BEAUTIFUL me: The serious girls in Doll. Photograph by John Hogg.
THE TROUBLING TRUTHS of the prevalence of the selfie and the way in which contemporary society is so deeply focused on its cell phones is something that has been pondered by thinkers and hacks alike. Social media seems to be here to stay, and it’s pulling our values shamelessly into a morass of vanity, narcissism and mediocrity. Owen Lonzar and Sylvaine Strike take these issues into their speculative loupe in constructing Doll. The work is carefully stylised and teeters over into issues of sexism and stereotypes. While aesthetically tight, it states the obvious, but it’s complicated with red herrings and doesn’t go beyond its basic premises.
Not even the physical charm and magnetic presence of Craig Morris could save the soul of this work, however, which is thankfully not very long, but so infused with its observations about cell phone mania and selfie admiration that it doesn’t take any conceptual leaps which would add to its narrative muscle or its value as a dance work. Instead, with its precise choreography, its clear and bold lighting and its stereotypical stories, it fits feasibly into the realm of entertainment rather than of contemporary dance.
With curiously robotic performances by the lead “dolls” who are dressed in a way that makes them reminiscent of 1920s ‘flappers’ – Nina Erasmus, Nicola Niehaus, Paige Farlene and Nosiphiwo Samente, the work alludes to a Stepford Wives/Handmaid’s Tale kind of metaphor, but it’s not something that Ira Levin or Margaret Atwood would have penned. Central to the work is a red herring: a character performed by Donovan Yaards, who wears a Rocky Horror Picture Show-evocative drag, complete with thigh-high shiny boots and a corset. He’s in and he’s out, rolling his eyes, blinging and fawning as he must, but we’re not given to understand why or even why he’s there.
The work plays with stereotypes as it looks at ordinary guys getting what looks like mail order plastic faux girls, through their Tinder-evocative selection gestures. It’s about bums and tits and pouted lips, and the manner in which girls are available for men’s delectation. The ‘character’ sits alone, between the two fences, being neither boy nor girl, really, and offers nothing by way of nuance, meaning or subtlety, which leaves this work feeling like a bit of pretty fluff rather than much else.
Doll is co-created by Owen Lonzar and Sylvaine Strike. It features creative input by Owen Lonzar and Sylvaine Strike (costumes) and Oliver Hauser (lighting) and is performed by Ryan Dittmann, Nina Erasmus, Paige Farlerne, Sara Feldman, Thapelo Kotlolo, Franscecka Leech, Craig Morris, Nicola Niehaus, Nosiphiwo Samente, Melissa Schafer, Hannah van Tonder and Donovan Yaards. The work, part of Johannesburg’s Dance Umbrella in its 30th season performed on March 17 and 18 at the Wits Main Theatre in Braamfontein, Johannesburg. Visit danceforumsouthafrica.co.za or call 086 111 0005.
CASTING light: Hannah Van Tonder is Ntombizonke. Photograph by Tahlia Govender.
AT FIRST, IT’S difficult to believe or understand that that small incident which corrupts a great sheet of fabric covering the stage, is a human being, and yet as the play unfolds and takes you hither and yon through ritual and ancient tradition, contemporary quasi-urban values and a whole litany of prayer, you get to understand how the gesture and belief, the need for water and the love of the land interface, under the steerage of this one performer.
The work is brought to astonishing life by a concatenation of props which recalls, in a sense, Paul Noko’s earlier work Fruit, in which the props held the nexus of the material. Here, though, there’s more, but there is also less. Ntombizonke is the young woman born of a bride who is not a virgin. It transpires that her virginity becomes the suggested sacrifice that must be made to appease the gods in the name of much-needed rain.
Thus follows a tale of fantasy and religious-evocative gesture, but one bruised by too much enthusiasm — the kind of enthusiasm that packs the work so full of references, that it leaves scant space for the simple act of breathing. As a result, everything is brought into the mix, including envelopes of what seem to be seeds cast among the seating, sugar and water for the audience to dip its collective hands into and a pervading sense of ceremony, much of which becomes a red herring as it is not caught up with clarity in the work’s logic. Indeed, even the title of the work becomes sensational in its sense of taboo.
While Hannah Van Tonder in the title role, represents all the voices of this community, which reach back through generations, sometimes her diction is a casualty to too much speed. She is, however, beautifully choreographed, and the work takes on its own dance momentum, which is almost more compelling than the words themselves.
The value of this play which engages a fantasy ceremonial past cannot, however be understated. As it stands, it feels like a young draft in the development something that warrants growth and maturity.
The Cursed Vagina is written by Hannah Van Tonder and Paul Noko and directed by Paul Noko. It features design by Thulisa Phungula (music) and Teresa Phuti Mojela (choreography) and is performed by Hannah Van Tonder, in the Amphitheatre, as part of the So So1o Festival hosted by Wits University. The work performed on October 5 and performs at the Nunnery on October 7. Visit www.wits.ac.za/witstheatre or www.webtickets.co.za