You don’t come away complacent from this work. Is it assaultative? Absolutely. Relatable? 100%. You feel broken, body and soul as you emerge from it. You laugh with recognition at the dark tropes and you sweat with a personal dread at where this work may go, as you experience it.
It’s a work sophisticated in its thinking, crude in its extrapolation. It speaks from the belly. While you’re guffawing with embarrassed recognition, the goosebumps on your skin rise; you feel feverish at the narrative underlying the words which subverts the dry face of statistics and shouts the ugly hypocritical truths.
‘So Long, Marianne’, a tribute to Marianne Faithfull is not only about the 1960s peaceniks or the proliferation of drug-users of the 1970s, it’s a piece threaded through with Shakespeare to make you weep, taking the voice of an angel to the depths of the demonic, with cigarettes and time.
The chorus of ‘The Portrait of Dorian Gray’ wins the day. It articulates just the right level of shrieking witch howls to keep the work ticking over and yet off-key. The texture of their presence evokes the disparity created by Polish composer Krzysztof Penderecki in his avant-garde contemplations of horror.
IT’S RELATIVELY EASY to mesmerise an audience, with shiny objects and surprising gestures, but what does it take to hold them transfixed? In Off Balance, Mlindeli Zondi and Jack Moloi present a work about being black in a white world, that is rich in cynicism, sprinkled with hard-edged […]
THEY TEETER INTO the theatre on high heels, with grotesque wigs askew and sparkly gloves, reeking of the kind of skanky, grubby ethos that defined 1980s Hillbrow or 1990s Troyeville in a very typically South African context. This is the cast of the first half of Heaven is […]
Picture the scenario: the scene is cast, with a fabulous director, a seasoned duo of performers and a tuned piano. Chairs are placed, the tone is set. And then the power goes down. “It’s scheduled!” yell some. “It’s not!” yell others. But still, it’s dark as pitch, and […]
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