Unfortunately the KKNK Festival (promoted in story below) has been cancelled because of the COVID-19 Pandemic with all the Festival heads meeting shortly to find innovative ways forward for the arts. Watch this space….
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The Klein Karoo National Arts Festival (March 23 to 29) has made sure that their entertainment package packs real punch. DIANE DE BEER picks a few favourites:
Nicola Hanekom is back at the festival with one of her fearless yet fantastic site-specific pieces Mirre en Aalwyn. She is well known for her work in this genre with her site-specific trilogy (Babel, Lot and Betésda) as well as the harrowing Land van Skedels, which had great success at the KKNK in the past. Vinette Ebrahim, Amalia Uys, Kenley Swart and Hanekom regular Grethe Brazelle star in this much anticipated production set in a dilapidated house just outside Oudtshoorn. Jessie returns to her parents’ home after an absence of many years with magical ideas and confrontation in her heart. During her visit, the family learns hair-raising things about her. Her way of looking at the world upsets the status quo.
Opdrifsel, a new script, written and directed by Philip Rademeyer, features Tinarie van Wyk Loots and Brendon Daniels as a couple dealing with the death of their teenage son. They grieve in different ways and battle to understand one another. They have many questions but few answers. There are regrets, accusations, anger, heartache and closed doors. Mainly it is about a couple who are overwhelmed by their sorrow and have to find a way out and forward.
It is so worth watching Rehane Abrahams in in Brandbaar, a translation of her previously performed Womb of Fire. Accompanied in song by Lukhanyiso Skosana, it is a complicated but intriguing text that has to be experienced and explored. It’s about roots as told through different women with complicated backgrounds who find themselves in a world where their whole being in all its fullness is ignored. Directed by Sara Matchett, it is an extraordinary performance.
“We’re looking for the perfect coloureds for the future,” reads the headline in Die Son. Everyone is searching for a place where race and identity aren’t a priority and where you are seen as an individual and not the middle child. Starring Stephren Saayman, Jurgen McEwan, René Cloete, Shamim Gallie, Cole Wessels en Eldine Beukes, Dankie, maar nee dankie! has fun with the issues that dominate so many lives.
Die Vermoeienis van Vlerke: is a translation of Lara Foot’s successful The Inconvenience of Wings which deals with the impact of disabling mood disabilities on friendships and family, directed by the luminous Sylvaine Strike and starring Henriëtta Gryfenberg, André Roothman and Chris Gxalaba in an exciting re-interpretation of this provocative play.
Wit Isse Colour: with writers Ronelda S Kampher and Nathan Trantraal and Jason Jacobs as director, brace yourself for some edgy brilliance. The script is based on Trantraal’s experiences and daily encounters as well as stories from published work in which everything from toxic masculinity to a re-imagined history of Autshumao and Jan van Riebeeck is explored.
Following their first successful outing, Brendon Daniels and Waldemar Schultz in their roles as Francois and Pieter, are planning a bank robbery in Dis 20h15. The problem to begin with is that they don’t know where to start! Pieter involves the worst character he knows, Billy from Cash Invaders, to help with their seemingly failed scheme. Will they pull it off? Will they find a bank? Will it be one they can rob? In this their second outing following Road Trip, let’s see if they can again capture the cameraderie.
Karatara, a physical theatre piece with Dean Balie, Shaun Oelf and Grant van Ster was one of my favourites at last year’s Teksmark. Based on the Knysna fires of 2018, it tells the story in dance and drama of a community’s loss. It’s a searing production presented in an excitingly novel way, very accessible yet charged with energy and emotion. A true gem which also explores the imprint of social media, interpersonal relationships, politics, history and the consequences of apartheid. The text is by Wilken Calitz and Shaun Oelf with choreography by Figure of 8 Dance Collective. Gideon Lombard is the director.
Kraai is a Wessel Pretorius translated and adapted text by prolific and exciting playwright Mike Bartlett. Starring Wian Taljaard, Wynand Kotze, Karli Heine and Stian Bam, the story deals with Johan who decides to take a break from his boyfriend and then meets the woman of his dreams. He brings them all together to test his real feelings. It sounds both hysterical and explosive, the right ingredients for a blow-up.
Terminaal 3 stars Edwin van der Walt, Anna-Mart van der Merwe, André Roothman, Carla Smith and Stian Bam in this Marthinus Basson-directed and -translated text by Lars Norén, who is regarded as the greatest Swedish playwright since Strindberg. The action is set in a hospital’s waiting room where a young couple are expecting their first-born, while a divorced older couple are waiting to identify the body of their 19-year-old child. The spotlight shines on self-interest and the damage that inflicts on children.
Following her soulful performance as an encore with Yo-Yo Ma at Kirstenbosch recently, Zolani Mahola directed by Faniswa Yisa performs in the The One Who Sings. She tells her personal story of growing up in the Eastern Cape during the ‘80s, a world of exclusion and moving into a more inclusive world in the ‘90s as she starts her professional career. It combines storytelling and song as just this extraordinary voice can achieve.
Minke Marais stars in the other-worldly text Waterbrief by Nico Scheepers and tells the story of Nina captured in the montage of her family who will be torn apart without her presence. Enveloped in the blue and white tiles of the swimming pool where she dives, she is drifting – everywhere and nowhere – as she watches her family in distress.
And for those who haven’t seen the much praised Tienduisend Ton, Kamphoer, and Queenie Hulle, they should top the list.
There’s much to recommend in other genres which have to be explored, but something that caught my attention is the David Piedt Conversations. He has a long history with the KKNK and has this year been honoured for his innovative contributions by Kunste Onbeperk, but the more hidden side of this Klein Karoo native is his transformative journey from bitter and challenging political activist to someone who practices forgiveness and reconciliation in his own life as well as on a more public platform. He believes his involvement with the KKNK and as such the arts and Afrikaans, played a huge role.
In conjunction with the Mayo Angelo philosophy: “the greatest tragedy in life is untold stories”, this conversational series aims to create an intimate space where people can listen to one another’s stories and contribute to the cohesion of the democratic South African tapestry.
These conversations start with Piedt and his wife Marjorie who share their emotional history and their personal life’s journey. This is followed with conversations by other Oudtshoorn inhabitants and is set against the backdrop of their experience during apartheid and how that influenced and impacted on their decisions, choices and way of being in the world post 1994.
Ivor Price will lead the discussions.
There’s also an extremely strong and diverse music programme
And probably the two highlights will be two performances in the Cango Caves, a rare occurrence.
First will be Karen Zoid Unplugged on March 27, an acoustic performance with guitarist Henry Steel and on March 28 Steinway pianist Charl du Plessis will be playing selections from his first solo album Freehand as well as the music of Rachmaninoff, Chopin, Beethoven and Bach.
This hasn’t happened in 24 years, which won’t happen any time soon – if ever.
Du Plessis will be the first pianist to present a performance on a Steinway in the Caves on International Piano Day. Strict rules will be applied to avoid any damage to this historical site and for Du Plessis, it is a dream come true. “The space, the acoustics, the darkness and the sounds that will embrace everyone!”
Karen Zoid agrees: “I feel very privileged to perform in the exquisite, historical treasure. Not everyone can say they have performed in a cave!”
Go to www.kknk.co.za and check the full programme for your own selection.