<<Warning: this show features strobe lights and deep base>>
When a show brings out all the technological tricks including violent strobes and deep bass too big for the venue before the story it tells has the time to stretch its wings and prove its fire, be afraid, be very afraid. Chances are, under these circumstances, said wings will not get their chance to flex and the banging and crashing of techno-boosts will become assaultative. This is the first impact of Robert Hobbs in Break Your Face, a violent and somewhat raw tale of love and truth, Beijing and pandas, which casts a rich spoof with a steady hand on the whole culture of motivational speaking.
Taking you from a depressed former bouncer in a Boksburg night club through to a five star restaurant in China and love and death amongst the petals and pandas, this is a piece enhanced by the kind of clowning performed by Klara van Wyk in You Suck! And Other Inescapable Truths, where the pathos of the central character is performed with devastating accuracy, leaving you feeling alive with a sense of moral queasiness and cringing in your seat.
Brett is the main character, drawing as he does, deeply into the white South African jargon, asides and idiosyncrasies. We get to meet a stereotypical reflection on Chinese culture and explore the gnarled and oft frot underbelly of what it takes to be a bouncer in a nightclub as we get on board a non-stop in your face array of an understanding of what the face means and does for an individual.
Certainly not the best work on the part of either Viljoen or Hobbs, this work mashes together our culture of violence, with our tendency towards taking self-deprecation to its extremes. Spoofing traditions of performance and dignity in a context in which hearts get broken, the piece places audience members in limbo on stage, baseball bat in hand, and nothing to hit.
In short, it’s a messy little show with a strong premise that is overshadowed by too much bombast and loud technology. As a result, the nub, value and fire of the piece itself are sorely compromised. Hobbs performs valiantly, but the material is not on his side. And the truly tragic image of a grown man in a panda onesie losing his temper on the phone is not something you can erase from your memory with enough rapidity.