Peep show psychiatry

wings

THE unspeakable horror of loss: James (Mncedisi Shabangu) and Paul (Andrew Buckland), caught in time with Sarah (Jennifer Steyn).

THE INDIGNITY OF mental illness is never an easy topic to extrapolate on stage. It can be complicated by drug-induced fantasies and illogical behaviour that fit and don’t fit into the world. For a theatre work being presented to an ordinary audience – and not students experimenting with stretching boundaries – the nub of the challenge is to represent mental brokenness with both plausibility and dignity, not bruising the one over the other. By the end of this piece, it feels as though you’ve been privy to something that is both too ghastly and too private for it to be staged in a theatre.

The Inconvenience of Wings is a tale woven loosely around the magic realism of a short story by Gabriel García Marquez in the 1950s, The Man with Enormous Wings. It is performed with searing aptitude by an incredibly strong cast, against a beautifully functional set, that is punctuated with doors and windows, nuances and keyholes, but you leave feeling uncomfortably manipulated and morally grubby, if not broken and frightened.

Cast in an inverted timeframe that takes you from 1995 all the way back to 1961, in a very linear way, it reflects on the relationship between Paul (Andrew Buckland) and Sarah (Jennifer Steyn), offering a steep trajectory into the very heart of brutal loss and bipolarity. It touches the way in which trauma can reach so deeply into one’s soul that it can change the workings of one’s personality irrevocably.

And while the topic shouldn’t be taboo, the handling of it in this work is unrelenting: the intensity doesn’t let up for one second. Paul’s an architect and his friend James (Mncedisi Shabangu) is a professor of psychiatry, and a foil for the story to weave in political assertions, but also a sounding board for both Paul and Sarah’s challenges. We never do see Sarah in a state of mind that seems calm or lucid. The focus on nearly thirty years of a relationship highlights only the bad and mad areas, making you in the audience feel as though you are witnessing the enactment of a psychiatric case study, evoking Victorian traditions where aberrations were staged in circuses. It also perplexes you as to why they get together at all.

This is a pity. Love and death, witticisms and hilarity shouldn’t be excluded from a tale of insanity. If you watch Miloš Forman’s One Flew Over the Cuckoo’s Nest (1975), you understand the horrendous context of the world and its severe indictment of institutions for mental illness at the time. But while you’re crying and engaging with the characters, you’re laughing: not at them but at the world in relation to them, and at the niftiness and elegance of the writing.

There’s no laughter in The Inconvenience of Wings and the tears you shed are ones of helplessness  against the lurking monster of manic depression and the drugs that can make it better or break the whole entity. The snippets and snatches of poetry in the text are so beaten about by the context of the dreams conjured by mental illness patients that the magic they may contain is blunted and the fire dulled by your understanding that they’re the ramblings of sick people.

A tale of cup cakes and addiction, angels and traumatised children, this is a tough play by all accounts, and one not suitable for just any audience member.

  • The Inconvenience of Wings is written and directed by Lara Foot. Featuring creative input by Mannie Manim (lighting), Patrick Curtis (set) and Birrie Le Roux (costumes), it is performed by Andrew Buckland, Mncedisi Shabangu and Jennifer Steyn in the Mannie Manim Theatre, Market Theatre complex in Newtown, Johannesburg, until July 16. Call 011 832 1641 or visit markettheatre.co.za
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To be a man

karelseoupa

FLAWED dad, precious grampa: Tobie Cronje plays Karel Brink.

IT IS RARE for the ingredients of a play, the technique and the outcome to resonate with such a sense of shattering potency that it touches you at the core, from beginning to end and doesn’t let go. Karel se Oupa is a new play by the creative team that produced the inimitable Dop, early this year and a kind of kitchen sink drama in Afrikaans, it’s easily the play of the year – so far. Wading through all the what ifs of family business broken by violent crime, nuanced problems, love that is difficult to utter and illness, it’s a work that could easily have skittered into the terrain of maudlin.

It doesn’t ever – this has as much to do with the crispness of the text, the well developed nature of the characters and the impeccable performance of the cast, to say nothing of the splintering silences into which the piece is embedded.

Veteran performer Tobie Cronjé who has earned his stripes on stage in recent years in comedy and pantomime, in this demanding and incisive role confronts the Calvinist values of hypermasculinity as an elderly farmer, Karel Brink, who is also a cardigan-clad grandpa and a father.

He is supported by his maid, Emma (Esmeralda Bihl), a woman who has seen the Brink family through times of horror and deep sadness, but also through the love and humour of the questions about life, the universe and everything that little boys and girls ask the nanny as they’re being taken through their daily rituals. She’s a magician of practicality and can wipe her own tears, bake bread, make coffee, pray to God, sing and feed the dog while she navigates between difficult men who cannot say things they must to each other, because of who they are.

Neels Clasen with devastating finesse plays the long absent son, Karel Junior. And the child in the work, played in this particular performance by Ruben Lombard (8), is electric in his ability to embrace a nuanced and difficult role.

It’s a tale of would haves and could haves and unspoken love between siblings and parents, as it’s a work about regrets and snap emotional decisions. Embraced in its folds is the narrative of farm murders, the magic of flight and the silent life-changing scream that a single telephone call can bring, it is written in a tight and carefully honed Afrikaans that is understandable in its commonsense, even if you have but a smattering of it.

Karel se Oupa offers a critical, almost cruel, glance at the vagaries and vulnerabilities of ageing, peppered with loss, terrible surprises and the need to sweeten horrors so that you can tell them to a small child. It’s an immensely fine work focused on the mysteries of the kitchen, which is defined by its sense of balance and its ability to reinvent a sequence of events through different characters’ eyes, and thus turn the universe on the concept of separating an egg or kneading a loaf of bread.

  • Karel se Oupa is written by Retief Scholtz and directed by André Odendaal, assisted by Anel du Plessis. It features creative input by Kosie Smit (set and costumes) and Nomvula Molepo (lighting) and is performed by Esmeralda Bihl, Neels Clasen and Tobie Cronje, and two alternative child performers: Ian Roelofs and Ruben Lombard. It performs at the Barney Simon Theatre, Market Theatre complex in Newtown until July 2. Call 011 832-1641 or visit http://www.markettheatre.co.za

Lorca, butchered

Bloodwedding

BRIDE on a plinth: The sweetheart of one man, the passion of another, Carla Classen plays the central protagonist in Bloodwedding

BY ALL ACCOUNTS, the idea of Blood Wedding by Lorca conjures up a whole rich and gruesome terrain of achingly beautiful poetry, difficult emotional quandaries and an unrelenting tale of flowers and moons, sacrifice and tradition. It’s not clear why the direction of this production, Raissa Brighi chose to edit Lorca, but more so, why she chose not to hone her cast’s skills in articulation more tightly.

While Brighi’s introduction of African songs and traditional approaches to the idea of a wedding enhances the work, deepening it and giving it a rich local context, it is the cropping and changing in the work’s language which causes it to stutter and stumble – it’s not clear why more contemporary jargon have been at times inserted into the text: this mars the flow of language and forces the Lorca fluidity of form to lose shape and become humdrum, at times even comical.

Featuring some achingly beautiful moments, in the lighting and choreographic input into the work, this Bloodwedding is a very shouty affair with performers too lacking in the physical and contextual gravitas of the roles they embody. The mother of the groom, a fiery and fierce woman in the original text, who has lost her husband and her son, is played by Rachel Swanepoel, and while she works very hard at embracing the text and the gut-wrenching emotion, you can’t help but see her as a young girl. Has it to do with the physical presence of the performer and her body language? Either way, this young performer seems under-directed. Similarly with the father of the bride, Henri Strauss.

As the dialogue of the piece begins, your heart sinks: the piece begins with a fine and magnificently danced overture, one so powerful that you might have felt yourself  prepared to be watching a dance piece with no dialogue and a developed engagement with this text of family feuds, class issues and vendetta, through gesture and form. But no: the characters with their unmodulated voices maul the simple magnificence of the original.

Further to all of that, there are few things as damaging as a cellulitic bum cheek exposed erroneously in a dance move. The female dancers have their dignity inadequately taken care of in this work, which sees them wearing revealing underwear which detracts very emphatically from the main issue at hand. It is issues such as this that should have been more carefully addressed.

But as the piece unfolds, with the sensitive criss-crossing of lights that supersede nebulous and unfocused graphics across the space, something gem-like is still evident. There’s a choreographed fight sequence when the two husbands come head to head that will grab your attention and your emotions, and there’s an inspired use of the venue’s red brick walls that lend the piece a lusty bloody sense of reality. Not to forget an utterly superb an understanding of the malevolent and playful presence of the moon on a scooter that also redeems much.

The question needs to be asked, however, regarding the professional levels of this work. Yes, it was performed in the Market Theatre’s main theatre, which makes you believe that this is up there with everything else that has graced this stage, in terms of professionality. But it is acknowledged as having been produced by the Drama Department of the University of Pretoria. But what does this mean? The cast members and creative team are listed on the programme without reference to what year of study they are in, assuming of course, that they are students. Without such context, you must assume that they are professional. But, by the end of the work, you feel that this cannot possibly be the case.

  • Bloodwedding is written Federico García Lorca and adapted for this production by its director, Raissa Brighi with the assistance of Alice Pernè It features creative input by Eugene Mashiane (choreography), Baily Snyman (lighting), Jacinda Barker, Heleen van Tonder and Robin Burke (audio visual). It was performed by Carla Classen, Cassius Davids, MacMillan Mabaleka, Susan Nkata, Palesa Olifant, Henri Strauss, Rachel Swanepoel and Joffe Tsebe, at the John Kani Theatre, Market Theatre complex in Newtown until June 11. It will perform at Graeme College, during the National Arts Festival in Grahamstown on July 2 and 3. Visit www.nationalartsfestival.co.za

Mind the gap: an essay on elegant dishonesty

betrayal

AWKWARD reminiscences: Jerry (Tom Fairfoot) and Emma (Carly Graeme) meet in a pub. Photograph by Philip Kuhn.

IT’S THE SILENCES and gaps between words and the construction of the unspoken beat in this intriguing Pinter work, that lends it its potency and dramatic verve, but it is this potency mixed with extremely classy performances, an understated set and an unequivocal elegance that gives it the edge that keeps you focused. However, as the play reaches closure, you might question yourself as to whether there can be such a thing as just too much elegance and too many manners.

And as the name dictates, Betrayal is a tale of complicity and untruths. Of secrets and lies. And of revelations.  Emma (Carly Graeme) is married to Robert (Antony Coleman). She’s a gallerist. He’s an editor of a poetry journal. They have two small children.

And for a period of seven years, Emma has had a lover. He knows. Her husband, that is. She knows he knows. But does the lover know she knows he knows? Without the classic English understatedness, this narrative could descend into farcical humour, but it’s kept tight and succinct, demure and hilarious in its own capacity.

We meet Emma and Jerry (Tom Fairfoot) in a pub. They’re excruciatingly awkward with one another, but as they hem and haw and blurt out long sentences of memories of their friendship, and then retract them, you quickly realise this was no ordinary association. Love came into the mix.

But then it left.

This is a tale of how men and women dialogue over the deed of love, sex and relationships. It’s beautiful in its elegance, somewhat anachronistic in its costume choices – this is, after all, a period between 1968 and 1977 as the projection tells us – and the clothes the characters wear are a lot more refined than the period dictated. That said, the Bauhaus-style furnishings that quietly comprise the set are as fitting and as versatile as necessary: they’re just right.

One of the biggest challenges of a play of this nature is the danger of the work descending into blandness. Indeed, once you’ve figured out all the different levels of betrayal articulated from scene to scene, there seems little else, and the plot is exactly that – an unravelling of several intrigues. Looking at it in this capacity, the conclusion of the piece seems unsatisfying: but this is less a criticism of the work invested in it than a reflection of the original.

What happens next after the philandering partners have owned up? Why, that’s another whole story, you might suggest. Betrayal is an elegant, eminently watchable and utterly competent work to watch.

  • Betrayal is written by Harold Pinter and directed by Greg Homann. It features design by Homann (set) and Oliver Hauser (lighting), is performed by Antony Coleman, Jose Domingos, Tom Fairfoot and Carly Graeme until July 1 at the Auto and General Theatre on the Square in Sandton. Call 011 883-8606 or visit http://www.theatreonthesquare.co.za

Hypocrisy’s crowning glory

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A heady mix of irreverence, theatricality placed in a set simple in its magnificence, that is ramped up all the way and features contrivance pushed to the giddy hilt, Tartuffe is a tightly focused, beautifully choreographed tribute to Molière, which indulges in such an array of over-the-top shenanigans, you become embroiled in the madness and don’t want it to end.

Featuring actors physically large and small, from Vanessa Cooke as the maid Dorine to Neil McCarthy as Orgon, the beguiled father of the house, it’s an impeccable celebration of overstated gesture, eavesdropping and intrigue in the face of utter unabashed hypocrisy. A tale which enjoyed credence in the 17th century, it remains remarkably prescient in contemporary culture: Tartuffe (Craig Morris) is the charlatan smarmily secreted in the church’s moral values for his own benefit. He slips into the confidence, the heart and the intimate family values of Orgon, to almost devastating – but utterly hilarious – effect. But fear not, there’s a grim and sinister twist in the tale that lends it a devilish tone.

There are some strange anachronisms in the language:  the work was originally written in rhyming couplets and has by and large been translated as such in this version. This is a quality which sometimes causes the flow of the poetic metre to stumble and feel uncomfortable. Nevertheless the couplets that do work and the clarity of their articulation will hold you focused and keep you staving off your own laughter, because the hairpin turns of the plot need to be heard to be properly appreciated.

Capitalising on the physical attributes of her cast, director Sylvaine Strike works like a true caricaturist, making the simple gesture of walking up three steps into a sonata, and the act of crossing one’s legs a sonnet.  Indeed, Madame Pernelle, played by Morris is virtually all mouth, and her presence evokes Lewis Carroll’s Queen of Hearts, to excruciatingly funny proportions. Monsieur Loyal, the lawyer, played by William Harding, takes immoderate to another whole level with his size, his sausage and his utterly ingratiating quality which might call up characters such as Dickens’s Uriah Heep, in your mind’s eye.

The music, which represents a pastiche of sound and tunes from the 1920s, is, however, too heavy handed in its approach and it does tend to crush the scenes it infiltrates, jarring and bouncing off the venue’s walls at times. The heaviness of the sound is balanced with acuity with the madly flexible bodies of the cast, however, and this tale of hypocrisy and love, sex and trust is something you wont want to drag yourself away from.

  • Tartuffe is written by Molière, translated from the French by Richard Wilbur and directed by Sylvaine Strike. It features creative input by Sasha Ehlers and Chen Nakar (set), Sasha Ehlers (costume), Oliver Hauser (lighting), Dean Barrett (music composition) and Owen Lonzar (choreography). It is performed by Adrian Alper, Vanessa Cooke, Khutjo Green, William Harding, Vuyelwa Maluleke, Neil McCarthy, Craig Morris, Anele Situlweni and Camilla Waldman at the Fringe, Joburg Theatre, Braamfontein, until June 25. Visit tartuffe.co.za

Our mother’s dignity, at all costs

isithunzi

ME and my brother: Scelo (Sipho Zakwe) and Muzi (Musawenkosi Kumalo) in tandem.

WHAT WOULD YOU do if your mother was publicly humiliated by someone who you considered a friend? Would you want to kill him? Would you have the capacity to turn the other cheek? Would your impotent rage find another outlet? This is the central focus of Isithunzi, a powerful and important play about the complexities of respect, which headlined the 2016 Zwakala community theatre festival.

In 2008, a group of white Afrikaans-speaking students associated with Free State University played a series of appalling and humiliating pranks on black domestic workers employed by the university. The pranks were filmed and went viral on the internet, sparking seething anger across the board, raising and inflaming the race card, to say nothing of sheer respect issues. This became known as the Reitz Four incident, premised on the fact that the four whites who had enacted the humiliation, were from the Reitz res on the university campus.

Young playwright Sipho Zakwe, who plays the role of Scelo here has taken this narrative and run with it, focusing it on two young men, brothers, and the sons of one of the women subjected to having to drink the urine of white Afrikaans boys – amongst other revolting humiliations. The plot thickens: Scelo is a UFS student. His squash buddy is one Schalk van der Merwe, one of the boys responsible for the prank. Muzi (Musawenkosi Kumalo) is his brother, at home, the brother who made sacrifices so that his brother could be educated.

The dialogue about different responses to this scenario are tossed hither and yon in the work, with muscularity and passion. Featuring some exceptionally fine set and audio-visual decisions, the work is utterly riveting and will make you weep with anger at the crudeness of the behaviour and the iconic presence of the mother herself.  While the literalness of the violence – there should be a strobe warning in the theatre – and the predictability of the tale itself mar this work slightly – you know how it will end – it remains a very fine showcase of performative skill on our stages.

Thoughtful and angry, respectful and context-driven, Isithunzi is constructed with broad, yet sophisticated narrative tools. There is some wonderful shadow play details which infuse the piece with mystery and energy, enabling two performers to embrace a whole campus in outrage. With the use of simple costume changes and a grotesque coir wig, the perpetrators are referenced and caricatured, as are students on campus. The work reflects with mature astuteness the harsh realities confronting the poor, without being maudlin or self-serving, and is not difficult to understand if English is your only language. In short, it’s a work of its time, offering a strong voice into what matters.

  • Isithunzi is written by Sipho Zakwe and directed by Luthando Mngomezulu. It features creative input by Ntshieng Mokgoro (mentor), Omphile Molusi (dramaturge), Jurgen Meekel (audio visual), Thapelo Mokgosi (lighting), Shilongane Nkoana (set), Nthabiseng Malaka (costumes) and Ntuthuko Mbuyazi (sound), with DAC incubates Hlamalani Ntando Makhubela (lighting), Ratang Mogotsi (costumes), Mbali Silvia Nkambule (set) and Maggy Selepe (sound)and it is performed by Musawenkosi Kumalo and Sipho Zakwe, with voiceovers by Dawn Thandeka King, at the Ramoloa Makhene Theatre, Market Square, Newtown, until June 18. Visit markettheatre.co.za or call 011 838 7498.

Judge this man by his suit

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LOVE me tender: Philemon (Siyabonga Twala) with Matilda (Zola Nombona). Photograph courtesy The Market Theatre.

EVERY SO OFTEN, a piece of literature is crafted which is simply perfect – in its character development, in its narrative structure, in how the language fits together. Nadine Gordimer’s short story The Train from Rhodesia (1952) is one of those. As is the chapter in Tolstoy’s Anna Karenina about the horse. And Can Themba’s story The Suit, is another, unequivocally.

Every so often, theatre gurus get together to give theatrical life to a written masterpiece, and sometimes they get it right. It is, indeed, a true rarity for the performed version to meet the written version with such patent values of respect and artistry, that you must hold your breath when you watch it, because you know you are in the presence of true greatness. This happens in this version of The Suit, which has just enjoyed a Market Theatre season.

As you walk into the theatre, you are accosted on two fronts: the seating is arranged as though for a tennis match: audiences are ranged facing one another. This has been done before in different Market Theatre venues and it poses curious and somewhat unnecessary challenges on the audience.  And then, there’s a huge door as a part of the set. It dominates the work with a crazy kind of bombast that alludes to the French windows of a large house. It’s an effective entrance point to the tale, but poses an anachronism – the characters are living in Sophiatown in the 1960s. There are no big double doors in the lower middle income context extrapolated here. Further to that, there are some odd decisions which see the work’s text transposed in projection onto the work.

These issues are ones which you forgive as soon as the cast begins to perform. And you forgive them, because each cast member is so finely focused on the ethos of the character he or she represents, that you have no more space in your consciousness to think of anything but the tale they tell.

It’s a violent story of psychological cruelty, featuring a suit which is dramatised to sinister levels. The tale is a tragedy, but one not unconscious to the magnificence of the music of the era or the dress culture. This work – along the lines of Dominique Gumede’s Crepuscule – is a adulation of sheer beauty in a time of unmitigated horror, against the backdrop of the cruelty of apartheid.

Matilda (Zola Nombona) is a young woman with dreams to be someone more than just a wife. But then she meets and marries the beautiful Philemon (Siyabonga Twala) and becomes the envy of all her peers. But while he goes out to work, she becomes bored and lonely. And she digresses. And is caught. And she is punished in a way that lends a banal object – the suit in question – a level of horror akin to what Alfred Hitchcock did with sparrows in his film The Birds (1963).

While there are astoundingly fine performances on the part of Twala and Nombona , something has to be said for the magnificent performance of Molefi Monaise, who, within a few seconds of character development, is able to offer such a rounded reflection of the character he represents that his uncharacteristic silence on the bus that preempts the unfolding of the whole drama, chills you to your very bones.

A work of devastating subtlety, of the style and wisdom we saw in The Suitcase written by Es’kia Mphahlele and also directed by Ngcobo a couple of years ago, which also featured Twala in the lead, The Suit is hauntingly unforgettable. Featuring exquisite choreography by Luyanda Sidiya, it offers unvoiced reflection on the Matilda character’s alter-ego. Danced by Lesedi Motladi, it’s an aspect to this work which lends mystery and tender fragility to a story wrenched with betrayal and violence.

The season of this important work coincided with Africa Day, but it’s a work of such wisdom and value that it begs for a longer season.

  • The Suit is written by Can Themba and adapted for stage by Mothobi Mutloatse and Barney Simon. It is directed by James Ngcobo and features design by Luyanda Sidiya (choreography), Richard John Forbes (set), Thapelo Makgosi (lighting), Ntuthuko Mbuyazi (sound) and Sue Sey-Steele (costumes). It was performed by Molefi Monaise, Lesedi Motladi, Andile Nebulane, Lindani Nkosi, Zola Nombona and Siyabonga Twala, in a season at the Mannie Manim Theatre, Market Theatre complex in Newtown, from May 5-28. Visit markettheatre.co.za or call 011 832 1641.