Night of a thousand stars

Evita

BIRTHPANGS of Argentinean freedom: Che (Jonathan Roxmouth) and ensemble cast. Photograph courtesy of http://www.stageandscreen.co.za

ONE OF THE toughest aspects of mounting a West End and Broadway hit musical that has iconic film status is probably also one of the production’s biggest blessings: everyone knows the lyrics to the Lloyd Webber and Rice production Evita so well, they’re bawling them out all the time as the work unfolds. But by the same token, the comparisons with the film are begged with abandon. And this does hurt what you can currently see on stage.

While director Harold Prince is at pains to reinvent many of the scenes, which obviously contains a pared down cast and similarly tightened effects such as choreography, in many ways, you do feel as though you are watching a stage version of the 1996 film which starred Madonna and was directed by Alan Parker, and indeed, in areas where the narrative feels foxed by special effects, you find yourself relying on your knowledge of the trajectory of Evita Perón’s life, as depicted in that film, to fill in the blurry parts.

The other thing you might find yourself reverting to is the 2010 version of this production, also staged at Montecasino, which was memorably tight and impeccable in its focuses, in its group scenes and in its choreography. While comparisons are always odious, if you did see that earlier production which had Angela Kilian opposite James Borthwick in the main roles, you will appreciate the discrepancies.

Borthwick is a performer who lent the character of Juan Perón the necessary gravitas, cruelty, flawedness and imposing visual value that Robert Finlayson unfortunately doesn’t have. It has to do not so much with the performance, but with the performer’s age and physical presence that plays into one of the reasons why Eva Duarte’s relationship with Perón was so shocking to many: he was more than 20 years her senior. An important military figure. A guy with stature. This production focuses on the sexiness of the couple which feels a little out of sync in terms of the story being told.

Similarly, Emma Kingston in the role of Evita has been compromised in terms of the way in which her body feels truncated by the choice of shoes she wears and the way in which the lighting embraces her. Yes, clunky shoes were worn in the 1940s, but there is but one pair of shoes she sports, toward the end of the production that lends her dignity rather than clunkiness, as do the rest of them. She also feels compromised when her voice is stretched to the higher registers of the demands of the role and it is not consistently clear whether this is a voice or an amplification issue, but you hear the words caught in a state of shriek which isn’t pleasant. The character’s agony toward the end of her life is also played with a stylised crudeness which doesn’t lend credibility to the scenario. Evita died of cervical cancer and the bending and pushing Kingston articulates with her body makes it feel like a digestive issue.

Having said all of that, the interfolding of genuine footage in this production renders moments like the famous balcony scene at Casa Rosada which sees Evita as Argentina’s controversial yet generally well-loved First Lady, is simply breath-taking. There’s a relationship between the real woman and the real story that is informed and energised by the footage. The set is almost architectural in its refinement, but is splintered illogically by lights mounted into the floor. So, you sometimes experience strobe-evocative flashing moments which are about sensation rather than pragmatics, and you also experience ghostly reflections from these ground-based lights that bounce off the rest of the set rather distractingly.

One of this work’s magic ingredients is a nuanced and strong cameo performance by Isabella Jane in the role of the mistress who must be disposed of, when Eva comes on the scene. Another is an incredibly strong ensemble cast which includes performers such as Mike Huff, Adam Pelkowitz, LJ Neilson, Keaton Ditchfield and others, as well as a very well-placed children’s cast, which lends the work an irrevocably wise texture that makes you understand the atmosphere in an Argentina replete with protest, poverty and struggles.

The cherry on top of the work is the narrator, Che, played very ably by Jonathan Roxmouth. It is in this representation, replete with a lit cigar and a whole rash of nuances that you get to understand the underbelly of the story being told here, which doesn’t hold back on glorying in the sexiness of the era and the messiness of its values. It’s a beautiful role that is both sinister and informative, but lends this musical the kind of kick that balances the historical, tango-scented magic of the original sound track.

  • Evita with lyrics by Tim Rice and music by Andrew Lloyd Webber, is directed by Harold Prince and Dan Kutner. It features creative input by Louis Zurnamer (musical director), Guy Simpson (musical supervisor), Mick Potter and Shelley Lee (sound), Richard Winkler and Gary Echelmeyer (lighting), Larry Fuller and R. Kim Jordan (choreography), David Cullen (orchestration) and Timothy O’Brien (production). It is performed by Robert Finlayson, Isabella Jane, Emma Kingston, Anton Luitingh, Jonathan Roxmouth and an ensemble comprising Cindy-Ann Abrahams, Danielle Bitton, Ivan Boonzaaier, Ruby Burton, Beverley Chiat, Kiruna-Lind Devar, Keaton Ditchfield, Stefania du Toit, JD Engelbrecht, Ambre-Chanel Fulton, Richard Gau, Darren Greeff, Earl Gregory, Hayley Henry, Tamryn van Houten, Mike Huff, Kent Jeycocke, Hope Maimane, Thabso Masemene, Carlo McFarlane, LJ Neilson, Adam Pelkowitz, Mark Richardson and Trevor Schoonraad. It is supported by a children’s cast: (Johannesburg) Nicole du Plessis, Pascalle Durand, Fadzai Ndou, Shayla McFarlane, Victoria Levick, Levi Maron, Patrick McGivern, Sean Ruwodo, Cameron Seear, Mikah Smith, Benjamin Wood and Indigo Wood; and (Cape Town) Alon Adir, Jack Fokkens, Mira Govender, Emily Johnston, Charné Jupp, Kate Richards, Lia Sachs, Shani Sachs, Morgan Santo, Tamlyn Stevens, Matteas van Blerk and Daniel Wolson, and the live orchestra under the baton of Louis Zurnamer comprises Stefan Lombard, Rowan Bakker and Drew Bakker (keyboard), Cobie van Wyk (percussion), Donny Bouwer/Michael Magner (trumpet), Bez Roberts, Jurie Swart or Nick Green (trombone), Ryan Solomons/Robert Jeffrey (guitar), Jason Green/Graham Strickland (bass) and James Lombard (drums). It is at Teatro, Montecasino, Fourways, until November 26, and at Artscape Opera House, Artscape theatre complex, Cape Town, from December 2 until January 7, 2018. Visit pietertoerien.co.za
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Feverish for that acid green sedan

saturday

GETTING on his boogie shoes: Daniel Buys as Tony Manero. Photograph courtesy http://jozistyle.joburg/saturday-night-fever/

PICTURE THE SCENARIO. It’s the mid-1970s in the boroughs of New York City, and white working class teenagers are dancing themselves wild because there’s nothing else to do to keep body and soul together, other than joining the church or getting a low-key boring job. The opening chords – both musically and visually – of the current production of Saturday Night Fever, punctuated with classic songs from the Bee Gees articulates this with aplomb.

But it is the inadequate balance of sound and vocals, some truly grotesque choreography and underwhelming performances that leaves the production wanting. And yes, it’s a dated show, reflecting petty racisms and sexisms of teenagers in America from 40 years ago, but it’s still deemed an iconic classic; had it been performed with slickness, its sense of anachronism would have been forgivable.

Further, if you’re a die-hard Bee Gees fan, you, too, might be disappointed while you wait to be swept away on a swathe of nostalgia by your favourite tunes penned and originally performed by brothers Barry, Maurice and Robin Gibb in that distinctive falsetto.

Shows recreated in the last couple of years under the Broadway rubric, such as The Jersey Boys, which performed in South Africa in 2013, directed  by West Hyler, or Dream Girls of 2011, under the direction of Brittney Griffin, were performed in such a way that a song could freeze the moment, cause tears to fall and grown men and women to dance, weeping with love, in the aisles, whether or not they were alive when that music was fashionable. This doesn’t happen in this rendition of Saturday Night Fever. Rather, the music seems toned to be beneath the rather flimsy tale of the dreams of a poor boy to find the girl and the dance moves he deems his.

So, what happens is you struggle to hear the dialogue. The microphones attached to the performers’ foreheads force the sound out at such a level, that the words reverberate in the vast shell of the venue and smash against one another, becoming by and large inaudible. The dancing, with lots of really bizarre lifts and front splits for the women, is neither elegant nor erotic. Does it evoke the ethos of disco chaos of the seventies? Maybe. Certainly the costumes fit the era carefully, with the girls’ leotards and boys bell-bottoms – and of course the inimitable white three-piece suit which John Travolta brought into common fashion parlance with the 1977 film.

Daniel Buys in the starring role of Tony Manero has the voice and the moves, but lacks the sense of authority that a performer like Travolta exuded in this work. Instead, you find yourself trying to remember which one’s the one, when he and his buddies are out on the street.

Having said all of that, Matthew Berry playing the hapless Bobby C, one of Tony’s boys opposite Kiruna-Lind Devar as Pauline, Bobby C’s sweetheart arguably create several moments in this show which redeems the trek to the State Theatre. Beautifully cast, both of these young performers embrace the nuances of their – albeit tiny – roles, with fullness, sensitivity and dignity. They sing beautifully and liaise with conviction.

And then, there’s the acid-green 1970s sedan on the set, which is such a remarkably lovely idea that it should have been written about in the programme. Its elegant unpretentious curvaceousness, even the way in which its boot no longer closes properly, lends a tone of the time and flavour of the era which is irrepressible.

Indeed, the machinery of the set of the State Theatre is another element to this production which takes your breath away. Comprising numerous elevators in a variety of sizes, to say nothing of structures which move in on cue and on wheels, the world of the underbelly of New York is brought with all its dirty sham, drudgery and dreams, onto this stage in Pretoria in a manner so beautifully co-ordinated it rips your attention from the dynamics on stage. Here, you get to see inside Tony’s house, with his upstairs bedroom. There’s the park, and the apartment of Stephanie Mangano (Natasha van der Merwe) who grabs Tony by the libido, the bridge central to the tale and the disco venue itself.

Sadly, the State Theatre remains a conundrum for the regular theatre patron, and this old bastion of culture feels like a building site. The downstairs parking leaks and many bays are not accessible because the building’s in disrepair as a result of neglect. There are bits and chunks of the venue that are defined by shrill warnings to the public to stay away because they are unsafe, and huge electrical cords hang in disarray across the opera venue’s walls – a venue which remains as oblivious to safety needs of theatre venues as it was when it was first opened in 1981.

  • Saturday Night Fever based on the eponymous Paramount/RSO film and the story by Nik Cohn was originally adapted for stage by Robert Sligwood and Bill Oaks. It is directed by Greg Homann with design by Rowan Bakker (musical direction), Weslee Swain Lauder (choreography), Denis Hutchinson (set and lighting), Sarah Roberts (costumes) and TrevOr Peters (sound). It is performed by Joanna Abatzoglou, Matthew Berry, Cameron Botha, Vanessa Brierly, Daniel Buys, Kiruna-Lind Devar, Londiwe Dhlomo, Keaton Ditchfield, Toni Jean Erasmus, Devon Flemmer, Zane Gillion, Nurit Graff, Nathan Kruger, Sebe Leotlela, Clint Lesch, Brandon Lindsay, Phumi Mncayi, Bongi Mthombeni, Raquel Munn, L J Neilson, Mark Richardson, Phillip Schnetler, Craig Urbani, Natasha van der Merwe, Steven van Wyk and Charmaine Weir-Smith, and an off-stage band under the direction of Rowan Bakker and Drew Rienstra: Donny Bouwer (trumpet), Jason Green (bass), Maureen Marler (‘cello), Dan Selsick (trombone), Kuba Silkiewicz (guitar), Brian Smith (reeds), P W van der Walt (drums), Daline Wilson (violin), at the Opera Theatre in the State Theatre complex, Pretoria, until October 9. Call 012 392 4000 or visit statetheatre.co.za