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.
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Beautiful opera for the common folk

laboheme

LET me hold your tiny frozen hand. Rodolfo (Phenye Modiane) in a tender embrace with Mimi (Khaykazi Madlala). Photograph courtesy Gauteng Opera.

SHE ERUPTS ON stage like a splendid volcano of fierceness and vocality, beauty and attitude as she grabs your attention by its proverbial lapels and doesn’t let go, even when she’s not singing. This is Litho Nqai in the role of Musetta, in this production of Gauteng Opera’s La Bohème. And balanced with the more subdued and more classically genteel yet utterly tragic Mimi (Khayakazi Madlala), magic is made. But it’s magic that doesn’t permeate the whole production.

Indeed while you’re watching, you may be tempted to close your eyes and let yourself sink into the glory of beautiful music making that has been celebrated as such since the end of the 19th century. And you may be correct in that decision, as it would preclude your having to see the crude typos in the surtitles and get confused in crowd scenes while the surtitles trip over themselves and throw meaning to the wind. Closed eyed, you’d also not see the staging and the set, which, replete with what emerges as ornamental electric pink step ladders and a misspelled indication of the tavern’s existence, offers a ham-handed attempt at switching the ethos and geography of early Modernist Paris to that of Johannesburg in 2017. But if you did experience the work shut-eyed, you would miss out on the sheer physical beauty of this cast, and their characterisation, which would be a pity.

Overall, this production of this popular tale of poverty and consumption, creativity and prostitution that describes the texture of Europe of the late 1800s, is the kind of work that may tempt you to go on a foray into the history of opera and to think of the context in which there were seats for the ‘common folk’ of the era – the people who for a couple of shillings could be exposed to the magnificence of the medium, but who had the manners and the proclivity to throw rotten fruit at performances they deemed under par. When the company’s CEO stood on stage just before the opening performance and granted the audience permission blanketly to take photographs with their cell phones and tweet and post during the production, effectively, he opened up the work to the same kind of rabble-based behaviour that detracts from a genuine appreciation of the work itself. And unfortunately, ours is not a city theatre which has designated cell-phone-using seats in a context away from the rest, as the fruit-throwing masses of Europe had.

Sadly, it is when the niceties of a production get compromised – when this type of attention to detail is overlooked – something irreplaceable in the magic of the work is lost. While the competence of the Gauteng Opera cast and the orchestra supporting it, cannot be condemned, the effect of the work on as noble and beautifully designed a stage as that of the Mandela, falls into the realm of community production, which just doesn’t do justice to the history and tradition of Puccini – nor to the history and potency of opera in South Africa.

  • La Bohème is composed by Giacomo Puccini with libretto by Guiseppe Giacosa and Luigi Illica. Directed by Marcus Desando, it features creative input by Lungile Cindi (set), Simon King (lighting), and is performed by Kagiso Boroko, Kanyiso Kula, Khayakazi Madlala, Tshepo Masuku, Vuyani Mlinde, Phenye Modiane, Solly Motaung, Thabiso Nkabane, Litho Nqai and Chuma Sijeqa in the principle roles and Noluthando Biyana, Thandiwe Dlamini, Amie Hood, Mpho Kgame, Letago Komape, Delisile Kubheka, Leana Leuvennink, Phiwe Makaula, Nomvuyo Manomza, Mbulelo Manzini, Lindokuhle Maso, Kgaugelo Mfene, Siphiwe Mkhatshwa, Carmen Micic, Thabang Modise, Mathews Motsoeneng, Sibongile Mtuyane, Zolila Ngudle, Zita Pretorius, Sifiso Radebe, Andries Sebati, Siyabulela Tofile and Simphiwe Yende, from the Gauteng Opera chorus. Performed by the Gauteng Opera Orchestra, led by Camelia Onea and conducted by Eddie Clayton, it is on at the Mandela, Joburg Theatre complex in Braamfontein, until July 23. Visit http://www.joburgtheatre.com/la-boheme-info/ or gautengopera.org