way that we sit and watch
stories about those who have been sexually assaulted.
I fear standing up against such behaviour, because
sometimes the perpetrators are well-respected people,
or people that we know.
(the) Last Supper poses important questions:
about those who have been cast aside and those who
seek to be held.
(the) Last Supper,
Glennie Festival Centre,
tomorrow, 6.30pm
Lereko Mfono (centre) with
James Oatway (left) and
Brett Bailey (right) following
their appearance on a panel
at Think!Fest. Photo: CuePix/
Michelle Laver
No more misery porn
Amy Pieterse
H
ow do you portray another person’s pain?
How can art reveal the heart of an issue?
How can it inspire compassion? These are
the questions panel facilitator Anthea Garman posed
at the beginning of yesterday’s Think!Fest discussion,
Conveying Stories of Human Suffering.
The panel consisted of photojournalist James
Oatway, whose work has exposed the atrocities of
war; controversial theatre maker Brett Bailey, who
is also the chairperson of this year’s Festival Artistic
Committee; and playwright and drama facilitator
Lereko Mfono.
Mfono began by reading an excerpt from his
play The Kids from Amandla Street, which explores
migration from the perspective of a young Nigerian
boy who moved to South Africa with his family.
Mfono wanted to highlight how many migrants
came to South Africa not for jobs, but because their
countries are in crisis.
He faced the difficulty of writing a story about a
place he had never been to, and this provoked a level
of introspection he claims many artists lack when
approaching stories. “I had to confront the reality that
it might not actually be my story to tell, even though I
had a hundred percent desire to tell it,” he said.
Oatway also discussed the limits of perspective.
“Broadly speaking, the way we are given images is
very one-sided – white males are by far the majority
within the photojournalism community,” he said.
“I think it is greatly unbalanced. It’s very important
that we have many different viewpoints coming from
many different photographers. The way the world sees
Africa is largely depicted by the photographs of white
American or European men. I think that African
photographers need to find some way of imposing
their view on the international narrative.”
Bailey spoke at length about the controversy
surrounding his Exhibit B, which placed
black performers in tableaux vivants, or silent
representations of a scene, where they were portrayed
in stereotypical and objectifying ways. Some accused
Bailey of reinforcing the degradation of black bodies.
Bailey’s forthcoming work, Sanctuary, is also a
series of tableaux vivants, this time focusing on the
current refugee crisis. The purpose of the exhibit is for
people to listen to the stories of individual refugees,
a decision which emphasises the question of where to
draw the line in art.
“It’s so easy to aestheticise misery, and to make
misery porn,” Bailey said, claiming that he does not
create art to change the world, but rather to reflect it.
Sparkling satire in serious times
Yasthiel Devraj
T
he literary undead will be recognised this
morning when the latest edition of Short.Sharp.
Stories is launched and the winners of R35 000
worth of prize money are announced.
The 2016 anthology, Die Laughing, is curated
and edited once again by Joanne Hichens and
promises a few pokes of fun “at our crazy country”
by emerging and established South African writers.
Die Laughing: Stories of Satire, Wit and Humour
includes work by Festival participants (Anton
Krueger, Kobus Moolman), established favourites
(Diane Awerbuck, Fred Khumalo) and new talent
(Stephen Buabeng-Baidoo, Kristien Potgieter).
Since its inception in 2013, Short.Sharp.Stories
aims to provide a platform for South African writers
who respond to a new theme each year. Regarded
as South Africa’s premier collection of short fiction,
today’s event includes a discussion with the 2016
winners. Hichens will facilitate the conversation,
discussing the writing of successful participants and
the future of writing in South Africa.
South African author Lidudumalingani
Mqombothi, whose short story “Memories We Lost”
featured in last year’s anthology, Incredible Journey,
was announced as the winner of the 2016 Caine
Prize for African writers on Monday night.
Short.Sharp.Stories,
Eden Grove Seminar Room 1, today, 11am
A delightful cinematic reverie
Review: Cinema Extravaganza
Jeffrey Brukman
Cue specialist writer
F
eaturing solo violinist
Samson Diamond with
Grethe Nöthling as
collaborative pianist, Cinema
Extravaganza moves through
extracts drawn from eleven film
scores, exploring many films
that have a special relationship
with the violin. While
“extravaganza” is possibly
a misnomer with “reverie”
being nearer the mark, this
programme is a tasteful musical
production.
Diamond introduces each
piece with natural spiel and
easy humour, almost as if he
is in private conversation with
each audience member. His
insightful comments about each
film add to an understanding
of the music. With appreciative
groans the large, supportive
audience accepted that the
concert had come to a close.
This was a well-deserved
standing ovation.
Opening with an evocatively
elegiac rendition from John
Corigliano’s film score The Red
Violin, Diamond’s poignantly
placed inner-voicing showed
his deep-seated understanding
of the score. Maintaining a
lament-laden atmosphere,
Diamond’s interpretation of
Theme from Schindler’s List
was a moving experience.
His artistically-carved,
heart-rending phrasing and
eloquently-spaced, passionatelyexecuted climaxial moments
showcased a musician
able to enter the music’s
expressive core. Performing
the stratospheric closing with
panache and consummate
artistry, Diamond displayed his
complete mastery of the violin.
Samson Diamond and Grethe Nöthling in the classical music production Cinema Extravaganza. Photo: CuePix/
Aaliyah Tshabalala
Ably supported by
Nöthling – whose playing
has phenomenal clarity of
thought and tone – Diamond
took the audience on
an emotional journey in
Luis Bacalov’s Il Postino.
Passionately underpinning the
interpretation, Nöthling never
over-shadowed Diamond;
maintaining finely calculated
tonal balance throughout the
rendition. This touchingly
expressive collaboration was
again to the fore in music
taken from Pan’s Labyrinth
(music by Javier Navarette).
Here, Diamond’s projection
of sad fragility was enhanced
through Nöthling’s exquisitelyrendered, cantabile-laden lines
that projected atmosphere and
sensitive understanding.
Two well-known concert
composers, Frédéric Chopin
and Dmitri Shostakovich, also
featured in this thoughtfullydesigned programme. Chopin’s
Nocturne in C# minor (op
posth) – a central focus of
The Pianist – was presented
in an arrangement by Nathan
Milstein. Diamond’s sweet
tone soared rapturously as
each theme unfolded with ease
and artistic comprehension.
His tastefully applied rubato,
replete with sensitively directed
agogic accents, added layers of
meaning to the interpretation.
Particularly noteworthy
was his redolently delicate
handling of cadenza-like
scale passages during the
work’s concluding moments.
Surprisingly, Nöthling’s
introductory bars were a little
too straitlaced and lacking
in tonal finesse. However,
appreciatively colouring
Shostakovich’s harmonic
shifts with musical perception
(Romance from The Gadfly),
Nöthling’s underpinning of the
melodic content was inspiring.
Traversing an artistically wide
dynamic range, both artists
entered the essence of the music.
Carlos Gardel’s Tango
(arranged by John Williams),
as featured in the film Scent of
a Woman, was performed with
much musical characterisation.
Here, Diamond’s theatricality
was to the fore as was his
refined appropriation of
grace notes that lent support
and enhancement to the
melody. Nöthling reinforced
this interpretation through
displaying dramatic flair and
fervently executed statements.
Though, this performance
could have been even more
exciting if dotted note figures
were delivered with more
pointed purposefulness,
especially toward the end of the
piece.
Nigel Hess’s Ladies in
Lavender unfolded with
untrammelled simplicity, with
the strikingly effected climax
impelled without assertive
brashness. Diamond’s flawless
intonation and supreme
technical control always
directed toward musical
communication.
Dedicating the theme
from For Colored Girls
(Aaron Zigman arranged
by Peter McLea) to the
abuse suffered by all women
across the globe, Diamond
rendered the music’s haunting
emptiness with musical
and artistic commitment.
Especially noteworthy was
the development in intensity
leading to a shattering
climax that was slightly
skewed through Nöthling’s
presentation of the theme
without apposite subtlety.
Though, in the ensuing
extract from Cinema
Paradiso (Ennio Moricone),
Nöthling’s introductory bars
and expressively-presented
interlude set the scene for an
intense performance. Here, the
interplay between piano and
violin was admirably handled.
Closing the concert
with a cleverly arranged
set of reminiscences from
Jerry Bock’s Fiddler on a
Roof (arrangement by John
Williams), Diamond immersed
himself in the improvisatory
style of the gypsy violinist
replete with meaningfully
appropriated glissandi.
Nöthling also had the measure
of the style, and, to gasps of
wonderment from the crowd,
together with Diamond
conjured sonic images of
Jewish festivities.
This programme of
unchallenging listening is
highly recommended.
Cinema Extravaganza
Beethoven Room, tomorrow
3pm
Photo: Cue/Joshua Ste
in
Photo: Cue/Joshua Stein
Photo: CUEPIX/Ma
Twitter: @fest
Facebook: Cue
Youtube: cuetube
Instagram: cue.online
cue online: cuemedia.co.za email: cue-editor@ru.ac.za
the
a
Volume 02 No. 06
word
Fringe supplement
P
J
by
retina
age
r
de
WITH THE GENEROUS
SUPPORT OF:
is
COOLER
than YOU
Photo: Cue/Lauren Buckle
?
n the farmlands of the
Western Cape a baby is left
on a cliff edge – the mother
hopes the little bundle is swept
into the river below. So begins
Joseph’s story in Boy Ntulikazi
– a decidedly shocking one.
Years later, Joseph asks
Pieter, the man who took him
in as an abandoned baby,
about his biological parentage.
The tough questions stump
Pieter, but Joseph’s friend
Nkazimulo, who has the gift
of prophecy, tells Joseph the
truth.
Xolani Khowa gives
a powerful, emotional
performance as Joseph
in Kagiso Tsimakwane’s
I
in some sinister dealings.
Seeking status and power, as
well as more money, Joseph
ultimately ends up joining him,
propelling him into further
nefarious dealings.
Joseph’s pilgrimage to find
his parents takes the audience
on a moralistic journey through
various scenes in the Western
Cape, including Khayelitsha
and Cape Town. When the
show reaches its explosive
crescendo, and Joseph’s inner
rage is unleashed, a striking
monologue detailing broken
bones and simmering flesh
overwhelms the audience.
Ntulikazi, translating to “son
of the curse”, is an apt name
for a tragic yet riveting piece
of theatre, underpinned by a
compelling narrative that may
just break your heart.
D
production. Thobani Nzuza,
who sings, plays drums and
guitar, complements his
performance and adds to the
play’s emotional impact. The
audience is quickly drawn in by
his intensity.
As a teenager, Joseph
sets off to find the answers
about his biological parents.
His search for the truth,
complicated by his yearning for
maternal love and validation,
is going to take him on a dark
and twisted path, eventually
leading to destruction.
Answers aren’t as easy
to find as questions are to
ask, and so Joseph takes up
gardening jobs to survive on
his journey. After discovering
skeletons in the back yard, it
soon becomes apparent that
Joseph’s employer is involved
artists face to score approval, along
with the passion that drives them
on regardless. The saxophone
player’s dancing is nothing short of
flawless, representing the journey
ressed immaculately,
artists face to gaining confidence
five actors enter a stage
furnished with only a bench in their work. Likewise, the bass
and a few suitcases. Behind them, player’s growth from insecurity to
a four-piece band produces sweet confidence is beautifully
played out in scenes of
sounds. The cast starts singing,
speech and movement.
but this is more than just music:
Throughout, the foureach actor is represented by an
piece band and the actors
instrument.
seamlessly interweave
Anyone can relate to this story
of four artists chasing their dreams their performances.
“I hope that people
in an unnamed post-apartheid
setting. Art is seen to be a struggle, are able to find
themselves within
but beautiful too. One of the
the characters,” says
artists, an eloquent woman in
director Slindile
search of her dreams and who is
represented sonically by the piano, Mthembu. “Through
mesmerises the audience with her Milked Voice I
hope people will
singing. The four other people on
stage – the saxophone player, the be inspired to
bass player and his shadow, and
pick up their
the producer – live separate lives, dreams and
but their actions indirectly affect
pursue them.”
each other throughout the play.
Similarly,
Haunted by his mother’s
producer Nhlane
disapproving voice, the producer’s Enos Manthata
monologues represent the trials
wants to spread
REVIEW: BOY NTULIKAZI
JASON OLIVIER
CUE STUDENT REPORTER
REVIEW: MILKED VOICES
APHIWE NGALO
THE “SON OF THE CURSE”
U N SH ACK LE
Can the truth
Boy Ntulikazi follows
the life story of Joseph
and his attempt to
find his biological
parents. Photo: CuePix/
Jodi van Vuuren
the
the spirit of entrepreneurship
through the multi-disciplinary play.
“We cry too much about not having
jobs,” he says. “People need to
stand up and do what they want to
do, to create our own work.” This
production is a simple reminder
and evocation of the fact that,
through hard work,
perseverance, and
originality, dreams
can be achieved.
MILKED
VOICE,
CITY HALL,
TODAY,
10.30PM
Kamogelo Nche and Yusuf Thomas perform in Milked
Voices. Photo: Cue/Joshua Stein
TODAY
KLARA VAN WYK (PRETINA)
Online
HIGH SCHOOL SUCKS
and people are mean
REVIEW: YOU SUCK AND OTHER INESCAPABLE TRUTHS
CHELSEA HAITH
K
lara van Wyk and I went to the same high
school in Johannesburg. Having experienced
the same Physical Education classes as her,
the same teachers, the same unfortunate changing
rooms, I can vouch for the veracity of You Suck and
Other Inescapable Truths. The cliques described
by her character, Pretina de Jager, are true to life.
Sure, Van Wyk is a clown – but when it comes to the
awkwardness of being 16, that’s not too far off
the mark.
You Suck and Other Inescapable Truths follows
Pretina as she is moved from an Afrikaans to English
medium school, and the hilarity that ensues from
her adjustment period. Van Wyk gets inside the head
of her sixteen-year-old alter-ego: struggling to fit in,
fighting the language divide and trying to join the
A-group.
Naturally, the audience whooped when they
identified with Pretina and guffawed at her antics.
However, it’s a sweet and surprisingly touching piece
of theatre. It begins lightly like fluffy candyfloss and
descends into sobering moments of reflection and
introspection. It’s a fun show to see in a Festival laden
with heavy theatre fare.
Currently working on her PhD at Stellenbosch
University, Van Wyk has already studied clowning in
France, first with renowned master clown Phillippe
Gaulier in 2014, and then with Ira Seidenstein in 2015.
Clowning is a delicate art. The clown must make
the audience laugh, but have the ability to evoke
sadness and pathos as well. “I’m very interested in
proximity between the audience and actors,” Van Wyk
says. “In clowning, you work from the inside instead of
getting inspiration from the outside. It’s about finding
vulnerability and finding what comes from that.”
Van Wyk first came to clowning through a local
role, as Chalk Girl in Jemma Kahn’s The Epicene
Butcher in 2012. Kahn herself speaks highly of the
young Van Wyk. “They should be giving comp tickets
to everyone for this show,” Kahn says.
Following The Epicene Butcher, Van Wyk’s choice
to study with Gaulier was an opportunity to learn, but
was also a trying time. “His technique,” she says, “is
to shout at you, ‘You’re fucking boring!’, but in French.
He intimidates you until you find vulnerability. He’s
crazy. It’s like a cult, but I learnt a lot.”
Director Francesco Nassimbeni helped develop
the Pretina persona further. Nassimbeni feels that it’s
been an incredible experience to develop the You
Suck and Other Inescapable Truths show.
“It’s an amazing experience to work with Klara,
though most of what she does is improvised,” he says.
“It is hard to direct a person who improvises. I never
know what Pretina’s going to do!”
07:00
YOU SUCK AND OTHER INESCAPABLE TRUTHS,
PRINCESS ALICE HALL, TODAY, 1PM
CHELSEA HAITH
Where did you grow up?
07:05
PRETINA I growed up in Fairlands. So it’s like a place in Joburg.
07:06
CHELSEA HAITH
What was that like??
07:07
PRETINA It’s kind of boring but we have a park. And pets and things.
07:08
CHELSEA HAITH
What’s your favourite pet?
07:09
PRETINA I really want a dolphin in my swimming pool but my mom said no because they can die if you do dat.
But then I saw one celebrity did dat and I thought actually maybe it’s cruel
PRETINA I really like my cat wat’s called Mouse
07:12
wat’s quite clever.
07:12
CHELSEA HAITH
And what school did you go to?
07:14
PRETINA I went to Piet Retief Afrikaans Hoër wat my mom took me out of and then put me in Craighall wat is an English
skool dat I didn’t like wat was quite upsetting for me and traumatic. It inspired a lot of things in my show.
07:17
CHELSEA HAITH
And at Craighall?
07:18
PRETINA It was hard because I didn’t know what to wear at first, like they have their own rules. I didn’t know if I had to wear my hair in two buns or one bun,
socks up or down.
On my first day I said, “I threw him with a chair” not “I threw the chair at him” wat was the rite ting. So it didn’t start so well... I
overcame, but it was difficult and that inspired me to make this fabulous show of mine because I have a lot of talents, in writing, in showing people my pain.
That’s why I made my show, I have a lot to give
07:25
CHELSEA HAITH
You have great fashion sense. What’s your favourite item of clothing?
07:29
PRETINA My coat, which is very Vogue-style. I actually found it at a charity shop for second-hand but people wouldn’t think so, they think it’s from
London... people always ask me ‘Pretina, where you get that’ and I never tell them.
07:32
CHELSEA HAITH
You’ve got to keep some of your secrets. How has your fame affected you?
07:33
PRETINA It’s hard, because people just want things from me like interviews, photoshoots laaik, it’s a lot of pressure. I need time to do yoga and listen
to my iPod
because I don’t want to be like Britney Spears wat cut her hair off in 2007
07:35
CHELSEA HAITH
So what do you do to de-stress?
07:40
PRETINA I like to watch My Little Pony
My main thing to do is hip-hop wat I am very talented at. When I have aggression
I just do hip hop a lot
07:45
CHELSEA HAITH
What’s one thing you think your audiences should know about you?
07:49
PRETINA They must just be themselves. I’m a really deep person, I can see people’s auras. I read a lot of astrology wat helps with dat. My director’s
advice is that to be original, YOLO. Wat I want to say to everyone is live to the fullest of your potentials
Type a message
07:51
FEMALEFREEDOM
FIGHTERS fire-up
REVIEW: WOMEN’S LIBERATION
THANDI BOMBI
T
welve women, four crates and one
noose will have you crying one
second, rejoicing the next and
crying all over again. Nhlanhla Mazibuko’s
Women’s Liberation is an emotional
musical journey through South African
history, naming and depicting different
women in the struggle for freedom over the
years.
This production, which begins
with the naming of some of
South Africa’s most influential
women during the struggle against
apartheid, immediately involves the
audience as we are asked to stand
for the national anthem.
Once seated again, the
audience is given a historical tour
taking us from as early as 1931 –
when the Bantu Women’s League
was formed – all the way to 1992
when the first woman Anglican
priest was ordained in Grahamstown.
This exhilarating show uses
dance, poetry and more than
eight costume changes to depict
the horrific injustices done to
black people and women during
apartheid.
The all-female cast has no
trouble depicting a range of characters,
from political activist Charlotte Maxeke, to
apartheid hangman Chris Barnard.
The show goes beyond the time
specified in the programme, a minor
irritation all told.
Condensing a vital chunk of South
African history into a brilliant 75-minute
production is a difficult task. For an
emotional, interactive learning experience,
grab a box of tissues and go see Women’s
Liberation.
TRAPPED
in a
waking
REVIEW: LOXION STORY: UMAVUSANA
JASON OLIVIER
Women’s Liberation,
staged by the
Alexandra Youth In
Action Ensemble.
Photo: Cue/Nompilo
Ndlovu
dream
A frightened man carries a parcel. He looks as though he is running
for his life. There are police sirens and several gunshots. The story of
Mavusana and his two friends begins.
Directed by Ayanda Nondlwana, the cast of Loxion Story:
UmaVusana use dance, dialogue and a cappella to convey the
message of three young men from Extension 10 in Grahamstown who
seek a better life.
The set is minimalist: two cardboard houses, a dustbin, a crate and
a small chair become 6422 Eluxolweni Street. This is where we meet
Mavusana, Tom and Jerry. Lights fade out between transitions. The
stage itself remains the same throughout the performance. Nothing
changes. In this way you are focussed almost entirely on the dialogue
of the piece.
The dialogue suggests that, for people from the township, there’s
not much you can do to improve your life except crime. Or selling
drugs, as Mavusana does. It’s not all doom and gloom however. There
is hope in the words of these characters as they sit and pass the time,
talking. The three friends dream of better lives. They look for work.
There is ambitious talk about starting an artistic company, but as
this story goes, it never happens. Enter real life: Ayanda Nondlwana
founded Via Kasi Movers, a local artistic company that has now
produced Loxion Story: UmaVusana.
The play ends as it begins. A man carrying a parcel, frightened,
looks as though he is running for his life. The circular narrative mimics
the township life portrayed in this socially-engaged play, where
characters feel trapped by unemployment and poverty.
WOMEN’S LIBERATION, PJ’S,
TODAY, 2PM
LOXION STORY:
UMAVUSANA,
NG KERK HALL,
TODAY, 10PM
Loxion Story: Umavusana is a play about three friends from
Grahamstown facing tough choices. Photo: CuePix/Madeleine Chaput
on the struggle
for LIBERATION
2016
Reflections
Friday 1 July
snoitce l feR
the
THANDI BOMBI
Eighty-one-year-old
Elsa Hlatswayo is in
town to perform in the
musical production
Gug’ Othandayo, a
production about 40
senior citizens who tell
their life experiences while
standing in the pension
line. In between rehearsals
Hlatswayo attended the
play Women’s Liberation.
Having lived through the
struggle, the play resonated
with her greatly. These are a
few of her reflections.
“This morning my body
just went stiff. I was no
longer watching a play – I
was there. Those young
women don’t know the pain
they were depicting. But
they were taught about it by
someone who knows and
it touched us deeply. It’s all
true.
The show made me feel
a lot of pain. I experienced
that struggle first hand;
it is not just something I
had heard about. I was
reminded today about a
boy, he was running. He ran
past me. He grabbed onto a
fence, and as he was lifting
himself up, a bullet hit him
in the back and he hit the
floor. As I was watching this
morning, all I saw was the
events of ‘76. When people
were clapping, I did not clap
because that play brought
me a lot of pain.
The dompas had to hang
on the front of your chest
wherever you went. When
you were sent to the shop
to buy bread, you could not
leave the house without
the pass showing. I have
a picture of me carrying a
white baby I used to take
care of. I remember that
when I was carrying the
white baby I did not need
a pass; they can’t arrest
you with a white baby on
your back. I’m just glad that
now you can say whatever
you want without being
arrested. Those young
women would have never
been allowed to perform
that play. Even us, sitting
here, talking about these
issues – we would have
been harassed and beaten
and taken in the vans.”
creative
drain?
Wednesday 6 July
the
Festival
plug
Can Fingo
HLUMELA DYANTYI
I
lowns. The archetype of comedy
or the stuff of nightmares. Either
way, the profession requires training.
Death of a Clown, a Masidlale
production in collaboration with
Oddbody Theatre, is directed by
Richard Antrobus and Tristan Jacobs.
The production features Ryan
Napier as a Pierrot – or pantomime
– listening to How to Laugh for
Dummies. The narration covers
various aspects of pantomime,
including dark comedy.
The production follows the
Pierrot’s efforts to make his audience
– both the cardboard cut-out and
human variety – laugh. We watch
the Pierrot’s increasingly nervous
C
DEATH OF
A CLOWN,
MASONIC
BACK,
TODAY,
12PM
REVIEW: DEATH OF A CLOWN
ASHLEIGH DEAN
It’s
not
funny
and, at times, desperate antics.
Combining well-placed pictures
of Andrew Buckland, moments
with Shakespeare’s Hamlet, Siri
directions to Rob van Vuuren, and the
interesting use of condoms, Napier’s
character attempts trick after wornout trick. The audience watches as he
becomes increasingly frustrated with
his ineptitude, self-inflicting pain for
our amusement.
Theatrically excellent, Death of a
Clown addresses themes as sinister
as the music it opens with. Cruelty
in theatre and art are not always
apparent beneath the funny façade.
At times macabre, the discomfort in
the audience is palpable.
After descending into a cycle of
self-harm, the Pierrot has an angry
outburst and the lights brighten. The
production ends rather abruptly.
t is a windy day in Fingo. I haven’t even been
here five minutes and my black leather boots
are already dusty brown. I see a young boy
enthusiastically sucking on an apple munch
icie and I’m taken back to when I was his age.
The huge red tent reminds me of how an entire
neighbourhood would be at a standstill if you
were to see a tent struck up. We all knew that could
only mean one thing – that there was going to
be a celebration somewhere. A mob of children
scream as they get their party packs –
“Nam ndiyayifuna enebiskiti!” (I also
want the one with the biscuits!)
they shout. I can see one of the
organisers of the festival, Xolile
Madinda, passionately explaining
something to the DJ. His phone
hasn’t stopped ringing since I
arrived. Above him, a white banner
in bright red paint reads, “Fingo
Festival – Be part of greatness!”
I’m at a festival, but why don’t
I feel festive? Fingo Festival is
a brave initiative that helps to
bring entertainment to children
and promote the arts in the east
of Grahamstown, the side of town that
most forget. Maybe the reason I’m feeling
not-so-festive is that the event holds so
many reminders of things that are wrong
with this
country.
The Fingo bottle
store right next
door to the red
tent seems
to have
a higher
Fingo Festival, which kicked off yesterday, is a free event hosting children’s activities, dialogues and live
turnout
performances. Photo: Cue/Lauren Buckle
than the
2016
actual Festival. It is only 11am and there is already an
old drunk man lying on a patch of grass, humming
a gospel classic. His beautiful voice produces a
baritone sound so smooth, and so effortless. Given
the opportunities, he may have been a Masekela
or a Semenya. That man could have been a musical
heavyweight, but more often than not, the society we
live in restricts black artists from ascending to such
heights.
In one of the dialogues in the Fingo Library, which
was well-received and attended, we speak about
the concept of the Social State. I am surrounded by
talented and intelligent hip-hop artists, the MEC of
Sport, Recreation, Arts and Culture, Ms P Majodina,
a Tru FM talk-show host, and influential writers like
Dr Nomalanga Mkhize. They speak about how we can
create employment opportunities for the youth in the
creative arts, design and technology.
“I think we can all agree that we do not have
enough resources and opportunities in this
community, says Nosipho Moyikwa, one of the
employees at the Rafael Centre. “But when people
do actually make it, they don’t help the others who
haven’t. People forget where they come from and it is
important that we support each other. When I speak
of support,” she continues, “I am referring to financial
support and advice and mentoring on where the
children can get access to opportunities.”
The Fingo Festival can play a huge role in
encouraging the youth in pursuing careers in the arts:
when children reach their teenage years in places like
Fingo, they lose a sense of hope and get involved in
drugs and alcohol. “When the boys turn 13 we never
see them again,” says Mkhize.
It’s been forty years since the June 16th Soweto
uprising, yet as I stand outside
FINGO
the library, a homeless teenage
FESTIVAL,
boy asked me for R1.50 for a
FINGO
“skuif”. I want to live in a world
VILLAGE, 5 – 9
where the man lying on the
JULY, 9AM TO
patch of grass does becomes
successful.
5PM
It is time.
FOUND
ON THE
FRINGE
God’s got
your number
NOMPILO NDLOVU
A cold breeze blows viciously down the
open-air passage leading to Drostdy Arch.
The galaxy-inspired poster sucks me into a
black hole. The words read: “Messages from
heaven”. It was enough to pique my interest.
With a grin plastered on my face I sit on
the plastic chair. A warm smile stretches
across the woman’s face, her black hair
wind-tossed. She glances at me as she asks
me my name and where I am from, then
hands the paper to me. My jaw drops: “No!
You didn’t!”, I exclaim. “Of course I didn’t.
God did,” she responded.
She had presented me with my favourite
Bible verse.
IN A
… if the world was listening
Superb lighting, sound and
choreography set the stage
for four dancers of the highest
calibre, who engage with the
audience with deathly intensity.
Universally applicable themes
are communicated through the
exceptional skill of the performers,
resonating heavily with the audience.
A deeply powerful piece indeed. KD
(the) Last Supper
Powerful religious metaphors and
striking visuals come together in a
horrifying portrayal of the effects of
sexual abuse on a small Afrikaans
community. The story is intricate and
requires careful attention to follow
the progression of each of the many
characters, but even for those who
lose track, the message is stunningly
clear. MKM
Actresses: An Adaptation of Chekov’s
“The Seagull”
A play about a play, writing
processes and a famous actress
in her twilight years. It examines the
writer’s frustrations with existing
forms of theatre and considers
ways that he might adapt. The play
also deals with gender norms and
introspection in theatre roles. The
form of the play is unusual and
familiarity with the works of Chekhov
would make it easier to appreciate.
SL
Acoustiq Assassins
This show can be summarised in
two words: musical poetry. The
performer’s casual interaction with
the audience creates an energetic
atmosphere. They add such a unique
aspect to their covers that they are
barely recognisable. TM
Bespoke
Stuart Taylor addresses racial
perceptions and stereotyping with
intelligence and insight, convincingly
appealing to a diverse audience and
keeping them laughing all the way.
He is a crowd-puller who actively
engages the audience, getting loads
of spontaneous input. SM1
Big Boys the Third
While awaiting the birth of his baby,
Brad receives life advice from his
brother as they reminisce about their
past dance experiences. These two
amazing performers complement
each other in a fun, energetic and
hilarious act. Some ad-lib acting
causes them to laugh at themselves
along with the audience. The tap
sequence Mostly Not Leastly is
exceptional. ZM
B!*ch Stole My Doek
Listen in on a gossip session
between a woman in the ‘burbs
and her neighbour, discussing
the mysterious disappearance of
her doek. Throw into the mix other
characters such as her teenage
children and the sexy new girl-onthe-block, all cleverly portrayed
by one actress in this one-woman
comedy, which also comments on
social prejudice and hypocrisy. A real
crowd-pleaser. NB1
Blue
In the investigation of a road
accident, the cast of two takes us
through multiple characters using
various props. They showcase
corruption and injustice in a comical
manner which leaves the audience
entertained and alert throughout the
dynamic performance. SM2
A Great American Songbook
Roland Perold’s dazzling
performance of great American
classics from the first half of the 20th
century brings to life the golden age
of the American Dream. This oneman cabaret is witty and full to the
brim with flair. AM
Baobab Trio in Concert
Three very talented musicians
play the euphonium, piano and the
accordion with great pizzazz. They
play 12 pieces showcasing Latin
American, Gypsy and self-composed
musical scores. I recommend this
item on the Fringe to all who enjoy
both fun-filled and serious music. AE
African Rhythms
Intriguing production that represents
a timeline of various forms of African
dance. It is a pulsing blend of
gumboot, Sophiatown jazz, pantsula,
VhaVenda and Xhosa traditional
dance. The performance is highly
energetic with infectious smiles and
the joyful rhythmic dances of these
young performers. MS
Bon Soir 1.5
A mesmerising mixture of comedy,
dance, illusion and fantasy.
Something for all tastes, intoxicating
the audience with brilliant
choreography. The addition of a
seductive new vocalist brings with it
a sense of mysticism and sexiness.
See it for yourself; you won’t be sorry.
TVO
Apologies in Advance
Apologies in Advance brings topclass South African comedians
to the stage, creating the perfect
“contagious anarchy”. All rules
of traditional performance are
cast aside, resulting in a comical,
zany, and even volatile comedic
show. There are no limits, and you
won’t want any either. Easily and
explosively funny. KD
Breaking the Wall
A play within a play. Two actors make
light of being in prison by creating
mock theatre to amuse themselves.
They wow the audience with their
expressive movement, sound and
candid interplay, all while making
hilarious social commentary. MM
Astonish
Mawonga Gayiya’s show is not only
filled with illusion and mystique but
it is also, as the name suggests,
astonishing. The audience meets a
charismatic host whose witty puns,
much like his illusions, keep you
captivated and wanting more. CK
Azlan, Zeezee and Kay
Local Grahamstown performers
come together to give a series of
rap collaborations. The delivery
is smooth, well-practiced, and
does justice to the hip-hop genre.
The performers are energetic
and enthusiastic. It is a show
recommended for those interested in
contemporary South African music.
KD
bRENT - A Mobile Thriller
Lived experience cannot be
separated from this well-received
performance, and as a queer
person and a survivor of sexual
assault, I feel this show used
trauma to shock rather than to raise
awareness of its primary focus:
queer conversion therapy. While the
actors’ performance was stellar,
bRENT stumbles in addressing this
important issue. DM2
Bucket List
Laughter should be on everyone’s
bucket lists, regardless of where
it comes from. Avril plays different
characters that feature miming and
clowning. The audience is allowed
to take part in building content that
is relevant and funny, adding a great
interactive element. PL
Burn
A gripping dance
performance piece
centered around fire
and its intersections
with creation, war
and destruction. Mark
Tatham and Daniel
Geddes are exceptional
and are accompanied
by phenomenal imagery,
choreography, and
music. A highly polished
and considered work,
Burn is a great addition
to anyone’s Festival
programme. MKM
Butlers and Broadway
Justin Wilkinson’s brilliant
production gives audiences a chance
to shape and influence the outcome
of the play from the very beginning.
The witty and hilarious comedy is
filled with suspense and mystery as
the audience joins the cast in an effort
to find out who committed the murder
on Broadway. CK
Calabash Children
This performance tells the Tanzanian
folktale about a widow who prays for
children and finds them grown out of
the calabashes she planted. Children
from the Bethvale Drama Group bring
this story to life with energy and joy.
Heartwarming and utterly adorable,
this is a great family show. MKM
Cenotaph of Dan Wa Moriri
An evocative piece which explores
nostalgia and memories. Tony
Miyambo brings this solo piece to life
with clear and easy to follow storytelling. A table with many wooden
blocks on it are the only props used,
however, to great effect. KN
Camp Carrawak
A heart-warming performance that
is well-suited for family viewing. With
a combination of music, humour
and audience participation, this
performance is guaranteed to keep
you entertained from beginning until
end. PK
Callusses
“Do you love this country? Then
take a stand!” This two-man show
consists of one person said to
belong to the “Economic Freedom
Fools” and another, a supporter of the
“African National Corruption” party.
Both use their space to point out the
injustices in the country caused by
powerful political parties. LN
Chapter 2 Section 9
Despite equal protection under the
constitution, lesbian and gender
non-conforming women in South
Africa often experience violence
and discrimination. With moving text
from interviews, four actresses and
a musician portray both uplifting and
heartbreaking stories from across
South Africa. MKM
Cheers to Broadway
Definitely a show for Broadway buffs
with some nostalgia for the classics
and heartfelt homages to legends.
Admittedly cheesy but still enjoyable,
expect to crack a laugh and wipe a tear
because as the cast says, “we all need
a bit of cheese once in a while”. BC
Clues in the Sand
Clues in the sand is a beautiful
insight into the Khoi culture. The
imagery and sounds created by
the performance transports the
audience using oral tradition. With
beautiful movements and a story
that captures the imagination, it is
an incredible show well-worth the
standing ovation it received. DM1
Coat of Many Colours
Great use of props establishes a
homely feeling for the cast of four in
their single-mother household and
the audience seemed particularly
moved by the many tribulations
shown. The drama was, however,
well-balanced by great use of
humour. The performance received a
well-deserved standing ovation. SM2
Cock
A window into one man’s complete
and utter confusion and selfdeconstruction. One simply cannot
imagine what it is to be in his position.
He is stripped of his own agency by
an abusive relationship and pushed
into a box of his own design, trapped
there by indecision and confusion.
Theatrically excellent. LAK
Creating Minds (A Journey to
Discover)
This powerfully emotive piece
explores the contradictions of the
relationships between religion,
power and sexual abuse. Through
an African perspective we see
the injustice of sexual abuse and
speaking out. This grand cast of
talented actors reveal intense
emotions throughout the entire
performance and throw the audience
into the deepest deception of their
story. TN
Creature
An exploration of city life and the
tension it can bring to families.
Words are not needed as the story is
conveyed through the body language
of the actors. It is humorously off-thewall and bizarre, as creatures are
used to portray this relatable concept
of adapting to life in a city and
searching for meaning there. LS2
Dangled
Rob van Vuuren delivers yet another
fully loaded performance. Raw,
intelligent and hard-hitting. An
incredible embodiment of madness
and a serious look at a criminallyinsane mind. A packed first show
and standing ovation bodes well
for van Vuuren’s 2016 offerings.
Recommended. LAK
Dani and the lion
This production is absolutely
breathtaking. Not only is it hilarious,
but the lead singer has the most
powerful and unique voice that
hits every note with ease. Her
accompanist plays the piano
flawlessly which ensures fluidity
throughout the performance. I highly
recommend this show. CK
Dear Breeder
Two comedic women unpack
pregnancy, motherhood, parenting
styles and the insanity of school
nativity plays. A fun and enjoyable
show which I’m sure every preprimary teacher and mom of young
children could entirely relate to. This
is definitely for adult audiences. LAK
Death of a Clown
This one-man act hilariously
unmasks the charm of traditional
clowning and the comedic realm,
through desperate, failed attempts
at making the audience laugh. This
despairing clown slowly descends
into madness and the audience is
mesmerised by this brilliant tragicomedy. TN
Death of a Donut
This delightful murder-mystery
comedy revives the interactive
theatrical experience. The hilarious
and charming host perfectly
draws the audience into the story
and takes them on an adventure.
Quirky humour and a complex
narrative produce an entertaining
performance. TN
Deep Fried Man – In Good Taste
The Deep Fried Man is back with
another hilarious marriage of music
and comedy, presenting witty
melodies to South Africa’s dissonant
political landscape. Deep Fried Man
is accessible to a wide range of
people, appealing to anyone longing
for a good chuckle and some tunes.
KD
Die Glas Ennie Draad
Brilliant show - well worth seeing!
This is a gripping drama about
a gang leader in the Cape Flats,
who is a prisoner in his own life.
His story is portrayed through the
relationship built between him and
his “kopdoktor”. Definitely not for
children. SG
Don’t Burn Your Sausage!
Pete Goffe-Wood and Chris
Forrest had the audience giggling
along to their sexual innuendos
throughout the show. This live
cooking demonstration, as the name
suggests, is not for serious chefs but
rather audience members who are
intrigued by a night of bawdy humour
and tasters of some mouth-watering
food to get you in the mood. DM2
Dracula
A show which has potential to be a
great piece of entertainment for a
young-adult audience. The sinister
characters were greeted with
whoops of delight and enthusiasm at
curtain call and won fans throughout
the sparkly new auditorium at NELM.
I was disappointed that they didn’t
make it a full musical; one song was
not enough. LAK
Dragging 30
The fun and fabulous Dragging 30
is the theatrical equivalent of a tub
of ice-cream and a bottle of wine.
Struggling to navigate the difficulties
of being 30, Tash and Genna embark
on a journey of self-acceptance. Join
the girls, as well as the gorgeous
Shenay O’Brien, and find out how
dirty 30 can be. TM
Dreams
A show about two people with similar
ideals, chasing their dreams. A very
emotional show that brought a true
story to life. The show moved me with
its message that laughter is timeless
and dreams are forever. TB
Dr Stef’s Sidesplitting Hypnosis
This unpredictable, fascinating show
will have even the sceptics riveted. Dr
Stef is a master in his field, eliciting
crazy responses from those under
his spell. It will have you in stitches.
TVO
Fabric of the Universe
A stunning installation piece which
engages the tactile senses and childlike imagination of the audience,
or rather – audience participants.
There is the possibility to focus on
the visuals, the act of making, the
sensations, or conversation in a
calming space, and all have the
possibility to transport you. Be aware
that some climbing and crawling is
required. MKM
Fabulous Nothing
This brilliant and witty piece explores
human thought and inspiration. With
a clowning style, this talented cast
personifies a writer’s thoughts when
writing a play. This performance
showcases a marvelous array of
costumes and characters. As the
fabulously absurdist play turns
into nothing it epitomises its name:
Fabulous Nothing. TN
Falling off the Horn
Some stories can tell themselves
without using words at all – this is
one of them. Poignant, powerful,
funny and deeply unsettling. Although
xenophobia may well be flavour-ofthe-month at Festival this year, there
is nothing twee or preachy about this
piece. A remarkable performance. LG
Fantastical Flea Circus
The Duchess and the Doctor
entertain and enthral their viewers
with an imaginative performance.
Their friendly banter creates a fun
atmosphere. A hilarious, pun-filled
act that catches the attention of
the young audience with humorous
songs and clever rhymes. ZL
Father, Father, Father!
A highly-enjoyable physical theatre
piece which engages the audience.
The cast provides an entertaining
performance, feeding off of each
other’s energy to make for an
unpredictable audience experience. If
you’re looking for something different,
then this is it. DM1
Fleurs de Silence
Mamma Roma tells us a strange
story about two beings from another
world. She guides the audience
through the story by playing her cello
and singing in Italian. Her beautiful
music varies from a Bach minuet
to a Sardinian folksong, a slightly
macabre Tarantella and other Italian
songs. SL
Florence and Watson and the
Sugarbush Mouse
Long-time Festival comedian
Rob van Vuuren and wife Danielle
Bischoff turn their vibrant talents to
interactive junior educational drama
as they introduce their audience to
diverse South African wildlife and
flora. The energy, enthusiasm and
humour is infectious; the audience
was charmed. MW
For Colored Girls Who Have
Considered Suicide/ When the
Rainbow is Enuf
Authentic and relevant monologues
combined with dance and music.
Originally American, and the second
play written by a black woman to
feature on Broadway, this play is
Africanised to perfection. A real and
heart-wrenching touch on global
world views of women and the
burdens, especially black women,
carry so gracefully. There is power in
this unity. LS2
Ghost Story
This dark, unsettling psychological
drama is about a man tormented by
his past and haunted by demons.
He tries to make some sense of his
life and the choices he has made.
Although it didn’t have me on the
edge of my seat, it has given me
much to ponder. TVO
Gluten Free
Comedian Nkosinathi Maki takes his
audience on a hilarious ride through
the hazards of dating a white girl, as a
New Brighton (Port Elizabeth) township
boy with a gangster background,
now turned ‘coconut’ and living in
Observatory, Cape Town. SM1
Gug’ Othandayo Musical
A delightful and uplifting Xhosa
musical performed by a group of
pensioners. Through witty dialogue,
song and dance, one is left feeling
as though one is eavesdropping
on a conversation. Their voices and
harmonisation are a pleasure to
listen to and the background music
of the live band adds to the warmth
of the atmosphere. Truly inspiring.
NB1
Hairy Potter and the Stoned
Philosopher
A one-man comedy show that would
be enjoyed by Harry Potter, Game
of Thrones and Lord of the Rings
fans; any other viewer might be lost.
It cleverly brings those references
together to deliver some good
laughs, and underneath them a
valuable message. Although the link
to the Harry Potter saga might be
appealing to the youth, this is not a
family show. MM
show. SL
Is It Too Late
A jagged, disjointed and raw
performance. The key focus and
message of the playwright is illusive,
but the characters are full and vibrant
with great depth and charm. LAK
Ityala Lamawele
Ityala Lamawele, The Lawsuit of
the Twin, is about the importance
of language, history, culture and
traditions. Written in Xhosa, it was
first a novel, then a television drama
and is now a play performed by very
talented young actors. Be prepared
for an intense drama. PL
Jonny Boskak is Feeling Funny
A mesmerising and captivating oneman show. What an incredible way
to start Festival. Both deep, revealing
and laugh out loud witty. Poetic,
quick, raw, relatable and evidently
South African. A brilliant performance
exclusively for an adult audience. LAK
Kaditshwene
This is a celebration of cultural music
that emphasises how we should be
proud of our cultures. It was a very
entertaining show and we could
relate very well to it. It was great to
witness this performance. TB
Masechaba the Poetess
A fair performance with a strong
storyline but poorly executed. I felt
that it did not adequately capture
the harsh reality of poverty and
corruption as it intended. A decent
performance that has potential. PK
Kafka’s Ape
A brilliantly raw piece of physical
and spoken theatre, based on Franz
Kafka’s A Report to an Academy,
which evokes deep exploration into
the existential nature of being human.
Tony Miyambo delivers a powerfully
engaging show that will leave any
audience in awe. AM
Maybe, Baby, it’s You
This production displays the
challenges associated with love
and romance, which are seen in
various scenes. Each scene is linked
through various snippets of people
talking on the topic. The show has
lovely comedic moments and raises
concerns for anyone engaged in a
relationship. KN
Hatchetman
Musical show by three men playing
acoustic instruments. They wrap
their remarkable blend of three-part
harmony around an intoxicating brew
of original songs. It was a powerful
show which included folk, blues and
rock music. TB
Henrietta, with love
Henrietta, played by Lee-Ann van
Rooy, takes her audience back in
time to the return of her husband
from WW2. He arrives as a very
broken member of the Cape Corp
Battalion. Henrietta tells the story
of her family’s good times and
bad. Lee-Ann has wonderful facial
expressions and her singing voice is
amazing. AE
Kukuru
This is an absorbing dance journey
exploring transformation and renewal
on a minimalist yet atmospheric
stage. A continually regenerating
Tree of Life as a projected backdrop
reinforces the metaphorical
message. Excellent choreography,
lighting and music along with the
depth of the stage all help to create a
seamless unity. NB1
Home
This chaotic piece combines loud
sounds and a variety of movements
that are slightly difficult to follow
but nonetheless intriguing. It leaves
the audience disconcerted; having
to interpret it for themselves. Home
has the potential to be great, if it
had a clearer message and a more
straightforward delivery. MM
Langa Yanta – Monster Hunter
A humorous performance presented
by brilliant actors. They made
excellent use of their limited props
and managed to entertain their
audience. They combined the use of
puppets, fascinating costumes and
song to create an enjoyable act. ZL
I Am
A touching dance interpretation of
mental afflictions and maladies
as captured by the photographer
Christian Samson. Excellent
choreography along with the wellconsidered musical soundscape
was a great addition to a visceral
experience which visibly moved the
audience. NB1
I Came, I Taught, I Left
A fusion of classroom and comedy.
Oliver is a version of the classic
class clown as he narrates his
stories of being a Coloured student
in a former Model C school. His tales
provide humour about this former
South African school system. MS
Ingrid
This riveting production is a homage
to Ingrid Jonker. It is both exuberant
and sombre. Three women from
Jonker’s anthologies interact with
each other to reflect multiple facets
of her short life. Production is both
physical and poetic. Familiarity with
her work and her life would add to
appreciation of this outstanding
Maluju Zulu
A piece about Zulu wars, the name
Maluju means enough/peace. It is
a mixture of dance and music and
a showcase of Zulu culture, which
people from other cultures and
traditions can learn from. TB
Man and a Dog
Veteran actor Nhlanhla Mkhwanazi
is brilliant in this one-man multiaward winning play. He gives a
profoundly moving performance
in this production which speaks
to what makes us essentially
and fundamentally human – our
connectedness to other human beings
and man’s best friend. Well-deserving
of the standing ovation. SM1
Kontinuum
This was an absolute feast for
the senses. The music which
accompanied the clever sand artistry
was soulful with beautiful renditions
of well known South African pieces.
The two artists complemented each
other perfectly. This production
requires concentration and was
sadly a little shorter than advertised,
with a high ticket price, but the quality
was outstanding. TVO
How Did I Get Here?
What’s love got to do with humour?
Mojak makes living in South Africa
an experience for all to enjoy and
laugh about. The solo act is about
the coming of age in a country
that is incredibly diverse and oh so
humorous. PL
an individual’s life. It is circular in
nature ending where it originally
begun. The main actor and his
appropriately named counterparts
‘Tom and Jerry’ constantly break the
fourth wall, inviting audiences to take
part in their misadventures. CK
Life
Self-professed “de-motivational
speaker” Rob van Vuuren brazenly
brings humour to even the darkest
of subjects, and with a healthy
dose of cynicism to the light in this
excellent stand-up. With content
ranging from the trials of fatherhood,
podcasts and owning chickens, to
pseudo-inspirational posters and
meaninglessness, he appeals to both
toilet humour and dark wit. LG
Live Jukebox
This is the quickest way to end up
drunk from laughter - music and
whiskey shots. Kristy and Mortimer
serve up the most challenging yet
fun-filled musical contest that is
guaranteed to have you up and
dancing on your feet. Their musical
jukebox is alive and transports the
audience through popular songs
ranging from pop, rock, 80s and 90s
music. MS
Love Runs Out
A show that includes two plays,
Unveiling and Hit and Match, shows
how love can be a very hard thing
to find. Absurdity is brought out
in Unveiling, which works well to
highlight the tragicomedy in the play.
Both plays are satirical, which keeps
the audience entertained throughout
the performance. SM2
Loxion Story: UmaVusana
This Zulu comedy by Ayanda
Nondlwana is a hilarious illustration
of the impact poverty has in shaping
Milked voices
Choosing art as a career is not
always the easiest decision. Milked
voices is a mixture of music, dance
and jazz theatre that encourages
the searching of dreams, and
overcoming the challenges that one
can face as a young artist. It is worth
watching and a great contributor to
what Festival aims to be. PL
Mind Over Magic
An entertaining show featuring a
cocktail of hypnosis, mind tricks and
suggestion, hosted by a local talent.
Although the show lacks in energy
and pace at times, the magician
shows potential and the concepts
are interesting. An interactive, fun
time for the whole family – bring the
kids. NB1
Morwa the Rising Son
This one-man play takes us through
the tumultuous journey of a young
Motswana man as he struggles
to find his place in this world. The
musical accompaniment is ingenious
and well-suited. A very positive
response from the full house made
for a successful first performance.
TVO
Mpinga Mornings
A show is about one woman’s love
for her country and her memories of
the past. The performer captivates
the audience with her nostalgia,
her versatility and raw emotion.
With songs and imagery created by
the performer’s monologue, it is a
heartfelt and endearing performance
worth seeing. DM1
Mr Right Swipe
An excellent take on the
complications of modern day dating.
Luella Holland captures a number
of quirky characters extremely well.
Mr Right Swipe is an enjoyable
performance combining the drama
of dating and modern technology. SG
Msaki & Golden Circle
A deep and beautiful voice that
creates soulful melodies. Msaki has
an incredible stage presence and
the band, Golden Circle, is simply
amazing. This performance will be
something to remember for those
who enjoy thought-provoking music.
Be prepared for some self-reflection
and good fun. PL
My Choice
This bilingual performance follows a
family whose life is uprooted when
they learn their HIV statuses and
grapple with news of a teenage
pregnancy. The actor’s pain is
palpable throughout the show,
and this emotive performance is
memorable and heart-wrenching.
Note that despite being an
educational performance, it is not
suitable for young children. DM2
Narrative Dreams
A beautiful piece about the lives of
two South African boys from different
backgrounds as they struggle
with loss and identity, loneliness
and belonging. With fantastic
performances from both lead
actors and creative use of staging
and props, this is an engaging
educational production that can
be enjoyed by both parents and
children. MKM
Nine to Fiver’s Anthem
In this charged soliloquy, the spirited
actor delivers his views on this
little thing called time which has
us all enslaved. He gives a dark,
depressing portrayal of the working
class who battle to afford their debt,
outlining the adverse effects of their
sacrifices on their loved ones. TVO
Neo Motsatse in concert
This Gold Medalist is a superb
violinist. Motsatse is a mere 16 years
old and plays like a professional. She
has a lovely gentle touch to her violin
when needed but can also belt out
a piece. Motsatse is versatile in her
choice of music from the classics to
contemporary hits, not forgetting her
foot-stomping African pieces. We will
definitely hear a lot more from her in
the future. AE
Nkwekhwezana Cultural Group
The audience is treated to an
extravaganza of sound and dance.
The venue’s high ceilings only serve
to amplify the sound and make it into
a truly spiritual affair. The song and
dance convey a message of unity,
which makes the experience all the
more meaningful. BC
Nomakhisimisi The Pondo Comedian
Although the venue is not the easiest
to locate, once you find the Glennie
Festival Centre, the show is quite a
treat. Funny and culturally relevant,
Pondos and others alike will enjoy
the show presented as a skit, which
depicts how Pondo people would
react in certain situations. BC
Nombasa
Nombasa, guitarist and vocal artist,
brings together politics and love.
Two things that might seem far
removed from each other but are
equally important. The intimacy of the
space, Slipstream, creates a cosy
setting where she engages with the
audience in a special way. PL
One Zero One 777
The stories of Johannesburg’s heroic
firefighters are brought to life in this
charming and sincere performance.
Clever use of props and clowning
deliver many a chuckle while
authentic news footage provides a
necessary gravity and relevance to
the show. Promising performances
result in an enjoyable piece of social
theatre. WES
Oom Schalk, from the Heart
David Muller returns for his fifth NAF
and once again Oom Schalk is here
with his mampoer, hat and pipe to
tell short stories written by Herman
Charles Bosman. Captivating the
audience with his English/Afrikaans
mix, this is a hearty production that
will be enjoyed by young and old. KK
Opportunity
A multi-stranded dynamic dance
theatre production, performed
by seven highly skilled, emotive
dancers and a powerful poet. The
choreography was explosive and
intricate, the message profound
and it revealed the opportunities
we have, to find your true self,
the willingness to grow. This is a
fantastic performance which I highly
recommend. LS1
Out of Bounds
Well-deserved standing ovation
for two talented actors. They
convincingly change characters
every few seconds without confusing
the audience. It’s a story about Lal, a
boy growing up first in Inanda, then
in Phoenix. Actors gently poke fun at
family members, and Lal eventually
comes to terms with who he is and
where he’s from. SL
People Beneath Our Feet
A topical piece exploring the impact of
war on faith and relationships. Cutting
dialogue examines how greater
access to media has failed to create
CONTRIBUTORS
AE
AK
AM
BC
CDT
CK
DM1
DM2
HM
IL
KD
KK
KN
LAK
LG
LG1
LH
LN
LS1
LS2
MKM
MM
MS
MW
NB1
NB2
PK
PL
SG
SL
SM1
SM2
TB
TM
TN
TVO
VG
ZH
ZL
ZM
Adrienne Ehrich
Amina Kouari
Andrew Marais
Blessings Chinganga
Cari Du Toit
Chizi Katama
Danielle Mackay
Dominique McFall
Hannah McDonald
Ilza Lang
Kyra Davies
Karen Kouari
Kuhle Ngqezana
Lee-Ann Knowles
Lucy Grinker
Liesl Griffioen
Leila Hall
Lwando Ntenda
Lenin Shabalala
Lauren Stanley
Madison Melton
Muthoni Mundia
Mananya Senona
Michael Whisson
Niki Botes
Nabo Binase
Pumla Kalipa
Philiswa Lila
Sonja Gunn
Steven Lang
Shirley Marais
Sheyvonne Mainika
Thembani Buka
Thandi Matyobeni
Tyler Naumann
Tanya Van Onselen
Vangile Gantsho
Zandile Hlabangane
Zoe Lang
Zintle Mthana
more empathy in those who have a
window into conflict. At times the topic
felt too big for the scope of the piece,
but it is nevertheless an engaging and
important performance. MKM
Plebs
A two-man performance with a mix
of comedy and music, and creative
use of unusual props. They take you
on a journey to try to discover how
to make a link between two things
that do not mix at all, which provides
great entertainment. TB
PoeticSoul
A good show, however, spoiled by a
27 minute delay. An innovative mix
of poetry and mellow jazz music,
PoeticSoul gives us spoken word
poetry backed by two talented
singers and four classy musicians.
It’s spoken-blues, sometimes with
a reggae rhythm and often with a
traditional African sound. SL
Poet.O.Type
Brilliant example of when writers
write thrilling plays. A mix between
the purist and the Slam/Spoken
Word culture. Billy Langa is pure
precision, while Mbali Malinga adds
sincerity to the masterful writing of
Jefferson Tshabalala. VG
Politrix Kurup
This was an hour of a poorlyresearched attempt at playing on
stereotypes. If you enjoy slapstick
humour, then give it a shot. The
saving grace is that no-one is off
limits: politicians, church-goers,
women, homosexual people. Just try
not to be offended. VG
Predicament/Ayeye
It’s encouraging to see dedicated
community theater, especially
when it’s filled with such emotional
charge. There’s definitely room
for improvement, particularly in
choreography and production, but
stay for the haunting scene around
the waterfall, led by the chilling
vocals of Siphokazi Gwazele. Worth
the support. VG
Private Parts
A medley of original cabaretstyle songs sung by four singers,
alternating as solo and backup
singers. The mood is mostly light
and playful, and the songs express
the complex world of young adults
today, touching on topics such as
homosexuality and unemployment.
Although the music is well
performed, the show needs some
dialogue, a story-line that ties the
songs together and affords the show
a more solid message. NB1
the
Pushmi Pulyu
A fun and hilarious performance
presented by four talented actors.
They grabbed the attention of the
audience and kept them enthralled
throughout. The story line is clear
and easy for the young audience
to understand and teaches a
valuable lesson in a humorous way. I
recommend it for the entire family. ZL
Raiders Spaced Out – The Moon
Rock Musical
An energetic and talented cast
bring the set to life, delivering a
stream of relentlessly funny gags
and quips. This year’s show is great
side-splitting fun for the whole
family. Whether you’re a Raiders
veteran or a newcomer to this
wonder of audience-involvement
theatre, The Moon Rock Musical is
recommended. KD
Rat Race
Imaginatively set and well-pitched
adventure involving a town mouse
and a field mouse whom he visits,
each learning much about the
other. The five-year-olds in the
audience were stirred, not scared,
and their minders were impressed.
Edutainment at its best. MW
Salt
This brilliantly performed, beautifully
conceived theatre piece depicts
the interplay between a psychiatrist
and his schizophrenic patient and
the slippery boundaries between
reality and delusion. Appearing at the
Festival for the last time, this multiple
award winning production is not to
be missed. SM1
Seshego Gospel Choir
Seshego Gospel Choir, the voice
of Limpopo, gave an energetic
and rousing performance to an
appreciative audience. African drums
provided a percussive backdrop,
and the singers filled the Guy Butler
Theatre with their polished vocal
exuberance. If you are a Gospel
devotee, be sure not to miss their
show. NB1
Sillage
This touching, thoughtful piece
centres on a mother and daughter.
It ventures into the complex turf of
the generational gap in white South
African families, in a nuanced way. A
thoroughly moving plot is propelled by
two brilliantly convincing actresses,
beautiful use of a minimalistic stage
set, and strong dialogue. LG
Sins
Each of the seven deadly sins is
demonstrated and personified in
turn in this enthralling and dark
masterpiece. A haunting soundtrack
and ingenious use of cloth and
projected graphics make it a cut
above the rest and an entirely unique
performance. The complex and
challenging choreography allows the
dancers to show off their sheer skill
and athleticism. LG
Six Inches
A well executed production. These
women wow their audience with a
thoroughly impressive and totally
relatable piece. The chemistry
between them and their audience
was entirely unique; I’ve never
experienced anything quite like the
intimacy they managed to cultivate.
Well worth it. LAK
Staffroom
Jafta Mpye’s show opens the door to
the Staffroom, where the interactions
of school teachers are revealed.
The play highlights the reckless
nature of adolescents and young
adults, mirrored by the not-so-pure
intentions of some teachers. Eyeopening and compelling. AM
Stimela The Musical
A show based on the people who
work in mines, who describe what
their lives are like. The joy they
get at the end of the month is not
because they receive wages, but
because their wives will pay a visit.
The dances and music make for an
amazing, energetic show. What also
attracts me the most is that an actor
can portray different characters
so convincingly. A highlight is the
gumboot dance. ZM
Stuart Lightbody’s Sleepless
Dreams
This is an outstanding example of
the fantastic things a professional
can do with a deck of cards. Stuart
Lightbody boggles the mind and
mesmerises the audience with a
smooth and polished performance
that is somehow still very personal.
KD
Sugar Sugar
Based on a true story, Sugar Sugar,
tells of the very traumatic events
surrounding the sugarcane killings of
13 women in KZN. Such productions
are needed but they can also trigger
emotional reminders. The drama is
musically driven with visual imagery
that provides an honest reading of
the sad events. PL
Sweetie Darling
A sweet one-man performance
that deals with the modern day
challenges of finding love. Executed
with a handful of humour, this hearty
performance will keep you on the
edge of your seat as you ponder
whether love stories have to have a
happy ending. PK
Sweet Phoebe
Very strong performance from two
internationally acclaimed actors as
they take us through a stressful time
in their relationship. Personally, the
storyline did not have me riveted, but
I appreciate the passion with which it
is delivered. One of the more serious,
dark comedies at Festival this year.
TVO
Tease
Morake and Frost fearlessly weigh
in on the subjects of sex and sex
toys, and they do so with a level of
understanding, sophistication and
professionalism rarely seen in this
relatively new and thrilling genre.
Tease will titillate for sure. This show
is flippin’ brilliant; my girls must see
this. LAK
The Best of Rob van Vuuren
As unashamedly offensive and funny
as always, Rob Van Vuuren refuses to
hold back on his audiences with this
show. Although somewhat clichéd
at times, Rob’s in-your-face style of
humour will definitely make for a
laughter-filled night. AM
The Bloem-Boykie Diaries
The boy from Bloemfontein, standup funny man Carl Weber, tells his
own story of what it meant to be a
Coloured teenager during the early
nineties in the conservative Free
State ‘city’ of Bloemfontein. He keeps
you laughing – and squirming –
convincingly avoiding being cynical.
SM1
The Brothers Streep: Same Streep
Different Day
A fun and enjoyable, entertaining
offering from the Brothers. It is one
of three shows they have brought to
Festival this year, tripling our musical
comedy options. Undeniably good
guitar skills accompany clever and
witty lyrics for a sampling of their
unique comedy - good fun! LAK
The Brothers Streep: Stand-Up
Musicians Plugged
This musical show is a fun,
interactive experience for all ages.
Each brother brings something
unique to the performance, creating
a light-hearted atmosphere in which
the audience laughs as much as the
performers. With original music and
subtle puns, The Brothers Streep’s
musical show is worth a watch. DM1
The Cloud-Catcher
An entertaining production for young
Festival fans. Buhle needs to save
the world from an extreme drought
so she builds a cloud machine with
help from the audience. Does she
save her town and the world? See it
to find out. AK
The Dark Ages
Tyson Ngubeni has the crowd
laughing as he talks about his
daily experience of skin colour. He
tackles xenophobia and the politics
alongside it. His ability to use a wide
variety of facial expressions, accents
and tones of voice are all part of
what makes his comedy stand out.
MM
The Incredible Journey
Three very talented young actors
fantastically explore the schoolyard
adventures of the protagonist,
Tommy. Their tremendous use
of physical movements and
phenomenal voices bring excitement
and childlike magic to the stage.
Their quirky and eccentric characters
bring humour to an alive and
wondrous stage. TN
The Graveyard
The complexities of family dynamics
are unravelled in this relentlessly
intense drama as it switches
between past and present narratives.
Centred around the basement of the
family home, it is often amusing and
profoundly human. Well deserving of
a standing ovation. LG
The Full Morty
Mortimer gives his own take on what
he describes as “the South African
man”. This testosterone-filled show
keeps the audience thoroughly
entertained. His musical talents
and hilarious jokes transport you.
Mortimer has a musical talent that
compliments his comical stories. MS
The Last Laugh
Top comedians come together to
end the evening on a high note of
laughter. Each act will leave you in
tears and at the edge of your seat.
They provide a variety of jokes while
interacting with the audience. These
are some of comedy’s best acts. MS
The Light House
A delightful children’s play about two
best friends shows what it means to
keep a promise. Gordon waits every
day for his friend Sailor to come
back from the sea for his birthday as
promised. Children and parents will
enjoy this adventurous production.
AK+CDT
Thenx Presents Aza-Nya is Five-to
A young, fresh and politically
incorrect take on the current
situation in South Africa. Skits are
skilfully used in an entertaining
manner and nobody is safe from
being exposed, from the Guptas to
blessers. Definitely underrated and
worth seeing for thought-provoking
entertainment. BC
The Oxford Imps
This astonishingly brilliant troupe of
improv comedians take relatively
mundane suggestions from the
crowd and create skits of comedic
genius on the spot. Devoid of lulls,
this incessantly high-energy show
demonstrates the wit and theatrical
prowess of a highly recommended
group of performers. LG
The Plothole
Two Cape Town comedians give an
exciting, fresh approach to comedy.
With constant breaks of the fourth
wall and a plethora of home-grown
jokes, it will have you and your tannie
laughing out loud. AM
The Mating Game a.k.a Body
Language 2
Gaëtan Schmid is back; and thank
goodness for that. With his hilariously
funny ‘lecture’ on the mating rituals
of man we all wish we had him for
a biology teacher. Excellent use of
various forms of multimedia keeps
the audience rolling in the aisles. KK
The Saver Popsters
A spirited performance with a
positive message. Perfect for
children and parents to use their
imaginations while enjoying a journey
with a prince, a ghost, a witch and a
vampire. May be a bit slow at some
points, but the catchy songs make for
an interactive treat. VG
The Screams of Tatiana
The narrative in this performance
is difficult to follow as it attempts
to cover themes of sex, religion,
marriage, politics, alcoholism,
murder, rape, and intimate partner
abuse. The actors’ use of formal
language seems out of place. Note
that despite the show receiving a PG
rating, it is not at all appropriate for
family viewing. DM2
The Search for Signs of Intelligent
Life in the Universe
What is the meaning of life? Actress
Michelle Douglas keeps the audience
captivated by the complexity and
depth of this spectacular show. Her
performance is as brilliantly intricate
as the subject matter. It may feel a
bit weighty at times but the sound,
lighting and eccentric characters will
keep you engaged. TM
The Silence
This gut wrenching production
directed by Kwena Joel Tlhako is a
vivid description of lust, abuse and
domestic violence. It captivates and
simultaneously keeps the audience
holding onto their seats, desperate
to see the situation rectified and
closure restored to the victims. Relief
eventually ensues for the mother and
her child but in a very unpredictable
way. CK
Warrior Green
This heart-warming production
shows the world as a desert with
only one colour, Red. It focuses on
citizens becoming either warriors
or keepers who set out to find ‘The
Green’ (vegetation) which had
vanished. The Chief Warrior Ren finds
The Green which has been planted
by Sal and has to fight to protect
it instead of using it for fuel. Good
environmental message. AK+CDT
The Time of your Life
Enjoy a walk down memory
lane accompanied by a perfect
soundtrack. These two talented
actors take us on an unexpected
roller-coaster ride of emotions, from
the happier times of the 70’s and
80’s to the more sombre memories
of famous people, loved and lost over
the years. Highly recommended! TVO
Waterline
Centred on themes of greed and
self-interest, this delightful piece
about the struggles of a community
plagued with a water crisis ranges
from humorous to heartfelt. The
strength of Waterline is the quirky
use of masks, allowing movement
to take the forefront in conveying the
subtleties of emotion. LG
The Wonderful World of Fok’s Park
This lovely production deals with the
problems of parental drinking and
its effect on a child’s development,
all wrapped up in Absurdism and
Existentialism. Although seemingly
simplistic in nature, with its setting
of a childish presentation, the play
explores difficult and important
issues. KN
Watts Up With Streep: A Panel Show
The Brothers Streep and Derek Watts
go head-to-head in a panel-cumgame show where the best moments
come from spontaneous riff-offs
between the comedy duos and their
show host. Audience participation
and on the spot song composition
make it a good laugh. HM
Thunzi
A journey in search of talent, the play
begins with traditional music that
introduces you to the journey of a
young girl with a voice of the gods.
With great gestures and very limited
props the show runs over 30 minutes
of blissful lessons and entertainment.
SM2
Undesignated
An entertaining performance of the
VhaVenda and AmaSwati cultures.
An African musical about two tribes
uniting in marriage. The piece
explores conflicts around family, love
and forgiveness, while providing a
vibrant musical performance. MS
Unfair Lady
Despite its slightly slow and awkward
start, this one-hour show will feel
like fifteen minutes. The hilariously
over-the-top Unfair Lady tackles
serious issues surrounding the
representation of women in the
media, while being fun and lighthearted. The performers seemed to
enjoy themselves as much as the
audience did. TM
Unforgettable
A charming hour of nostalgia. Derek
Cuenod performed favourites
from throughout the 20th Century,
covering artists like Frank Sinatra
and Nat King Cole. Interspersed
between songs, Cuenod provided
interesting titbits about the music’s
history and his own memories. His
passion was infectious, and the
audience, an older crowd who grew
up with the music, clapped along
with enthusiasm. MKM
Vat en Sit
A brilliantly acted one-woman play
about the cycles of violence in our
society. This violence seems to be a
product of our own vulnerabilities and
how we mirror the dislocated-ness
of our society, at times betraying
those who should be protected and
nurtured, but aren’t, because the
protectors themselves come from
places of violence and neglect. SM1
Vlower
A wondrous show, rich in humour
and metaphor, is presented by three
performers worth their weight in
golden giggles. Vlower oscillates
from flirty to awkward with excellent
comic timing, representing the
tumultuous and confusing phase just
before “the first time” with uncanny
precision. Supremely entertaining
from start to finish. KD
Violet Online
A quirky one-woman act which
takes us on a journey through the
highs (and more often) lows of
online dating. A recently divorced
mother of teenagers tries to get her
love-life back on track and takes
the audience on her comic, cyberjourney: there is a serious dater, a
serial dater and the tinder guy – but
will she find Mr. Right? Go see for
yourself. NB1
We Didn’t Come to Hell for the
Croissants
Hilarious! All the deadly sins
effortlessly and so comfortably
explored by two incredible actors
and their kamishibai (Japanese
paper-drama box). The accomplished
timing, gestures and voices draw
you into a riveting show that is
guaranteed to keep you entertained.
Don’t bring the kids along. Not
suitable for sensitive viewers. LS2
Whistle Stop
A poignant crossing of two paths,
a man a woman and a bench. Two
explosively passionate and intriguing
actors play out the awkwardness of
a burgeoning potential romance full
of wit and over-thinking. Turbulently
funny. AM
Who’s Your Daddy?
Chris Forrest explores his journey
to fatherhood, from the pitfalls of
‘trying’ to the exhausting first months
of parenthood. Though heavy on
“battle of the sexes” style jokes that
might not sit well with everyone,
Forrest nonetheless brings energy,
honesty and originality to a familiar
topic. Recommended for parents and
parents-to-be. MKM
With/Hold
A gripping performance that evokes
emotion through jarring physical
movements, spine chilling vocals
and an unconventional setting. A
performance that is worth watching.
PK
Women’s Liberation
Emotionally charged narration
of women’s involvement in South
Africa’s liberation struggle.
Impressive acting, singing and
dancing. Very clever use of a sparse
stage and excellent choreography.
Not for sensitive viewers - be
prepared for a raw and relentless
expression of pain, anger, suffering
and defiance. LH
Women thou art loosed
This Xhosa production tells the
stories of four women all dealing
with feelings of abandonment and
disappointment caused by those
closest to them. They must then
find the strength to survive. Though
certainly a fairly kitschy message
and conclusion, all the actresses
give strong performances. Powerful
imagery is mixed with humour and
energy – a real crowd-pleaser. MKM
You Suck: And Other Inescapable
Truths
This performance is a hilarious
throwback to the adolescent angst
and awkwardness which we have
all experienced. Klara van Wyk’s
character, Pretina, is an Afrikaans
teen trying to adapt to her new
cliquey English high school, and
shares amusing anecdotes about her
hip-hop achievements, the school’s It
Girl, Sarah Walker, and musings over
her crush, Jonathan. DM2
mail: cue-editor@ru.ac.za
eleine Chaput
Photo: Cue/Joshua Stein
Photo: CuePix/Mia van der Merwe
Food Bites
Oysters:
Chelsea Haith
O
/
ue
:C
oto
Ph
M
eg
an
Ke
lly
ysters are touted as an
aphrodisiac and are
marketed as luxury goods.
They are supposed to be
considered an extravagant
indulgence on a hot date.
However, a cold oyster sliding
down your throat on a warm
Grahamstown afternoon at
the Festival could be just what
you need to lift your day.
Surprisingly refreshing
in their cold sea-watery way,
oysters are usually still alive
when they enter your mouth
an excuse
for Tabasco
– though they do not remain
so for very long. Vegetarians,
heed this warning.
Tiffany van Rooyen travels
through South Africa all year
round selling oysters and
seafood at festivals. “The
secret is that they are frozen
closed and then, as they are
ordered, they are defrosted in
cold water,” she says. These
oysters come from a farm in
Sodwana Bay and are sourced
through a wholesaler in
Plettenberg Bay.
What most people object
to is the texture, which is soft
and fluid. The oyster jiggles
in the shell as I tap Tabasco
sauce into it, squeeze the
lemon over it and tip my head
back to pour the small mollusc
into my mouth. Velvety
and chilled, oysters have a
forgiving centre that needs
almost no chewing. Because
they don’t have a distinct taste
of their own besides the salt
of the seawater they are kept
in, the Tabasco and lemon are
necessary – in my opinion – to
enhance the experience.
You can find these cold, fun
treats at the Calamari and Fish
stand in the Village Green for
R12 each.
A breath of fresh air
Review: Guy Buttery & the
Odeion String Quartet
Dylan Stewart
Cue specialist writer
A
Guy Buttery performs in the Thomas Pringle Hall. Photo: CuePix/Megan Moore
project that has
been in the pipeline
for six years came
to fruition on Monday
night as Guy Buttery
performed alongside the
Odeion String Quartet
for the first time. The
result was a poised
performance that brought
out the serene side to
Buttery’s music. Buttery
showed his masterful
finesse on the guitar, as
well a couple of tasteful
cameos on the mbira,
while the Bloemfonteinbased string quartet
brought a quaint depth to
Buttery’s compositions,
with additional string
arrangements written by
Chris Letcher.
Beginning with a solo
piece, Buttery cut out
a calm figure at his 11th
National Arts Festival,
chatting and laughing with
the audience in between
his ethereal compositions.
His virtuoso ability draws
together percussive and
melodic styles that show
a pedigreed guitarist who
has been influenced by
musical varieties from
around the world. Buttery
draws sounds and rhythms
from his guitar that are
unique to his own abilities.
Such quality yields
standing ovations.
The incorporation
of the string quartet –
including two violins
(Samson Diamond and
Sharon De Kock), a viola
(Jeane Louise Moolman)
and a cello (Anmari van
der Weshuizen) – allows
the music to breathe,
bringing a more expansive
quality to Buttery’s music.
Not wanting to hog the
limelight, Buttery left the
quartet to its own devices
for a few minutes as they
performed a piece written
by the masterful Phillip
Glass.
As may be expected,
the addition of the string
quartet brought a more
conservative, classical tone
to Buttery’s more worldly
jazzy creations. In this
regard it may be suggested
that a dash more daring is
to be expected from an act
associated with an artist
of such world-class calibre.
Buttery confessed that
it was only last Monday
that he first met the
Odeion String Quartet;
A
performance of
such a
harmonious
nature is greatly
appreciated in
the midst of the
turmoil of Festival.
perhaps as they begin to
connect musically on a
personal level, the organic
and passionate potential
of the music will begin to
shine through.
Nevertheless, a
performance of such a
harmonious nature is
greatly appreciated in
the midst of the turmoil
of Festival. With the use
of wood and strings, the
audience at the Thomas
Pringle Hall was taken
through a pristine forest
where they bore witness
to – on the one side of
the path – Guy Buttery’s
worldly mastery and – on
the other – the voluminous
qualities of a professional
string quartet.
The teacher you wish you had
Adriana Georgiades
C
omedian Dalin Oliver wasn’t
meant for teaching. His twomonth stint as a substitute
teacher at his former school Wynberg
Boys High in Cape Town was not exactly
successful. He recounts an incident
where a student offered to set him up
on a date with his cousin, and a cheeky
remark from another who told him that
“it’s good you left teaching; you never
really knew what was going on.”
Despite this, he enjoyed the rapport
he had with his students, which was
based on banter but also on mutual
respect. This has informed his comedy
performance I Came, I Taught, I Left,
currently in its final run at the Festival.
I get a taste of this banter when I ask
him what he does in his spare time. “I
sit down with Cue journalists who try to
meet me at the wrong coffee places,” he
fires at me.
A sports presenter by day and a
comedian by night, Oliver spends his
free time playing social football and
cricket, running, hanging out with
friends and frequenting comedy clubs.
He has also decided to start reading
more, and is currently reading Jab Jab
Jab, Right Hook by Gary Vaynerchuk.
“I’m going to Google the author right
now because I want you to read it,” he
says.
As we stroll through the rows of
market stalls on Village Green, Oliver
tries on an Angry Birds beanie, saying,
“This is how to keep a bald man warm
in winter.” He tells me about his
goddaughter, Sofia, and jokes about
being a terrible godfather because he
can’t remember her age (he thinks she’s
three). As a self-confessed chocoholic,
he believes that life is bad so we might
as well indulge.
He is grateful that comedy allows
him to work with his heroes and admits
to being slightly star-struck by the likes
of Stuart Taylor, director of I Came,
I Taught, I Left. More seriously, he
is easy to talk to and exceptionally
friendly. Oliver rewards Tony, the
carpet salesmen who allowed us to
use his store for a photo opportunity,
with free tickets to his show. He tells
him, “If you pop in you’ll find out
why I look Jewish but I’m not, why
I look White but I’m not, why I look
like Vin Diesel but I’m not.”
I Came, I Taught, I Left,
Bowling Club, today, 2pm
Dalin Oliver is a
stand-up comedian
performing in I
Came, I Taught, I
Left. Photo: Cue/
Megan Kelly
Do you
believe in
magic?
Stuart Lightbody
Photo: CuePix/Aaliyah Tshabalala
Review: Stuart Lightbody’s Sleepless Dreams
Adriana Georgiades
W
hen I hear the word magician, I think back
to childhood birthday parties where a
man named “Tricky Trevor” made balloon
animals and pulled rabbits out of hats. Going to see
an illusionist was not at the top of my Festival to-do
list, and so when my friends came home raving about
Stuart Lightbody’s Sleepless Dreams, I didn’t see the
appeal – until I went for dinner at The Long Table. He
was there, and watching him perform card tricks for
fellow diners piqued my interest in his show.
Now my brain is jumbled.
He opened his show with the words, “The world
is full of strange wonders and wonderful strangers.”
By the end of the show we were no longer strangers,
connected by our mutual amazement and disbelief at
what we had watched unfold.
Lightbody did not saw a woman in half or escape
from a locked box. His show simply comprises of card
tricks. Gasps of awe sound throughout the room as he
reveals the exact card an audience member is thinking
of, or rearranges cards in perfect order without
touching them. He even does some sleights of hand
blindfolded. It’s hard to describe what he did; this is
where the phrase “seeing is believing” applies. Some of
his illusions are so uncanny that you’re left wondering
if he can actually read minds. It’s the only explanation.
By the end of the show you will be left
contemplating the existence of magic and believing
that maybe there’s still hope for that Hogwarts letter
after all.
Stuart Lightbody’s Sleepless Dreams,
Princess Alice Hall, today, 4pm.
...this is where
the phrase
“seeing is
believing” applies.
Small town inspires
expanse of creativity
Adriana Georgiades
A
mong the stalls in the Village Green
selling vintage clothing, quirky T-shirts
and eccentric flavours of fudge is Mind
Shana, an artist who sells attractive acrylic
paintings.
The vibrant colours and expressive paint
strokes of his pop-expressionist works
capture the essence of life in the small
town of Middelburg, where he lives. All his
paintings are based on photographs he takes
of the people living in his town. Simple
daily routines are depicted: women carrying
A portrait of Nelson Mandela by Mind Shana.
Photo: Cue/Megan Kelly
shopping bags, a man on his bicycle, a
mother speaking to her young sons.
“It’s not just a picture but a moment
in time that has a story to tell. I normally
enjoy bright colours because they describe
the emotion of happiness,” says Shana, who
studied accounting.
On his decision to pursue a career in
art, the married father of three says it was
initially a struggle. But Shana never lost
sight of his goal. “For an artist, hope is
what drives you. It can help you lose sight
of your losses and not let you see yourself as
failure,” he says. “Small glimpses of success
here and there is what keeps me going.”

Full Edition 7 for WEB-1

Transcription

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