Incendiary youth: SA style

MyChildren

MY opinion is correct! Student debate with Isabel (Christine van Hees) and Thami (Phumlani Mdlalose), while Mr M (Msuthu Makubalo) goads them on. Photograph courtesy National Children’s Theatre.

A WHITE HIGH school girl lies on her belly on a school bench to read a spot of King Lear as she munches on an apple.  There’s a sense of ‘how things should be’ in everything from her school uniform to her engagement with what is obviously homework. A black high school boy filters a petrol-soaked piece of cloth into a bottle as he fingers a cigarette lighter.  The chasm in values breaks your heart, but says it as it must be said if you’re engaging South African values. Indeed, it’s difficult to get into the shoes of another person, and easier to judge their circumstances with the harshness of your own perspectives. Particularly if you’re a half-formed teenager, even a very bright one. This is something that the cast and the audience discover in Athol Fugard’s My Children! My Africa!. It’s being reprised by the National Children’s Theatre as a touring programme for high schools, and the prescience of this work cannot be understated even if you are all done with high school.

It’s a play about the raw and bleeding discrepancy between haves and have nots that is so central to the complexities of South African existence. Cast in the mid 1980s, in the Eastern Cape, it showcases the fire and passion of black youth attempting to address the horror and shame of apartheid, counterpoised with the traditional educational values of white privilege. And it is here where we meet Isabel (Christine van Hees) and Thami (Phumlani Mdlalose), the respective cream of their own communities, in a debating match that’s something of an experiment, bringing together the energies of youth from contexts not that far from one another, geographically, but a million miles apart in every other way.

The teacher is an elderly man, fondly known as Mr M (Msuthu Makubalo) and while he’s the catalyst for the experiment, his values too are informed and potent. But in being of the previous generation he is intensely vulnerable.

The tale is not an easy one, peppered as it is with language that we just don’t use anymore, as it is a cipher of the kind of extreme violence that set our country on fire, literally in the mid 1980s. This play, which enjoyed its stage debut at the Market Theatre, with Kathy-Jo Wein and Rapulana Seiphemo opposite John Kani in 1989 is one that reaches beyond adults and to the youth in the audiences. It’s about choices and literature, the fury of impotence and how your well-intentioned parents can embarrass you into silence. Or your substitute parents can incite you into violence.

It is creatively staged, with a simple set that can be broken into metaphors of violence easily, but it isn’t clear why the decision was taken to erase the play’s interval. It’s a meaty work with lots to consume and the gap in the telling of the tale is a necessary one, particularly for younger audiences.  Also, a valuable decision is taken in the cast changing into their costumes on stage. This lends a reflection that these are indeed performers, and the manner in which they adopt the age-specificity of their roles is strong and cogent.

Mdlalose plays the young firebrand from the ‘location’, who, armed with an intellect that surpasses most, is subject to the indignities of Bantu Education because he is black. It’s a crucial role, but his articulation is not always understandable, which is a pity as the text is rich with 1980s realities. He’s beautifully supported by the performances of van Hees and Makubalo who lend the texture of the age of their characters as much as they give the text vehemence.

It’s a play that will change your perceptions and your mind, and make you realise that student shenanigans in the 20-teens are as hot and relevant as they were nearly 40 years ago. Or vice versa.

  • My Children! My Africa! is written by Athol Fugard and directed by Siphumeze Khundayi and Francois Theron. It features creative input by Sarah Roberts (set and costumes) and Jane Gosnell (lighting) and is performed by Msuthu Makubalo, Phumlani Mdlalose and Christine van Hees in a touring programme hosted by the National Children’s Theatre, in Parktown. The theatre will be staging a couple of public performances toward the end of May. Visit their website, or call: 011-484-1584.

My African queen

AntonyandCleopatra

HERE is my space: Mark Antony (Ben Kgosimore) with Cleopatra (Sanelisiwe Yekani). Photograph courtesy National Children’s Theatre.

THERE’S NOTHING QUITE like a foray with the world’s most famous illicit lovers, told by young voices to young audiences. It’s like being witness to the passing on of the baton to another generation of theatre makers and it might give you goosebumps, when you see Shakespeare’s Antony and Cleopatra under the directorial hand of Neka da Costa. It’s currently on a programme touring schools, where the work is part of the national syllabus.

When you watch this troupe of performers, you wouldn’t be wrong to think of actors such as British performers Robert Lindsay and Dorothy Tutin, to say nothing of South Africa’s David Dennis and Camilla Waldman, for instance, who earned their stripes in Shakespearean trope as well as everything else. These young South African thespians continue to prove their robustness and versatility in redefining no less than the work of the Bard himself – you’ve seen them on the stage in a range of other capacities in the last couple of years, including contemporary storytelling and Greek tragedy.

The rendition of this work is gently and judiciously cut by Shakespeare specialist Rohan Quince to fit into time-based parameters and it runs just on 90 minutes with no interval. Interjected with a local drum beat, songs of mourning and gladness that reach from a South African heart and a peppering of ululation, it’s a piece which skirts and weaves the notion of Africanness in the ethos of Egyptian queen Cleopatra (Sanelisiwe Yekani) with competence and intrigue, but without feeling forced.

Indeed, Yekani embraces the complexity of Cleopatra with finesse and authority. She’s sly and manipulative, passionate and beautiful and as the central focus to the work, she holds it together with magnificence and utter potency. In short, she’s dangerous. Ben Kgosimore is a superb Mark Antony, the emperor who is her lover, a tough guy who is embroiled in a morass of political marriage, friends and foes. He’s vulnerable yet macho, sophisticated yet impressionable. And this royal couple takes things to the max from their passionate lovemaking and display of anger to their strategising, to their suicides.

In the role of Caesar, Cassius Davids shimmers with a focused performance which is utterly convincing and Campbell Meas in several roles, including Agrippa and Cleopatra’s hand-maiden lends tight focus and articulation to the work. Neo Sibiya, in a range of gender-ambiguous support roles also commands a sense of authority which makes you sit up and look.

Squeezed into a tiny space which is electrified into clean narrative lines with the device of freezing movement, and some highly innovative prop choices, the work is deftly made. There’s a battle scene and a scene of ships at war which will make you feel you’ve skipped the bounds of possibility and are now sitting in the folds of a dramatic fresco.

Having said all of that, the work is bruised by its shoutiness. And yes, while much of the drama necessitates exclamations in bold, not all of it does, and what you might find is something a little similar to how the NCT’s production of Coriolanus two years ago was flawed. The declamatory accents of everyone most of the time tends to collapse a sense of nuance in the dialogue.

It is, however, an immensely strong and invaluable resource for learners all over the country, because there’s nothing quite like seeing the work in flesh and blood – and local, young flesh and blood, at that. And also, because under astute direction, this complicated piece’s story is clearly evident.

  • Antony and Cleopatra is written by William Shakespeare and directed by Néka da Costa. It features design by Sarah Roberts (set and costumes) and Jane Gosnell (lighting) and is performed by Cassius Davis, Ben Kgosimore, Kevin Koopman, Campbell Meas, Sibusiso Mkhize, Neo Sibiya, Megan van Wyk, Carlos Williams and Sanelisiwe Yekani in a season that is touring several schools countrywide, until May 22. It is a project of the National Children’s Theatre. Call 011 484-1584 or visit www.nationalchildrenstheatre.org.za

Pixie dust and make believe

magicalmoon

TRANSFIXED by our big sister, Wendy. Michael (Danny Meaker) and John (Daniel Keith Geddes), little boys who love stories. Photograph courtesy National Children’s Theatre.

ARE THERE STILL children in this world who make forts out of blankets and cushions, from which they conduct complex battles and adventures? Do children in this day and age still go on wild adventures in their own back yards, where they lie on their backs and peer at the moon and pretend they can fly? This is a play that with an incredibly sophisticated understanding of the potency of childhood, articulately explores make believe, and in doing so, it takes the JM Barrie tale of Peter Pan by its horns and doesn’t let go, not for a minute.

It’s a fascinating scenario. Barrie lived in the latter part of the 19th century, dying 37 years into the 20th. The yarns he wrote are wild and manic, but the English he used reflects his times, and is often prohibitively detailed for young readers to access. Mike Kenny – like others before him, including Walt Disney in 1953 – has taken the thread of Peter Pan and with a solemn nod to Barrie and a wink to the children in the audiences, set it free, in contemporary language with beautiful songs.

And Francois Theron and his creative team in turn, have taken this lead even further, dotting it with a deliciously idiosyncratic set, magnificent choreography and music on the part of the cast that lend an element of sheer perfection to the work. The cast, headed by Nirvana Nokwe-Mseleku as Wendy Darling, the authoritative big sister, and Daniel Keith Geddes in the role of John, the middle child – as well as Captain Hook, give it an edge that will set your child’s heart on fire. Supported by Danny Meaker as Peter Pan – and Michael, the youngest Darling child – and Phiphi-Gu’mmy Moletsane in the role of Tinkerbell, the oft sulky fairy, the work sings with synchronicity and wisdom.  It has to do with a mix of the sense of possibility and that of ordinariness that can bring a crocodile with a ticking clock in his tummy into the context of lost boys who fell out of their prams and mermaids who are beautiful but not nice.

Touching on everything that is central to what being a child means, the work is rough and tumble all the way, punctuated by the ‘aarghs’ of pirates, a beloved absent daddy’s beloved dressing gown, and some delicious cameos with a ukulele and a mouth organ. It engages with gender issues and power struggles, with the fear of growing up and becoming something or someone else – and in the process forgetting the fairies in the garden. It’s a tale of madcap adventure in the confines of your big sister’s love and care and creativity and one which opens your heart to the what ifs that dot the horizon. Along the same kind of lines as The Lion, The Witch and the Wardrobe staged some months ago by this theatre, the work lacks forced contrivance. It is premised on the children themselves and the magic in their hearts. And this becomes a gift to your child, something he or she will never forget.

  • Underneath a Magical Moon is adapted for stage by Mike Kenny, based on Peter Pan by James Barrie. It is directed by Francois Theron and features creative input by Cathrine Hopkins (musical direction), Tandi Gavin (choreography), Sarah Roberts (set and costumes) and Jane Gosnell (lighting). It is performed by Daniel Keith Geddes, Danny Meaker, Phiphi-Gu’mmy Moletsane and Nirvana Nokwe-Mseleku until April 15 at the National Children’s Theatre in Parktown, Johannesburg. Call 011 484 1584.

He ain’t boring: he’s my sloth

Sparky

ALL in the family: Mommy (Genevieve Oliver), Libby (Boitumelo Phaho), and Sparky the pet sloth (Sandi Dlangalala). Photograph courtesy www.artslink.co.za

WHAT DO YOU DO do if your mommy’s a work-from-home tax consultant who simply will not bend in the urgent and earnest quest to enhance the household with a pet? You can sing and you can dance. You can become furious and stamp your foot. You can cajole, pleadingly. And then, you can play by her rules and get the utterly unexpected. Sparky takes all of these values in a bunch, blends them with the most charming of laid back sloths (Sandi Dlangalala) and presents a perfect opportunity for young performers to shine with beautiful abandon.

It’s a very simple gentle story, with the cutes ramped up all the way, and the values clearly exposed. Sparky – not to be confused with the 1947 story Sparky’s Magic Piano – is an American yarn about accepting one’s own limitations, and working creatively within the parameters of authority. It’s about a little girl called Libby (Boitumelo Phaho) and her know-it-all friend Mary (Christina Moschides) and a quest to make sense of the world between hugs of a very cuddly and extremely lazy sloth.

Riffing and raffing it up in the wake of what young children might think animals should be trained to do as tricks, ultimately, it’s a crisply told story about the value and complexity of being a mum with commitments, of falling in love with an animal, and of learning how things work and how things are spelled. It’s a story of disappointment and delight and while it is a bit dated in the lyrics department – does anyone still know who Tony Danza is? – it’s tight, focused and together.

Both Phaho and Moschides, young performers though they may be, exude a confidence, an understanding of characterisation and a sense of rhythm that far surpasses their age limits. Offset against the comforting performances of Genevieve Olivier as the mommy and Gareth Meijsen as the school teacher, the work exactly hits the mark for the three-to-six year olds for whom it is designed.

It does remain curious, however, as to why young parents still insist on bringing their under-three-year-olds to the theatre; this play is created for little ones, but not utter babies, and the toddling presence of someone who is still in nappies and cannot yet engage with the experience is not only cruel to the littly in question, but idiotically selfish to the whole audience. It’s clear you think your baby’s brilliant – he’s yours after all. But trust the theatre professionals on this, and bring him next year, or the year after.

  • Sparky is written by Jenny Offill and directed by Francois Theron. It features design by Dale Scheepers (musical direction), Jodie Davimes (choreography) and Stan Knight (set) and is performed by Sandi Dlangalala, Gareth Meijsen and Genevieve Olivier with three child casts: Group 1: Elektra de Melo and Tannah Proctor; Group 2: Christina Moschides and Boitumelo Phaho; and Group 3: Erica Harris and Neo Thokoane, co-ordinated by Liz-Mari Botha, at the Wynnstay theatre, National Children’s Theatre complex in Parktown, until December 23. [This review is premised on a performance which featured the children in Group 2]. Call 011 484 1584 or visit nationalchildrenstheatre.org.za

Victory in true style for Mr Toad

mrtoad

OUT, damned opportunists! Mr Toad (Gamelihle Bovana) and his buddies save Toad Hall from the weasels and stoats. From left Badger (JT Medupe), Water Rat (Bradley Nowikow) and Mole (John Tsenoli). Photograph courtesy National Children’s Theatre.

IF YOU GREW up under the spell of Kenneth Grahame’s The Wind in the Willows, you will remember that there was always a delicious ferocity about Mr Toad, with his short squat body, his big toady eyes and his enormous mouth. It’s difficult to recall whether it was the wild yet sedate original illustrations of EH Shepard that conveyed this, or Grahame’s impeccable descriptions. Either way, and even if you are not a Wind in the Willows groupie, the fact is that Gamelihle Bovana in the title role of this production of The Adventures of Mr Toad conveys this fabulous mix of bravado and vulnerability, courage and sheer character: he’s a toad to melt your heart.

Indeed, Francois Theron’s rendition of this great classic about friendship and naughtiness, scary forests and bad weasels, as well as comforting cups of tea in moments of great stress and comeuppance for breaking the law, is one of those works which leaps off the stage and into your child’s awareness. For one thing, it is beautifully cast. The three fellows – the pedantic and short-sighted Mole (John Tsenoli), the adventurous and proper Water Rat (Bradley Nowikow) and the wise old Badger (JT Medupe), who has a low tolerance for misbehaviour – form a gorgeously formidable phalanx of dependable friends on which the maverick Toad can rest.

With a complex tale of adventure and prison, the hijacking of a 15th century manor by weasels and ultimate victory, it’s a work that features language that doesn’t patronise; while a very young audience might find some of the words unfamiliar, it’s a show replete with such a beautiful understanding of music and movement, gesture, colour and the rhythm of sound, that the story remains strong even if its subtleties are lost for the tots.

Structured around turn-of-the-century British properness, the adventure, focused on the lives of river folk is as anthropomorphic as possible. There’s a resonance between the costumes and concept that informed this theatre’s production of A Year With Frog and Toad some seasons back, and also an element of the hilarity that brought Martin Rosen’s interpretation of Richard Adams’s Watership Down to filmed life in the 1970s, where rabbits prate away like real English gentlemen.

The set, complete with utterly ingenious elements that are hinged on the horizontal and enable a whole landscape to be magically erected, embraces the work magnificently and with great simplicity. In the first half, we’re introduced to the foursome and get to understand the challenges of having the Toad, he of old wealth and inherited luxuries as a buddy: he’s a faddish bloke, who gets bored easily, but who also takes things to their giddy limit.

In the second part of the work, you will be swept off your feet by Senzesihle Radebe as the magistrate in full command, with a voice to match.

Beautifully structured and gem-like in its crafted quality, where all the elements fit together unmistakably well, it’s a play that is about the novelty of the motor car as it is about the majesty of Toad Hall. In short, this is a work which will leave you glowing with its unequivocal sense of humanity and decency as it balances with an unbridled sense of moral irresponsibility and naughtiness. An utter delight.

  • The Adventures of Mr Toad is based on the book The Wind in the Willows by Kenneth Grahame and directed by Francois Theron. Featuring creative input by Piers Chater Robinson (lyrics and music), Neil Brand (musical arrangement), Clint Lesch (musical supervisor), Jodie Renouf Davimes (choreography), Stan Knight (set), Jane Gosnell (lighting) and Sarah Roberts (costumes), it is performed by Gamelihle Bovana, Philip Hanly, Kirsty Marillier, JT Medupe, Garth Meijsen, Bradley Nowikow, Senzesihle Radebe and John Tsenoli, and three alternate children’s casts: Pascalle Durand, Christina Moshides and Keisha van der Merwe, Telaine Tuson and Naledi Setzin; and Emma Martin, Erin Atkins and Julia Johnson, at the National Children’s Theatre in Parktown until July 23. Visit nationalchildrenstheatre.org.za or call 011 484 1584.

Same differences, different sameness and the glory of being seven

Freckleface

SAGE advice of a wise mommy: Megan van Wyk and Kirsty Marillier see the other side of freckles. Photograph courtesy National Children’s Theatre

There’s an almost audible click, that the audience can hear, when performers in a show collaborate with a generous and real spirit of enthusiasm. And there’s almost an audible click when a cast sings with a production, not only in the literal sense, but also because they really get it. The rarity of both these things happening in a production takes your breath away because it is flawless: Freckleface Strawberry The Musical is a simple tale about bullying and friendship which is told with a deft directness, a sparkly sense of self and a true spirit of collaboration, enabling everyone on the creative team to give of their very best.

Led by Kirsty Marillier, who is cast so perfectly, she has the whole stage in her hand from the get go, this delicious little tale of the horrors and pleasures of being different takes you immediately into the rough and tumble of a seven-year-old context. It’s a story of bicycle riding and the tooth fairy, of gentle malice born of observation that is enabled to grow into something wretched, and of dreams that little boys and girls are allowed to have. While it is a little heavy handed on how the idea of marriage and babies represents unequivocal success, everything else about this autobiographical tale rings real, and the work never teeters into utter saccharine.

We’re all a little bit of a Freckleface, with our personal idiosyncrasies and our silent envy of other people’s perfections. This play very beautifully embraces those insecurities which are part of the human condition, with the interlocked narratives of eight children and a baby brother who wears a colander (Brandon Loelly), sparked into life with dreams and nightmares, the advice of a wise mommy and the part time sanctuary of an itchy woollen mask. It’s about vocalised ambitions to be the best and unspoken ones about fearing that you’re never good enough, and conjoined with its lyrics and its choreography, this production fits with as satisfying a ‘click’ as the pieces of a jigsaw puzzle.

And everyone, literally everyone – Teekay Baloyi, Megan van Wyk, Dihan Schoeman, Caitlyn Thomson, Senzo Radedbe, Brandon Loelly and Megan Rigby – simply glows in this work. The crowning skill remains in the hand of director, Francois Theron because no one shines brighter than anyone else, and the flow of the story is delicate and robust enough to bring its message across. While the eponymous little redhead remains at the front and centre of the tale, she remains one of the kids in the best possible way. This rendition of the play – it was performed at this theatre in 2014 – will leave you with a different understanding of your own differences, but also with an awareness that you’ve just witnessed something deliciously perfect.

  • Freckleface Strawberry The Musical is written by Julianne Moore and directed by Francois Theron. Featuring design by Stan Knight (set), Rowan Bakker (musical supervision), Shelley Adriaanzen (original choreography), Phillida Le Roux (staging), Sarah Roberts (costumes) and Jane Gosnell (lighting), it is performed by Teekay Baloyi, Brandon Loelly, Kirsty Marillier, Dihan Schoeman, Caitlyn Thomson, Senzo Radebe, Megan Rigby and Megan van Wyk, it is at the National Children’s Theatre in Parktown, until April 13. Call 011 484 1584 or visit nationalchildrenstheatre.org.za/

The wisdom of Pippi

pippi

WHAT: Me worry? Not a chance. Pippi (Yarden Dagan) confronts the establishment: the welfare officer Mrs Prysselius (Sandy Bota) with the cops, Klang (Graeme Wicks) and Kling (Marvin Molepo). Photograph courtesy artslink.co.za

NOËL COWARD ARTICULATED it first in his 1935 song: Children on stage are complicated. They haven’t the work ethic of professionals. They can lose their hold on their character when they recognise people in the audience. Their parents can be the thing that pushes them into the limelight. They can grow irritatingly precocious, show off and bruise their role. But when you discover a child capable of graciously sidestepping all those clichés, you’ve got to hold tight: Eleven-year-old Yarden Dagan captures this spunky maverick with a maturity beyond her years and an ability to seduce the audience which simply makes this show fly.

Not that the adult casting for this work is shabby or lacking in any way. Indeed, headed by Luciano Zuppa, who plays an utterly delightful Captain Longstocking and Thunder, one of the incompetent crooks; and Sandy Bota, as the inimitable Mrs Prysselius who blends prissyness and bossiness with a real ability to jive, the work is bold and beautiful and beggars comparison with the version that this theatre produced some years ago.

It’s got to do with the magic ingredient of the children themselves, and the astute wisdom of the play’s director, Francois Theron, to know when and where it is appropriate to cast the littlies. This Pippi Longstocking is a sheer delight: in terms of how the work engages the audience, how the child herself is able to give this naughty little girl who was invented in the 1940s contemporary flesh and blood that is unapologetically rooted in Sweden and unapologetically about thumbing a nose to convention.

But something has to be said for that wig alone. Complementing a fantastically detailed body of costumes by Sarah Roberts, the characteristic red Pippi wig with plaits akimbo almost deserves a credit of its own. Poking into the eyes of the neighbouring kids, Tommy (Matthew Rusznyak) and Annika (Rufaro Shava), it’s cheeky and raucous and completely solid in how it embraces Pippi’s values and personality.

Like the Harvey Comics character Little Lotta, in a sense, Pippi Longstocking is amazingly strong. She’s also super-likeable for her peers, has total disdain for regimented order and pattern and is feared and detested by the adult community, for this reason. Indeed, the work presents the adults in it as considerably unsophisticated in their values. Pippi is a wild child, who arrives out of nowhere in suburbia, to live alone with her pet monkey called Mr Nielson and a horse in her kitchen. Her mother is an angel in heaven and her father is a pirate on the high seas. And armed with these credentials, and a big bag full of pirate gold, she’s an anomaly who can sing, dance and makes up life as she goes.

And the message: that life is about a lot more than following the rules or slipping into a puddle of self-pity. It’s about acting on instinct, about not being afraid to make mistakes and be vulnerable. And it’s about loving honestly and deeply.

  • Pippi Longstocking – The Musical is adapted for stage by Staffan Götestam, based on the eponymous children’s book by Astrid Lindgren. It is directed by Francois Theron and features design by Dale Scheepers (musical director), Nicol Sheraton (choreography), Sarah Roberts (costumes), Stan Knight (set) and Jane Gosnell (lighting). It is performed by Zoe Beavon, Sandy Bota, Marvin Molepo, Genevieve Olivier, Roberto Queiroz, Graeme Wicks and Luciano Zuppa, and three child casts, comprising Hannah Cohen, Yarden Dagan, Simone Greely, Khensani Mabaso, Gabriel Poulson, Matthew Rusznyak, Rufaro Shava, Max Stern and Ricci Waksman [this review is based on the work featuring Yarden Dagan, Matthew Rusznyak and Rufaro Shava] at the National Children’s Theatre, in Parktown, Johannesburg, until October 16. Call 011 484 1584 or visit nationalchildrenstheatre.org.za

Oz: the sumptuous sum of all its parts

The Look of Enthusiasm says it all. Dorothy (Emma Hayden) centre, with her new found friends: the Tin Man who has no heart (Sean Louw); the  Scarecrow who has no brain (Phillip Schnetler); and the cowardly Lion (Gamelihle Bovana). Photograph courtesy National Children's Theatre.

The look of enthusiasm says it all: Dorothy (Emma Hayden) centre, with her new found friends: the Tin Man who has no heart (Sean Louw); the Scarecrow who has no brain (Phillip Schnetler); and the cowardly Lion (Gamelihle Bovana). Photograph courtesy National Children’s Theatre.

Just when you think that you may have seen the Wizard of Oz – first brought to the silver screen in 1939 with a young Judy Garland in the starring role – enough times, along comes a production like this, bursting at the seams with the kind of freshness and enthusiasm which has the power to take young audience members and transport them for the rest of their lives.

Director Francois Theron has magicked a brand new version of this work which teeters, narratively, between the insanity and surrealism of the Rocky Horror Picture Show and the standard tradition of a yarn like that that informs The Lord of the Rings. It offers a moral by way of a caveat in understanding that things are seldom what they seem and that dreams need to be followed to their logical conclusion, which is wrapped in a bit of sugar and a lot of really top class lyrics, like Somewhere over the rainbow.

There’s not really much that can be done to the tale of Dorothy from Kansas who unwittingly unseats and destroys a wicked witch when her house is blown away by a twister, and meets some idiosyncratic friends en route to finding her way home, but there are subtle tweaks and gestures, which pay important tribute to the film traditions behind the work, and indeed, to the original text, first published in 1900.

With Devon Flemmer as the debonair emcee and tiered curtains evocative of 1950s traditions, the tone is set: and the magic happens from curtain up to curtain down.

The show, featuring shadow manipulation and tight creative engineering is directly premised on the presence of a book: characters jump out of the larger than life publication on set and the emcee himself is armed with an encyclopaediac version of the text that he reads from.

While local children might struggle to understand the deep American southernness of the accents that predominate, particularly on Aunt Em and Uncle Henry’s farm, they will be blown away by the perfection of the colour, light, choreography and sequences, which simply exude faultlessness in their placement and construction; with the cherry on top being fabulous costume design, completely appropriate to the work’s history and tradition.

Patricia Boyer as the Wicked Witch who remains undefeated, until Dorothy (Emma Victoria Hayden) gets into a tussle with a bucket of water, is deliciously incomparable. The role she casts is not unadulterated evil, as we have seen her do elsewhere; rather this physically monumental and monumentally fine performer pegs her evilness down a step or two, creating an unspoken bond of complicity with the children in the audience on the cushions on the floor. She’s an evil witch tempered by an insecurity that makes her human and completely appropriate.

The singing and dancing stakes are not as sophisticated and tight as they were in this theatre’s previous production of the same work, and similarly the dollop of nostalgia is a little diluted; but the work in entirety is beautifully honed, imminently satisfying and smile-inspiring.

When you can vicariously watch a show of this nature through the focus of a little six year old boy who remains completely transfixed throughout its run, you know they’re doing something right.

The Wonderful Wizard of Oz is adapted and directed by Francois Theron from the original book by L. Frank Baum. It is designed by Rowan Bakker (musical supervisor); Stan Knight (set); Caitlin Clerk (choreographer); Jane Gosnell (lighting) and Chriselda Pillay (costumes) and features performances by Gamelihle Bovana; Patricia Boyer; Devon Flemmer; Emma Victoria Hayden; Suzaan Helberg; Sean Louw; Yamikani Mahaka-Phiri; Nomonde Matiwane and Phillip Schnetler; and child performances by Sakhenati Faniso; Tamara Faniso; Samuel Hertz; Katlego Matihake; Hloniphile Myaka; Khawulani Myaka; Gabriella Oliveira; Boitumelo Phaho; Buddy Sacks; Rufaro Shava; Sebastian Steiner; and Ricci Waksman. It performs at the National Children’s Theatre in Parktown, until  performs at POP Arts in the Maboneng Precinct, downtown Johannesburg until December 21.

Freckleface Strawberry: Good on the eye, sweet on the heart

 

Bouncing and bounding onto stage in choreographic sequences — designed by Shelley Adriaanzen — which are satisfying to behold, is a fabulous young cast, telling a tale as old as time itself: The inestimable sadness of being different in a world where your greatest desire is to fit in with everyone else. And, not a story about a misfit duck or a child who’s smaller than the rest of them, but along the same themes, it’s a plea, with autobiographical undertones from playwright Julianne Moore that would warm the cockles of the hearts of most people, especially South African artist Anthea Pokroy, who has created a considerable body of work on the issue: to be red-haired and freckled really does distinguish a child from the rest of the pack.

Armed with caveats like “you don’t have to be the best at what you do, but you do have to love it,” the play, directed by Francois Theron, could very easily have slipped into silly schlock, but it retains its frisky freshness, against an ingenious set by Stan Knight. The cast of young adults, including relatively heavy-weights in the industry, Sarah Richard, Abel Knobel and Sihle Ndaba as well as Marike Smith, in the lead, clearly take what they are doing very seriously and in turn yield a delightful product, which is good on the eye and sweet on the heart.

Strawberry is seven years old. She has just learned to ride a two-wheeler, she’s losing some milk teeth, and she loves who she is and how she fits in to the general scheme of things in her world. That is, until her world realises that she’s different from them. And the ensuing teasing bruises her. Badly enough to make her want to hide from the whole world. There are some bizarre sequences in which she is chased by a band of evil freckles, and a give and take of characters and actors that flesh out an understanding of Strawberry’s domestic life. And ultimately a denouement in which Strawberry learns to embrace herself with gladness.

With deliciously stand-out performances by Smith as well as Dale Scheepers, the work also features demurely lovely and unaccompanied songs sung by Sarah Richard. The only draw-back in this utterly lovely bit of young people’s entertainment is the fact that Sihle Ndaba, a performer with an absolutely exquisite voice, as fans of Seussical Jr and Kwela Bafana will attest, doesn’t get to shine. She remains one of the company and her unique voice never does reach beyond that of her peers.

You’ll need a couple of tissues handy in this frank and articulate reflection on childish cruelty, self-hatred and embarrassment, but will leave the theatre a little lighter, a little happier.

  • Freckleface Strawberry, with music and lyrics by Gary Kupper, based on the books written by Julianne Moore, is directed by Francois Theron. Featuring design by Stan Knight (set), Rowan Bakker (musical supervisor), Shelley Adriaanzen (choreography), Sarah Roberts (costumes) and Jane Gosnell (lighting), it is performed by Emma Victoria Hayden, Abel Knobel, Sean Louw, Sihle Ndaba, Lindi Niemand, Sarah Richard, Dale Scheepers and Marike Smith, and is playing at the National Children’s Theatre in Parktown until July 20 (011)484-1584.
  • A version of this review appears in the current week’s issue of the SA Jewish Report (www.sajr.co.za)