Knocked out by King Kong

king-kong

TOP of the world: King Kong (Andile Gumbi) stands his ground. Photograph by Jesse Kramer.

IT WAS THE show that launched the international careers of such performers as Hugh Masekela and Miriam Makeba and the Manhattan Brothers. King Kong. It’s been labelled iconic and groundbreaking, and frissons of its great potency filtered through the ether long before the Fugard Theatre’s season of this show took to the boards. A tale of love and boxing, with exquisite harmonies and clarinet riffs to make you weep, it saw light of day in 1959, changed the game plan of what musical theatre was in this country and has not been performed in entirety until now. Does this version do this glamorous history and all the urban myths around the work justice? In short, it doesn’t.

Skating on the momentum of the 1959 production of the show, this version of it has some truly beautiful moments and some utterly delicious performances, but you watch it and quietly wonder whether part of the work’s original charm did not perhaps have a lot to do with the novelty of being a show from apartheid-riddled Africa. Was it not perhaps the exoticism of the moment that gave Makeba and others their ticket to a real career?

Richly enfolded in the complicated beauty of the 1950s, in terms of clothing style, dance ethos and an energy of simmering protest peppered with a lot of racial legislation, this tale based on the life of boxer Ezekiel Dlamini is a cautionary one of hubris and talent. It’s a yarn that reflects on petty jealousies and the vulnerability of an ego in a world beset with tsotsis and small-town shebeen queens. It’s a series of love stories, interwoven with boxing successes and failures and one in which an idol is lionised and then destroyed by his own society.

But the work is less about the wows of the story. Billing itself as a jazz opera, it does, indeed feature, some beautiful music, which has shifted into classic South African status, and yet, as a musical entity, it doesn’t hold together tightly, and feels a little more like a play with music incidents.

Looking beyond the song and dance sequences, the performers are not supported by the creative team in a way that enhances their physical presence on stage. Whether it is odd lighting decisions, costumes with the dowdiness factor ramped up as far as possible, or peculiar staging instructions, something is lost in the capacity of performers such as Andile Gumbi (who plays the eponymous boxer) to hold the audience. You will love looking at him – he’s physically beautiful, but there’s something amiss in how he connects with the stage, the work and the audience. The more you look at him, the more it’s clear that this omission is not his fault; it rests on design decisions.

This is not the case, however, when it comes to Sne Dladla in the role of the barber, Pop, who tells the story. Known as a stand up comic in his own capacity, Dladla reveals a smooth sense of poetry in his delivery that you might not have experienced before; he embraces his character with a full heart that will have you yearning for more lines for him. Similarly, Dolly Louw, a member of the female ensemble. She exudes such delightful presence every time she’s on stage, that your heart and eyes drift in her direction and remain with her, lapping up her enthusiasm.

Lerato Mvelase in the role of Petal, the thwarted young lady with a very fond eye indeed for the King, is another case in point. Armed with an utterly magnificent voice, a dowdy cardigan and some horn-rimmed specs, she’ll make your ears prick up, but keep you guessing in terms of her stage persona. Opposite a magnificently voiced Nondumiso Tembe in the role of slinky, sexy Joyce, and balanced by the powerful vocal presence of Ntambo Rapatla as Miriam, there is beautiful harmony in the work, but it is not exploited visually.

Indeed, there are times when you look at this production and cannot see anyone in it. The lighting design is centralised and overall constantly leaves cast members in the dark. There’re moments where their singing voices reach with loneliness from darkened corners, taking time for you to realise who is actually performing.

But the biggest problem with this work which looms in your face throughout, is the set. As you take your seat in the theatre you might have a moment that teeters with your sense of orientation: it looks like you are in the Fugard Theatre.

And there’s the rub: the Fugard boasts a stage that is considerably smaller than that of the Mandela. It’s less deep, more vertical. The set, like a huge rusted machine with many different doors and hiding places, is very in-your-face. And clearly, it comes directly from the Fugard, with nary an alteration. Indeed, as such, it squeezes the breathing space out of the stage itself. And while there are moments where nuance is evoked in the pockets of the set, by and large, something is lost in the telling of this tale of greed and misfortune, ice creams and vulnerability, simply because everything is hammering on your eyeballs from the same distance.

Having said all of this, the live band, the boxing ring scenes and much of the choreography hold this work together with a compelling energy. You will leave the auditorium whistling the production’s theme songs, but not with the kind of fire in your heart or belly that comes of having seen true greatness.

  • King Kong: Legend of a Boxer is written for stage by Pat Williams based on the book by Harold Bloom, and directed by Jonathan Munby and Mdu Kweyama. It features creative input by Todd Matshikiza (original music), William Nicholson (additional lyrics), Charl-Johan Lingenfelder (additional music arrangements), Gregory Maqoma and Richard Lothian (choreography), Paul Wills (set), Tim Mitchell (lighting), Birrie Le Roux (costumes), Sipumzo Trueman Lucwaba and Charl-Johan Lingenfelder (musical directors) and Mark Malherbe (sound). It is performed by Sne Dladla, Rushney Ferguson, Andile Gumbi, Ben Kgosimore, Dolly Louw, Barileng Malebye, Lungelwa Mdekazi, Namisa Mdlalose, Aphiwe Menziwa, Athenkosi Mfamela, Given Mkhize, Lerato Mvelase, Sibusiso Mxosana, Siphiwe Nkabinde, Edith Plaatjies, Sabelo Radebe, Ntambo Rapatla, Tshamano Sebe, Sanda Shandu, Nondumiso Tembe, Shalom Zamisa and Joel Zuma, supported by a live band: Sipumzo Trueman Lucwaba (band leader/bass), Blake Hellaby (keyboard), Siphiwe Shiburi (drums), Billy Monama (guitar), Lwanda Gogwana and Joseph Kunnuji (trumpets), Zeke le Grange (tenor sax), William Hendricks (alto sax, clarinet) and Siya Makuzeni (trombone) at the Mandela Theatre, Joburg Theatre complex in Braamfontein, until October 8.
Advertisements

Lost in the Wood

robinhood

DIRECTIONLESS and forlorn: Little John (Phumci Mncayi) and Friar Tuck (Desmond Dube), doing the traffic light jive in their bid to rob from the rich and give to the poor. Photograph by Mariola Biela.

INDEED, THE SILLY season is already upon us. But silly is as silly does and when the volume and strobes in an auditorium are ramped up to deafen and blind an audience in order to compensate for a messy hodge-podge of a story featuring political- and market-related humour that is so tired you have to be seriously drunk to laugh, you can only despair. Robin Hood and the Babes in the Wood the city’s highly punted pantomime for the year, takes silly to a new level of incompetence. It features so much self-indulgent clap-trap in its narrative flow, choice of music and ribaldry that not only does the story lose its way spectacularly, but it is also crushed under the weight of too many agendas.

With stand-out performances by Graham Hopkins as the evil villain Norman the Nasty Sheriff of Nottingham; Kate Normington in the role of an Irish geriatric fairy called Silly Sylviana, the Spirit of the Forest; Desmond Dube as Friar Tuck and the very talented Dale Scheepers as one of the hapless ‘babes in the wood’, Tokkel; it is not the performers or the choreographers who can be condemned. They do their best. They’re immensely skilled. But they’re working in a context which so lacks narrative definition that it feels as though anything goes. The work is an unsuccessful mashing together of a bunch of tales surrounding Robin Hood, the medieval activist who stole from the rich and gave to the poor, and that of Hansel and Gretel, two poor children condemned by a nasty step mother to die in the forest. Both these central classics are pinned to poverty, patronage politics and corruption rhetoric specific to the time in which we live, only it’s not funny.

Sadly the political shenanigans of the time have been so widely laughed at, analysed, criticised and condemned by all and sundry that the humour has begun to pall. And in this production in particular, it’s as subtle and nuanced as a sledge-hammer hitting a fly.

Where the two tales meet and why they’re pushed together is a mystery. Pantomime is traditionally such a complex and bawdy bit of burlesque to begin with, it’s not clear why this production needed even more frills than normal by taking on two stories at once.

The requisite over the top drag character is played by LJ Urbani with immensely tragic make-up, in the role of the wicked step-mother, but the moments of genuine hilarity are few and far between. If you can look beyond the arbitrary and irresponsible use of strobes, and forget that the sound is at such a decibel level that you feel the vibration in your teeth, there’s still not much left, particularly for the littlies. When this production is not messily presented in its narrative, it’s seriously scary or crudely cruel. Thus the entertainment value is substituted for a kind of sensory assault. If that’s your thing, you might love it. When audiences of large scale musicals shout hysterically on cue at every drum roll, it’s either because they think they should, or because they’re crying about the money they’ve just spent so badly. In terms of big shows fitting the family entertainment bill for the end of year treat, this one certainly doesn’t cut it.

  • Robin Hood and the Babes in the Wood is written and directed by Janice Honeyman. Featuring design by Graham McLusky (lighting), Rowan Bakker (musical director), Richard Smith (sound), Bronwyn Lovegrove (costume co-ordinator), Nicol Sheraton (choreographer), it is performed by Teekay Baloyi, Izak Davel, Desmond Dube, Darius Engelbrecht, Clive Gilson, Nurit Graff, Kyra Green, Graham Hopkins, Dirk Joubert, Dolly Louw, Yamikani Mahaka-Phiri, Noni Mkhonto, Phumi Mncayi, Candida Mosoma, Bongi Mthombeni, Tshepo Ncokoane, Kate Normington, Carmen Pretorius, Dale Scheepers, LJ Urbani, Natasha Van Der Merwe, Maryanne Van Eyssen and Jaco Van Rensburg. It features a live band under the baton of Rowan Bakker and Drew Rienstra on keyboards, comprised Deon Kruger (guitar), Kuba Silkiewicz (bass) and PW Van Der Walt (drums), and is at the Nelson Mandela Theatre, Joburg Theatre complex in Braamfontein, until December 30. Call 0861 670 670 or visit joburgtheatre.com

Sister Act’s nuns are too dumbed down for their own good

That's her, in the red shoes: Deloris (Candida Mosoma) with nuns () Photograph by Mariola Biela.

That’s her, in the red shoes: Deloris (Candida Mosoma) with nuns. Photograph by Mariola Biela.

Take an ensemble of the best voices in the business right now. Befrock them in an array of habits and foreground the stage musical based on the eponymous film which saw Whoopi Goldberg’s rise to popularity in the early 1990s, and what do you get? Sister Act is one of those musicals mooted as a must-see and a block buster, but the final product reeks of 1990s flaws in patronising and overwhelmingly silly dialogue and humour which causes it to drag its feet, particularly in the first half. On paper it is too good to be true – and it is.

But if you’ve made it so far, stay for the second half, because this unashamedly feel good bit of musical theatre gets so warmly into its stride that it whisks the rest of the night away and will leave you with a grin on your face.

The question that might remain in your head is do stage musicals with this amount of pizzazz and energy really have to be so very dumb? The humour in this more than 20-year-old work is clunking and unfunny, revealing the characters as so grotesquely simple it hurts. If you think of the dialogue characterising works like The Sound of Music or Chicago – as two very different productions in this genre – you get an understanding of their universalism and timelessness through the impeccable sense of wisdom and dignity applied in the development of each character: the lowest-common-denominator humour in Sister Act arguably is the element which causes it to stumble as a production.

It’s the tale of a young black female singer who finds herself unwittingly vulnerable to crooks and bad men. A nearby church is in dire financial straits and agrees to hide her. Her musical arranging skills, maverick personality and flippant disregard for church rules win the day, enabling the church to gain the kind of street cred that will keep it relevant. It’s numbingly predictable, but tightly woven, in terms of nuances and several ‘wow’ moments, in the set, bringing together the mystery and majesty of implied church architecture with all its arches and stained glass windows intact.

The work features stand out performances by Candida Mosoma as the lead, Deloris; Kate Normington as the Mother Superior and Keith Smith as the monsignor, but it is the combination of the stark costumes and a lot of the ensemble work that keep its professionalism sizzling. Also, significantly, the male ensemble collaborations, featuring the bad guys and the cops, is worthy of mention: a level of totally fabulous sonority and balance is evoked by the guys in this girl-power story.

Sister Act makes for a rambunctious but safe evening’s entertainment. All the elements are in place and are handled with due colour, sound and light, but there’s an element of fire, a point of performative glory that the work as a whole lacks.

  • Sister Act, based on the book by Cheri Steinkellner and Bill Steinkellner features music by Alan Menken and lyrics by Glenn Slater. It is directed by Janice Honeyman with design by Sarah Roberts (costumes), Declan Randall (set), Trevor Peters (sound), Rowan Bakker (musical direction), Nicol Sheraton (choreography) and is performed by Bjorn Blignaut, Caroline Borole, Vanessa Brierley, Caitlin Clerk, Anne-Marie Clulow, Elizca Coetzer, Judy Ditchfield, Toni Jean Erasmus, Trudy Fredericks, Germandt Geldenhuys, Zane Gillion, Clive Gilson, Themba January, Dolly Louw, Mervin Marvey, Noni Mkhonto, Phumi Mncayi, Candida Mosoma, Kate Normington, Dean Roberts, Brenda Sakellarides, Andrea Shine, Shelly Simon, Nqobile Sipamla, Keith Smith, Lebo Toko, Carmen Tromp, LJ Urbani, Natasha van der Merwe and Zano. It performs at the Mandela, Joburg Theatre complex in Braamfontein, until August 15. Call 0861670670 or visit com