Soil tilled to a new level

ankobia

PRAISE the lord and pay your dues! The press (Billy Langa, Momo Matsunyane, Lillian Tshabalala, Alfred Motlhapi and Katlego Letsholonyana) interview the messianic Mgnae (Omphile Molusi). Photograph by Thandile Zwelibanzi.

EVERY SO OFTEN in any artistic community, there’s an upsurge of aesthetic do’s and don’ts. It has as much to do with intellectual fashions of the day as it does with the personalities and egos in the industry. But it gives vent and platform to new voices, headlined by virtue of what they are doing with their words and ideas on stage. Monageng ‘Vice’ Motshabi and Omphile Molusi have created a theatrical statement in Ankobia which mashes together the values of Bertolt Brecht with those of George Orwell, in a thunderingly direct South African context. Breathtakingly.

These values are spliced and tossed together in a science-fictionised, sophisticated yet simple context of savagery and corruption which we all know, in this country – indeed, in this world. But this is no easy or direct spoof of contemporary local politics. Wrapping levels of corruption and reflections of religious hypocrisy together, it is a fantasy tale which takes place in 2041. It cuts close to the bone yet is couched in an understanding of biblical narrative and the complexities of acting. A fruit salad, you may think. You’d be wrong: the piece is tautly written and beautifully performed, condensed down to a tale that is easy to follow, even if you only speak English.

In short, Ankobia, featuring sterling performances from the whole cast, in terms of the muscularity and the malleability of their characters, is not only an important bit of theatre heritage for this society, it’s a play for the people in a way that looks to the future of culture. It’s an angry work, which takes pejorative notions, such as racist values, to the hilt and redefines them with an ironic spin. Land issues are transmogrified into a reflection on the magic potency of soil, and the son of God is but an actor on contract (Molusi).

The sinister morality of this work is embraced with visual humour and strong techno-vibes which see an amalgamation of traditional references and a spattering of LED lights. The one flaw in the work is the plasticity of the set which seems to stultify its energy and is not dealt with directly. Having said that, the choreography and dispersal of song gestures and asides lends the work a Brechtian texture, as does the presence of a faux messianic narrator, in all his bravado and flawed values.

It’s a team energy that seethes and bursts with both dexterity and wisdom, and is driven to an even higher level with the use of a musician – Volley Nchabeleng – onstage, lending the piece traditional authenticity and subtlety that is completely appropriate. Similarly, Jurgen Meekel’s audiovisual interjections are positioned with acuteness and fit properly into the material.

But this is no soft or easy story. Ankobia is about twisted values and coerced behaviour. It’s about the purging of brainwashing tools and witches and savages who are the real custodians of a land gone beserk. It’s easily one of the highlights of this city’s theatre picking in a long while.

  • Ankobia is written by Monageng ‘Vice’ Motshabi and Omphile Molusi and directed by Monageng ‘Vice’ Motshabi. It features creative input by Amos Kgaugelo Phala (costumes), Teresa Phuti Mojela (choreography), Thapelo Mokgosi (lighting), Thando Lobese (set) and Jurgen Meekel (audiovisual) and is performed by Billy Langa, Katlego ‘Kaygee’ Letsholonyana, Momo Matsunyane and Omphile Molusi with Volley Nchabeleng playing a wide range of indigenous musical instruments and creating sound effects. It is at the Mannie Manim Theatre, Market Theatre complex in Newtown, Johannesburg, until August 13. Call 011 832 1641 or visit markettheatre.co.za
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Our mother’s dignity, at all costs

isithunzi

ME and my brother: Scelo (Sipho Zakwe) and Muzi (Musawenkosi Kumalo) in tandem.

WHAT WOULD YOU do if your mother was publicly humiliated by someone who you considered a friend? Would you want to kill him? Would you have the capacity to turn the other cheek? Would your impotent rage find another outlet? This is the central focus of Isithunzi, a powerful and important play about the complexities of respect, which headlined the 2016 Zwakala community theatre festival.

In 2008, a group of white Afrikaans-speaking students associated with Free State University played a series of appalling and humiliating pranks on black domestic workers employed by the university. The pranks were filmed and went viral on the internet, sparking seething anger across the board, raising and inflaming the race card, to say nothing of sheer respect issues. This became known as the Reitz Four incident, premised on the fact that the four whites who had enacted the humiliation, were from the Reitz res on the university campus.

Young playwright Sipho Zakwe, who plays the role of Scelo here has taken this narrative and run with it, focusing it on two young men, brothers, and the sons of one of the women subjected to having to drink the urine of white Afrikaans boys – amongst other revolting humiliations. The plot thickens: Scelo is a UFS student. His squash buddy is one Schalk van der Merwe, one of the boys responsible for the prank. Muzi (Musawenkosi Kumalo) is his brother, at home, the brother who made sacrifices so that his brother could be educated.

The dialogue about different responses to this scenario are tossed hither and yon in the work, with muscularity and passion. Featuring some exceptionally fine set and audio-visual decisions, the work is utterly riveting and will make you weep with anger at the crudeness of the behaviour and the iconic presence of the mother herself.  While the literalness of the violence – there should be a strobe warning in the theatre – and the predictability of the tale itself mar this work slightly – you know how it will end – it remains a very fine showcase of performative skill on our stages.

Thoughtful and angry, respectful and context-driven, Isithunzi is constructed with broad, yet sophisticated narrative tools. There is some wonderful shadow play details which infuse the piece with mystery and energy, enabling two performers to embrace a whole campus in outrage. With the use of simple costume changes and a grotesque coir wig, the perpetrators are referenced and caricatured, as are students on campus. The work reflects with mature astuteness the harsh realities confronting the poor, without being maudlin or self-serving, and is not difficult to understand if English is your only language. In short, it’s a work of its time, offering a strong voice into what matters.

  • Isithunzi is written by Sipho Zakwe and directed by Luthando Mngomezulu. It features creative input by Ntshieng Mokgoro (mentor), Omphile Molusi (dramaturge), Jurgen Meekel (audio visual), Thapelo Mokgosi (lighting), Shilongane Nkoana (set), Nthabiseng Malaka (costumes) and Ntuthuko Mbuyazi (sound), with DAC incubates Hlamalani Ntando Makhubela (lighting), Ratang Mogotsi (costumes), Mbali Silvia Nkambule (set) and Maggy Selepe (sound)and it is performed by Musawenkosi Kumalo and Sipho Zakwe, with voiceovers by Dawn Thandeka King, at the Ramoloa Makhene Theatre, Market Square, Newtown, until June 18. Visit markettheatre.co.za or call 011 838 7498.

Unstoppable tale for six

sixcharacters

BROKEN family with a tale to tell. From left, David Butler, Lebogang Inno, Sandi Schultz and Chantal Stanfield. Photograph courtesy artslink.co.za

HOW BEST DO you tell a story sullied and broken by trauma? Do you blurt it all out in one brutal shriek? Or do you give it context and framework? Do you make it circuitous?  And funny?  Joseph Heller did it. Alan Bleasdale did it. As did Luigi Pirandello. Magicked into contemporary Johannesburg relevance by director Sibusiso Mamba, Six Characters in Search of an Author is a play that begins as you step into the theatre foyer, and it will sweep you away on a journey tinctured and moulded by the philosophical constructs behind characters, actors, ghosts and a story that demands to be heard, but begs not to be told.

The woman mopping the foyer floor minutes before the doors to the theatre opened, got a loud and public scolding by an usher, as he checked audience tickets, officiously, a worried expression on his face. People got twitchy. “Should we go home?” they pondered. “What is the Market Theatre coming to?” they thought.

The doors opened and the same seemingly unrehearsed, seemingly haphazard approach of the performers filtered through, with snippets of music cast from an upright piano, a dog older than God in a car in the parking lot and a general sense of incompletion. Not quite sure how to respond, the audience, roughly respectfully, laughed politely along with the flowing sense of panic about a lack of funding, Brexit, rough and desperate read-throughs, and over dramatised gestures. It really did feel unready. And it was precisely the kind of tricky manipulation of the very mechanisms of theatre that Pirandello used as a foil to his work in 1921.

This astonishingly fine cast, with an exceptional mix of theatre veterans such as Desmond Dube, David Butler and Kate Normington, and relative newcomers and faces from tv, such as Sewende Laan’s Chantal Stanfield and Binnerlanders‘s Sandi Schultz hold this potentially catastrophic piece with the kind of tight steerage and sophisticated authority that really finely honed clowns are capable of. While you might not be able to predict the trajectory of this utterly beautiful piece, you know that you are in safe hands.

With some remarkable costume and set decisions that feature characters who are dead yet present, and others who are trapped in the horror of their own self-fulfilling tale of domestic tragedy, the work is a monster of a piece that takes you all over the place, and gives you everything from snippets of Skeem Saam to bits of Hamlet. In bowing with great respect to the European traditions of Pirandello, and with great humour to the dramatic gestures that punctuated certain theatre traditions, the work develops a powerful momentum maybe twenty minutes in, that prevents you from breathing too loud.

Wise interfolding of Pirandello’s text with asides from the contemporary context, this tale of almost incest and exploitation through several marriages and much sad and hard feeling, offers an overriding sensitive pondering of how the construct of theatre matters to you, a person in the world. It will entertain you completely. And it will haunt you.

  • Six Characters in Search of an Author is written by Luigi Pirandello and adapted and directed by Sibusiso Mamba assisted by incubate Mxolisi Masilela. It features design by Thapelo Mokgosi (lighting), Karabo Legoabe (set) assisted by incubate Nthabiseng Malaka, Nthabiseng Makone (costume) assisted by incubate Gift Nwokorie, and Disney Nonyane (sound). It is performed by David Butler, Desmond Dube, Lebogang Inno, Tebogo Konopi, Rebecca Busi Letwaba, Alick Magemane-Mdlongwa, Phumi Mncayi, Dimpho More, Kate Normington, Gontse Ntshegang, Sandi Schultz, Anele Situlweni and Chantal Stanfield and performs in the Mannie Manim Theatre, Market Theatre complex, Newtown, until July 24. Call 0118321641 or visit markettheatre.co.za