Category: director

TWO MARVELOUS MOVIES, CONCLAVE AND A COMPLETE UNKNOWN, AHEAD IN AWARDS RACE

~ debeernecessities

FILM REVIEWS BY DIANE DE BEER

With streaming becoming such a comfortable option, I haven’t been to the movies for a while, but pre-Oscar Awards is always a good time to catch up on as many of the nominated films as possible It always turns the event into something more substantial because you actually know more about the possible winners. I chose these two films – Conclave and A Complete Unknown (Ster Kinekor)and my selections were both extraordinary – both with chances of quite a few Oscars each:

CONCLAVE

DIRECTOR: Edward Berger

CAST: Ralph Fiennes, Stanley TuccI, Carlos Diehz, John Lithgow, Isabella Rossellini, Sergio Castellitto

How can one not be pulled into this story with such a fantastic cast? And then the secrecy about everything that surrounds the Vatican inside and out?

Cardinal Lawrence (Fiennes) leads one of the world’s most secretive and ancient events as the dean who is in charge of the selection of the new Pope.

If you’re not Roman Catholic, it is a religion that comes your way mostly through scandal, the misbehaviour of priests around the world, the lack of action by the church itself when its representatives transgress and the films and books that feature these kinds of missteps, Spotlight being the most recent one that springs to mind.

Perhaps because of the look of the members of the priesthood as so magnificently showcased in this film (already enough reason to see the spectacle), yet because of the visuals as well as the secrecy, I kept thinking of the recent television seasons of The Handmaid’s Tale.

In today’s communication-rich world, any secrecy is immediately viewed with suspicion and becomes rife with rumours and stories emerging. And for those on the outside, how to distinguish between rumour and fact with this particular faith and its powerful leaders is often what draws us to whatever it is that drives the church.

With Conclave. to glimpse the inner workings of one of the most powerful institutions in the world is quite extraordinary. Add this particular cast and the weight of the storytelling is heightened and the final product doesn’t disappoint and leaves you gasping.

The eight Oscar nominations including Best Picture, Best Actor for Ralph Fiennes, Best Writing, Best Production Design, Best Music (original score), Best Costume Design, Best Actress in supporting role (Isabella Rossellini), and Best Editing are all deserved.

It certainly lived up to all that. It has a rich story and is beautifully directed but what really kept me enthralled was the cast and their particular storytelling. If I really had to give only one acknowledgement it would be to the actors.

It was their ensemble performance that kept the intrigue going with especially strong performances by Fiennes (who is the true centre of the movie), Tucci, Diehz, Lithgow, and Rossellini.

As the puzzle unfolds, sometimes painfully slowly yet deliberately, you have to keep your wits about you because you will be kept in suspense right until the end. Again because it is the unfolding that holds the key, I was glad not to have read the book before seeing the movie.

The less you know, the more it will add to the thrill of the viewing. It is a novel story which holds all the intrigue one would expect from such a rich presentation which is all an extremely clever balancing act. Once in a while, I wasn’t too sure whether it was delivering on the expectations surrounding the film.

But pull it all together, and it ticks all the boxes. The best is that you have no idea where it is going or what to expect. And finally, it delivers magnificently in a way that is as relevant in today’s circus as it is unexpected.

It’s one that lies there for quite a while and the more you delve, the better it gets.

A COMPLETE UNKNOWN

DIRECTOR: James Mangold

CAST: Timothée Chalamet, Monica Barbaro, Edward Norton,  Elle Fanning

I was truly surprised by how much I loved this movie. Of course I know Dylan’s music, but there are as many songs I didn’t recognise.

And while I thought I knew a lot about him, there’s as much that I didn’t know. One has to keep in mind that this isn’t a documentary, it captures a piece, mostly the early part when he first appears on the scene, of his life.

I was even caught unawares by the fact that he turned up at festivals on a racy motorbike. If the women weren’t so mesmerised by die budding artist they would have known that the music was everything in his life. Did he love them? Of course. But he was a performer and everything in his life revolved around that.

It was understood, if unspoken, that the women could be part of all this – but no demands. He wasn’t unfeeling, just unaware and completely wrapped up in his own creative world. That’s where his mind and all his attention was focussed.

It begins with Chalamet’s performance. He captures the essence and then just goes with it. He is not trying too hard to fake being Dylan. He has something, resembles the wiry, wild-haired singer and has enough of a voice to do the nasal drawl and sing the music well enough.

It centres on his performance and the reason he stole the limelight from the day he first appeared is his star presence – without paying too much attention to that stuff. He’s a lovely actor, has bags full of screen presence and pulls this one off magnificently.

It was as if Mangold with the right script and cast selected the right mood for the film and pulled it off masterfully.

To my mind, Chalamet is the James Dean of his generation. His reach is huge and his future cemented. And because Dylan, as one of the most influential artists of our time, is familiar to most of us, it must have been a challenge to capture his persona. But that he does with astonishing grace and with a strong cast and an especially brilliant performance by the always excellent Edward Norton as Pete Seeger, it’s a story that shines brightly, music that dominates and, for those of us who know some but lack the detail, a blissful few hours to catch up on working-class heroes.

A FABULOUS FEAST OF THEATRICAL GENIUS

~ debeernecessities

Review by DIANE DE BEER

CAKE STOPPER

ARTIST: Nataniël

BAND: Charl du Plessis (keyboards); Werner Spies (bass); Juan Oosthuizen (guitar); Peter Auret (drums)

VENUE: Atterbury Theatre with shows tonight at 7pm, tomorrow at 7pm, Saturday at 11am and 3 pm, and Sunday at 3pm; (13 to 16 February Roodepoort Teater; 5 and 6 March, Sand Theatre in Bloemfontein)

If you have followed an artist as closely as I have Nataniël, it’s not only the performance but also the progression that becomes part of the thrill of this spectacular talent.

Time and again, I have been curious at my astonishment at what I am experiencing during one of his shows, but I know it is the constant evolution of what he presents that keeps me enthralled.

He is one of the few who has managed to keep the element of surprise always present and he does this especially with his scripts. He has a mind that keeps on giving stories so fantastical and yet so based in reality that everyone can identify. But what elevates the presentation is his genius with words.

Bilingual and equally adept in English and Afrikaans, he has managed through the years to broaden his audience base in the way he has become comfortable in both. The stories immediately draw you in and the choice of language doesn’t play a part. It is the way his mind wanders, how he tells a story and the unique way he presents and arranges every single sentence.

Originality is one of those elements you either have or don’t. You cannot make it happen if it’s not there. And through the years, his has become stronger as his comfort levels have grown.

What you have now is a performer in total command of his art as he mesmerises his audience with his phenomenally unique storytelling. He is comfortable sharing the personal stories of his life and the way the world has always viewed and treated anyone who isn’t exactly moulded in the image of everyone else. He revels in the differences and through the years has become emboldened and embraces exactly the artist he is and wants to be. And we love him for that.

In everything he does, he always opts for the best and this is especially true of his band of class musicians. Headed by the masterful pianist Charl du Plessis, both Spies (bass) and Auret (drums) add to the individuality with their own musical flair. Add to that trio of perfection Juan Oosthuizen whose mastery with the guitar is legendary. Their performance is bliss.

It’s rare to have the accompaniment of such unusual talent, but Nataniël has always been secure in his own performance and knowledge that exquisite music enhances his singing, the real reason he loves performing.

The balance of stories and songs is important because the songs give you a reprieve from the density and sheer delight of the stories as well as a chance to breathe as you appreciate the excellence of what you are witnessing. And with time and maturity, Nataniël’s voice is richer, the music more nuanced and the singer has perfected his authentic sound.

I have always been captivated by what this artist brings to the stage because it is so unique, put together with boundless imagination and because of the inspired stories – a new play with every show he presents – each season is an explosion of the extraordinary. He has been a blessing to local audiences because of who he is and the riches he presents on stage.

The rarity of his creativity is a joy to behold. May he keep being the wonderfully colourful creation who once, twice, or if we’re lucky, three times a year holds us in the palm of his hand as he takes us wandering with wonderment into a world that is as charming as it is complicated.

Bookings: seatme.co.za

TROU- EN SPEELMAATS CINTAINE SCHUTTE EN CAREL NEL MAAK ‘n BEGIN BY DIE MARK TEATER

~ debeernecessities

KLEUR FOTOS: Gys Loubser

SWART EN WIT FOTOS: Stephanie Gericke

Cintaine Schutte en Carel Nel speel nie aldag op die verhoog saam nie, maar die tyd is reg. Die twee gesels met DIANE DE BEER oor hulle jongste stuk ‘n Begin, wat Donderdag 30 Januarie by die Mark Teater in Johannesburg begin, oor hulle prosesse:

Cintaine Schutte en Carel Nel in rehearsals (links) saam met Tinarie van Wyk Loots (regisseur) en verhoogbestuurder Lize-Marie Wait (regs)

HOEWEL hulle werkprosesse baie verskil, is daar darem baie voordele ook aan saamwerk.

“Hoe nader ons kom aan die speelvak by die Mark Teater (Johannesburg), is dit net ‘n luuksheid dat ek dadelik ‘n wordrun kan doen saam met Carel in die sitkamer of ons kan praat oor die karakters,” vertel Cintaine.

“Maar natuurlik is daar altyd tussen hom en my ‘n Cintaine en Carel. Daar’s ‘n tyd wanneer ons praat oor werk en daars ‘n tyd wanneer ons nie praat oor werk nie, want ons moet ook lewe tussenin, en ek moet dit ook respekteer.”

Sy is iemand wat te veel wil praat oor werk, en dikwels belaai met notaboekies en bladsye vol geskryf. “Dan sien ek vir Carel  op die bank lê en as ek vra ‘wat doen jy’, dan sê hy, hy dink aan die scenes en hoe dit uitspeel in sy kop.

 “Ek moet dit op die bladsy hê.  Ek dink ook dis belangrik om nie altyd uit te vra oor sy werkproses nie, want dan verras jy jouself op die vloer. As ek uit ‘n gemaklike plek uit speel, kan ek enige iets regkry. Vir my is voorbereiding baie groot.”

Carel besef dat almal anders  werk. “Ek het nog nooit met ‘n akteur gewerk wat presies dieselfde werksprosesse as ek het nie. Dis normaal, en jy moet dit maar net respekteer. Elke persoon werk anders. Solank die eindresultaat positief is, gee ek nie rerig om hoe die ander  se prosesse werk nie.”

Vir hom is die belangrikste om by die waarheid van die stuk uit te kom en die eerlikheid daarin vind. En egos moenie deel van die proses wees nie.

“Dis die eerste maal in ‘n lang tyd dat die twee van ons saamwerk maar as vervaardiger toe ek eers besluit het dat Tinarie van Wyk Loots (onder links) die regisseur is, het ek haar die keuse laat maak van wie my Daniel sou wees. Sy het nie eerse tweekeer gedink nie, en dadelik Carel voorgestel want sy het gesê dit kort ‘n akteur met gravitas en sy het al met Carel gewerk met Baby I Love You.”

Cintaine  was dadelik opgewonde oor die saamwerk. “Hy is natuurlik ‘n goeie akteur, en daar sou ‘n shorthand tussen ons wees maar ek was ook bietjie huiwerig dat man en vrou in regte lewe op die verhoog gaan staan. Maar dit is waar die verbeelding van teater inkom waar ons verdwyn in die karakters.

 “Ek het ook iemand gekies wie se spelleiding baie sterk moet wees en daarom het ek as vervaardiger vir Tinarie gekies.”

Sy weet sy sal die vertroue wat hulle in die regte lewe het verplaas na die  verhoog en nie te veel druk daarop plaas nie. En dan kyk waar die kreatiewe proses hulle neem. Maar sy wil ook seker maak dat hulle lekker  kan  speel  en  fun  kan hê met die stuk.

Hoewel  Carel vier of   vyf   jaar laas  op die verhoog was  gaan hy  die  stuk   benader soos enige ander stuk met enige ander akteur of aktrise. “Julle moet mekaar toelaat om julle eie prosesse te volg en dis wat ons doen.”

Cintaine vertel dat hulle aan die begin van verlede jaar iewers in Europa saam  op ‘n trein was toe iets  vir  haar  fluister  dat sy weer lus is om te vervaardig. Kies ‘n stuk wat jy sal wil doen, is verder gefluister.

“Toe dink sy aan ‘n two-hander want dit is miskien beter as ‘n groot rolverdeling. Mens  wil soms groot gaan maar dis moeilike tye.”

Met navorsing kom sy op David Eldridge se Beginning af, bestel die play, kry dit en begin lees. Dit het haar gevang. Dit is ‘n stuk wat haar geraak en gepraat het.

“Laura is 38 en Daniel is 42 en dit raak baie punte aan van gesprekke wat ek al met my vriende gehad het, die psige van mense ons ouderdom. Dis ‘n baie naturalistiese play in die sin dat dit speel in regte tyd oor 80 minute, daar’s geen truuks of twists of plot -turns nie. Dis net ‘n slice of life.

“Hierdie stuk praat met my en ek het gedink ek moet iemand on board kry wat vertaling goed ken en wat dit kan lokaliseer.  Ek besluit toe op Nico Scheepers juis omdat ek al met hom gewerk het met Tienduisend Ton en ‘n fliek wat hy ook vertaal het.

“Die speelbaarheid het ook baie te maak met die vertaling en ek dink Nico het baie goeie werk gedoen.”  Tog met die eerste week van repetisies het sy, Carel, Tinarie en hulle verhoogbestuurder Lize-Marie Wait ook gesit en  dit hulle eie gemaak. “Ons het gesny waar ons gedink het maar nie te ver van Nico se vertaling verwerk nie, maar ons eie stempel daarop  afgedruk.”

Nou kan hulle met repetisies dit eg Suid Afrikaans hou, en die twee mense wat in die Kaap woon met eerlikheid speel.

Cintaine vertel dat daar baie verskillende temas aangeraak word en dat die skrywer baie lekker stories vertel. Die stuk het al oor die hele wêreld gespeel en die skrywer en sy agent was baie opgewonde oor die Suid Afrikaanse speelvak.

Vir haar as vervaardiger is dit ook lekker om van die sukses te hoor. “The proof is in the pudding, en juis omdat dit in soveel lande gespeel het, beteken dat dit praat met mense.”

Vir Carel is die temas wat uitstaan,  eensaamheid in die moderne wêreld. Dit handel oor mense van hulle ouderdom, laat 30s en vroeë 40s, hoe om iemand te vind in liefde en in vriendskap in die moderne wêreld van Tinder, Facebook en Instagram.

 “Hoe navigate jy om iemand te ontmoet. Dit klink dalk of dit makliker is  maar dit kompliseer eintlik dinge,”  sê Carel. “Dit maak dit anders,  en op daai ouderdom is mense getroud of geskei, hulle kom met baie baggage, so dis ook wat elke persoon saamdra. Wanneer jy iemand nuuts ontmoet is daar allerhande goeters wat jy uitvind.

“Die skryfwerk is baie naturalisties, dis twee mense wat mekaar ontmoet aan die einde van ‘n aand na ‘n partytjie, en ek dink Nico het ‘n baie goeie vertaling gedoen soos altyd. Dis net ‘n blik op die lewe, dis 90 minute waarin twee mense mekaar ontmoet vir die eerste keer, maar albei het ‘n verlede.”

Cintaine se karakter is Laura, 38 jarige vrou, en ‘n besturende direkteur by haar maatskappy. Sy is baie suksesvol, het sopas ‘n woonstel in Sandton gekoop en dit was haar housewarming  

“Sy is ‘n interessante kat en dit is so lekker om met Tinarie te werk want sy gee my so baie insig, verskillende perspektiewe om hierdie karakters in fully-fleshed mense te verander.”

Hulle hoop gehore sal hulleself of ander in die karakters herken.

“Laura is baie ver verwyderd van my af, en nou dat ek ‘n breuk gehad het na verlede jaar se Woordfees, is dit lekker dat ek weer bietjie kan deepdive in haar psige. Sy het ‘n baie goeie selfbeeld, lyk na ‘n baie sterk vrou, en sy sê haar vriende is jaloers op haar, die aande uit, die sukses. Sy is so in beheer van haar eie lewe.”

Dis hoe dit voorkom sê Cintaine, maar onder draai die duiwels rond. “Diep, diep binne is sy baie alleen en eensaam. Sy wil ook die wit trourok he, die kinders, ‘n familie. Sy wil ook iemand na haar huis toe kan nooi om te kuier. Dis maar die primere behoeftes van menswees en sy het dit nie in haar lewe nie.”

As dit by Cintaine kom wat haarself beskryf as  “‘n groot empath”, sy het empatie met Laura, maar sy  sal moet diep gaan delf om daai eerlikheid te kan speel wanneer sy uitkom by hierdie vreemdeling.

“Want ek dink nie sy deel verskriklik baie nie, sy bou mure op waar ek self so min mure het dat ek te baie deel. Maar as sy met Daniel begin deel, dan sien ons wat gebeur as daardie mure afgebreek word, en hoe die eerlikheid uitkom.”

“Daniel is ook baie anders as ek, dra baie bagasie saam met hom rond,en het baie verkeerde besluite geneem in sy lewe,” vertel Carel. “Hy is alleen en op soek na iets. Ek dink hy soek na human connection as gevolg van omstandighede en waar hy is in sy lewe hy is.

“Hy is baie anders as ek maar tot ‘n mate tog die selle. Elke mens soek maar connection, dis alles goeters wat jy verstaan. Hy’s net gewone man wat soek na die dinge wat ons almal wil he.

“Ek hoop mense geniet dit obviously, ek hoop hulle lag want ek vind van dit nogal komies en snaaks en ek hoop mense hou van die karakters want hulle is gewone mense met goeie harte wat eintlik net hulle pad deur hierdie wêreld probeer vind en ek hoop tot ‘n mate dat die gehoorlede sal voel asof hulle voyeuristies (nie op weird manier nie),  kyk hoe mense mekaar ontmoet, die op en af van nuwe verhoudings, dis wat ek hoop wat mense sal ervaar.”

Vir Cintaine as vervaardiger is dit ‘n groot eer om in een van ons land se beste teaters te kan speel en die stuk na Gautengse gehore te kan bring. Butterflies is daar, sê  sy maar daar is niks lekkerder as om op ‘n verhoog te staan met ‘n gehoor nie. “Hulle voel amper vir my soos deel van die stuk, nog ‘n karakter. Die energie is so tasbaar in daai 90 minute, mens moet maar duimvas hou dat dit werk.”

Maar die ergste lekker lê vir haar by die optel repetisies wanneer jy kan werk aan die stuk en so gemaklik as moontlik kan wees voor jy op die verhoog klim.

Vir Carel is dit sy eerste liefde. Dis wat hy geswot het, intussen paar liefdes bygekry, “Cintaine is een van hulle maar ook televisie en film en baie lekker om terug te wees … op die verhoog.”

Vir“hom is die lekkerte altyd die repetisie periode want “as jy begin en jy  kry die ritmes, is dit amper soos jou eie klein geheimpie en ek hou nogal daarvan om dit vir myself te hou. Dan kom die anxieties van nou moet ons dit deel met ander mense. Gaan jy gejudge word, is jy goed genoeg. maar jy kom oor dit alles en beweeg terug na die eerlikheid van die storie wat jy met mense wil deel. Jy leer om met die anxieties saam te leef.”

“As die stuk lekker speel, is dit ‘n wen situasie, en as mens by ‘n teater kan speel en ons sal graag na verskillede feeste wil reis,” sê Cintaine oor die verloop van die stuk.

Sy speel ook bietjie met die idee omdat sy die laaste paar jaar huiskonserte gedoen het dat mens  die stuk in iemand se sitkamer kan doen. Maar sy besef ook sy  moet  haar mede akteur respekteer en dit sal afhang of hy dit sal wil doen, getroud of nie.

Dit is ‘n baie anderste energie en tipe intimiteit wat jy jouself voor oopmaak, vertel sy, maar miskien is dit tog iets wat die stuk voor vra. “Die tyd sal leer,” sê sy.

Vir Carel sal dit  afhang van sy beskikbaarheid,  sê hy tong-stewig-in-kies. “Maar sy sal maar my beskikbaarheid moet check, want ek is soms nogal besig.”

En ons wat teater kyk, hou duimvas dat dit goed gaan met die twee – deesdae gesoute -akteurs, en dat hule die land deur speel met ‘n Begin.

*Die twee toegewyde akteurs het vrae beantwoord terwyl hulle luilekker in Griekeland getoer het verlede jaar voor die Woordfees speelvak. Die het intussen suksesvol plaasgevind met baie goeie terugvoer. Dit open 30 Januarie by Johannesburg se ikoniese Mark Teater en die speelvak is tot 16 Februarie.

Om te bespreek:

https://www.webticket.co.za/v2/event.aspx?itemid=1558065074

WORDS OF WONDERMENT FOR THE QUEEN OF PANTO

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BY DIANE DE BEER

BEAUTY AND THE BEAST

DIRECTOR/SCRIPTWRITER: Janice Honeyman

ASSISTANT DIRECTOR: Timothy le Roux

SOUND DESIGNER: Akhona Bozo

PRODUCTION MANAGER: Sandy Dyer

LIGHTING DESIGNER: Johan Ferreira

COSTUME DESIGNER: Mariska Meyer

CHOREOGRAPHER: Khaya Ndlovu

PRODUCTION DESIGNER: Andrew Timm

SET DESIGNER AND BUILDER: Enos Ramoroko

MUSICAL DIRECTOR: Dale Ray

THE CAST AND THE BAND: Too many to list

VENUE: Joburg Theatre

DATES: Until December 22

Dear Janice,

Driving back from this year’s pantomime (the children of the kids who first used to accompany me are now my annual companions) I thought it was time that I should write a more personal letter of thanks and admiration rather than the usual review.

Not being at a newspaper any longer and posting on my personal blog, I have the right, I think. Also, between the two of us, you have probably/arguably written and  produced more pantomimes than anyone else, definitely in this country and probably out there in the big world too; and I have probably watched and reviewed more than many can claim.

The genre as such isn’t my favourite and you have many other theatrical accomplishments in case anyone should think this is the only thing you do. But because of you, I make a distinction between a panto and a Janice panto, and as I mentioned in the review of Aspoestertjie (currently running in Pretoria), you have raised the bar for anyone who wants to participate in this field.

There isn’t any chance that I would have managed year by year if not for your genius and innovation. Being who you are, I know you would have been bored to death as anyone would have been, if you didn’t set a particular challenge for yourself. And perhaps that was what saved us both.

I was sitting in a packed Joburg Theatre on a Sunday with a show starting at noon and the aircon struggling with the current heat. Watching the audience, there were many kids but many couples or friends without youngsters too. It’s an institution and one you established and nurtured and grew to what it is. Small wonder they don’t want to let you go!

The text, which is always current and probably the thing most cherished by the adults, is as always on the mark with bullies a strong theme. That’s no surprise, but I love the way you wangle to be political without offending anyone.

You always have your finger on the  pulse and have managed to work your way with casts which now fully represent the country without too much fanfare, you just did it. And this mirror of our society at a season that has such mass appeal is probably one of your strongest achievements. Few would have managed in such an easy fashion while showing the best of the country without bashing anyone on the head.

I know this is unfair, but allow me the indulgence. Cast and musicians were fantastic, but there were five that deserve special mention: Bongi Archi (aboveas the Good Fairy (Mama’ama’bali); Virtuous Kandemiri as Beauty-Belle; Judy Ditchfield having an absolute ball as Hectate-Hex, the wicked witch; and Lesedi Rich as Doodlesakkie The Donkey; and lest we forget, Chrissie-Anna Mampoer as the guest newsreader.

Through the decades you have been gifted technological advances, but the wonderment of that is to see how you have applied that in such a wonderful way. This time it’s the way you blend the players from their digital images to the live performers.

Also the sets, the in jokes which some might miss but it doesn’t matter. It keeps viewers on their toes. The six-year-old was curious about some of the adult laughter and that’s also a good thing. There’s a lesson there every once in a while.

I truly loved your Hitchcock moment this time. You managed to display almost all your different skills as well as showing that you’ve still got it – and will always keep forging ahead.

You are an example of a true artist. Someone who could probably have stopped through the years, but you simply cannot resist. For that I’m grateful. Your casting of the young and the old, the experienced and the newbies, each one of them bringing something unique to the stage and the story, also contributes to the success.

Even your choice of Timothy le Roux as assistant director and company manager looks ahead, as you made sure you don’t go without leaving some institutional memory and knowledge behind. If anyone was there to watch and learn it was this artist who started in the arts as a ballet dancer and followed that by crafting and creating his own way on the production side in this very tough profession.

To everyone’s delight, it’s the usual spectacular pantomime, but the reason we could say that time and again from one decade to the next, is you, Janice Honeyman.

And for me to say this about pantomime is all your doing.

Thanks for the magic and the memories!

I don’t have to preach to the converted and for those of you who need to introduce youngsters to the enchantment of live theatre, this is it.

FROM A FAN

PRETORIA HAS ITS OWN FANCY PANTOMIME THIS YEAR AND IT GETS A CELEBRATORY THUMBS UP

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Review by DIANE DE BEER

Aspoestertjie and the ensemble.

ASPOESTERTJIE DIE PANTOMIME presented by OAK ENTERTAINMENT

DIRECTOR: Ferdinand Gernandt

MUSICAL DIRECTOR: Jaco Smit

CHOREOGRAPHY Tarryn Botha

CAST: Afrikaans singer Leah (Aspoestertjie);  Marno van der Merwe (Prins Jan-Percy); Carmen Pretorius (stiefma Mevrou Violetta Esterhuizen); Grant Towers en Schoeman Smit (stiefsusters Marabella en Amaranta); Elsje Lourens (Feetjie peetma) as well as Donae Brazer, Duandre Vorster, Jemma Gradwell, Jonathan Raath, Lindi Niemand, Monique Barnard, Rainy van Zyl, Tristin Indigo, Tseamo Mapukata and Zante Marais to complete the ensemble

TICKETS: http://www.afriforumteater.co.za/event-details?event=aspoestertjie-die-pantomime or at the box office at the Afriforum Theatre, Menlo Park

VENUE: Afriforum Theatre

DATES: Until December 13

PICTURES: Supplied by OAK Entertainment

The scheming step-mom and a forlorn Cindy.

For the first time in decades Pretoria has a pantomime to be proud of.

Gauteng has grown accustomed to the Janice Honeyman spectaculars at the Joburg Theatre and that is also happening, which meant that my expectations were put on hold when I went to the first preview of this production.

I was also prepared to give them some slack because of the early attendance but it’s a short run and I wanted to get the word out there – especially if, as in this case, it is good.

It’s much better than that. It all starts with the script, which is original and funny  – and  has some real edge to keep the adults happy while the youngsters get the drift of this thoroughly modern Cinderella tale with many twists and turns.

Add to that a cast that have been rehearsed to within an inch of their lives and there was very little to complain of.

The prince and the two ugly sisters.
Let’s all go to the masked ball!

It’s also good to see that they’re prepared to take some chances, like the vibrant, young Elsje Lourens cast as the fairy godmother, Tina Tydreis. She’s the one who has to set the tone and pace of the production and has no problems doing just that. There’s bounce in every move and she immediately engages the audience in her particular telling of this over-the-top tale.

Pantomimes rely heavily on a handful of actors who have to keep everything together. The romantic leads, in this instance Leah and Marno as Cinderella and her prince, have to keep the little hearts racing. I had a youngster right next to me who was terrified she would not witness the final embrace.

With Lourens, the two deliciously decorative ugly sisters (Towers and Smit) and probably the celebrity of the show, Carmen Pretorius as the achingly precious stepmother, they especially  knew how to keep the show on its toes and the laughter rolling while playing their parts to the hilt and singing their songs magnificently.

It truly was a treat and I was thrilled that Pretoria finally stood up to challenge their neighbouring city with some panto excellence. I know Ms Honeyman will welcome the competition and she will delight in witnessing the results of the standard she has set other professionals in this particular field.

Pantomime isn’t as easy as it looks. Everyone is having a merry old time but if your cast doesn’t have the energy and elegance to pull it off, the audience won’t engage.

This one did. From the youngsters to a row of elderly women, everyone was shaking with laughter and delight throughout and for me, someone who has seen far too many pantos in her life, the fiesty and fresh approach, and the sheer excellence of the presentation, was a highlight.

It wasn’t that I was expecting to experience doom and gloom, but the standard was unexpected and something that blew me away.

Tseamo Mapukata (as Buttons, centre) has a magnificent voice and the rest of the cast are not too shabby either.

If you have children in the family, gather them and get tickets to join this talented gang in some lovely end-of-year entertainment. There’s not a weak link in sight and I would go especially to hear Tseamo Mapukata  who played Buttons sing.

What an exquisite voice. But none of the cast was too shabby.

Let’s hope we hear more from OAK Entertainment in the future, they certainly know how to put on a show!

KKNK’S BI-ANNUAL TEXT MARKET A THEATRE EXPERIENCE THAT SPARKLES WITH INNOVATION

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DIANE DE BEER

Tinarie van Wyk Loots talking about her script Hamlet/Speenvark.
Picture: Nardus Engelbrecht

DIANE DE BEER

This is the 9th time I’ve written about the Klein Karoo Kunstefees/NATi/Baxter Teksmark (text market), the reason being it is such a smart creative endeavour.The brainchild of Hugo Theart, the CEO and artistic director, Hugo Theart of the Klein Karoo Nasionale Kunstefees (KKNK), it is one of my favourite events of the year It’s existence was born out of need because original local scripts had become a problem. What they were hoping to do was to create new theatre texts which would provide local content for the festivals as well as encouragement for both budding and seasoned writers. And that is exactly what happened.

This past festival was the 9th, 156 text ideas in many of our official languages have been presented and in total, 43 of these texts have been developed into full scale productions, some of which can also boast well-deserved prizes.

What I find so intriguing is the zeitgeist that shifts year by year. Very specific strong themes usually emerge and it is fascinating to observe the topics tackled and which struggles or celebrations the creatives have focused on in a particular year.

One of the extraordinary gifts that this particular platform supplies is the chance for artists to experiment, to test ideas, to play and simply to reach for the stars which is something that quite a few playwrights attempted with brilliant results.

Acknowledged as one of our best actors, Tinarie van Wyk Loots presented a play titled Hamlet/Speenvark. Even the title suggests that this is going to be something unusual. Blessed with her acting skills, she could present her own play/monologue, which I found challenging yet immensely exciting.

She describes it as an attempt at a solo production, or struggling poem, modelled on, and with apology to Shakespeare’s Hamlet (and she cites Jonker, De Villiers, Malherbe, Totius, Opperman and Yeats). That’s quite a list.

She writes that it is “a tentative but violent investigation into the emotional landscape of being South African – the search for identity and a relationship with guilt and victim mentality.”

She further explains that her choice was driven by her “ancestors rooted in Africa and Europe, the disillusion of humanity, and emotional suicide depicted through the extrapolation of various characters in the original script, who all speak from the same mouth.”

The reading was magnificent and I could feel that this was going to develop into something quite extraordinary. Van Wyk Loots is someone who has given her heart and soul to the stage. Few actors can still afford to do that. But she has the skill and talent to keep adding to her repertoire and her engagement with theatre.

Not only can she write, she can then take the text, already her own, and do with it whatever she wishes. Personally I can’t wait. This is the kind of production that keeps theatre alive.

Dianne du Toit Albertze in conversation about Meire en Pinkie.
Picture: Nardus Engelbrecht

Never one to shy away from tackling holy cows, Dianne du Toit Albertze’s writing grabs you by the throat. On first reading of the text, I needed to know who had written with such abandon and such a brave heart. When I discovered who it was, I knew it couldn’t be anyone else and I was surprised I didn’t pick up the harsh yet haunting style of this writer.

Meire en Pinkie depict orphanage runaways and ladies of the night and day. Okiep jintoes with nagging drug addictions who scramble for survival daily, searching for a cure, writes Du Toit Albertze, but fail to know how to get it. But they continue running towards ways to escape the vicious cycle of poverty and abuse.

But she points out, life has a way of outsmarting you. The sins of their mothers catch up with them when they are accused of selling the means to vicious addiction, Meire’s child. It’s something they endured themselves as children. And now they feel abandoned

Picture: Nardus Engelbrecht
A scene from Meire en Pinkie.

It’s gritty, hard-hitting and without compromise. Some would argue for something with less hard edges but this is exactly what theatre can achieve: to tell real-life stories in a language that becomes a character, confronts you and makes you listen without turning away. This is when theatre becomes therapy for those writing and performing as well as those watching.

These are just two of the standout texts, part of this year’s text market at the Baxter but there were many more that had potential for further development and some already  stage-ready.

Playwright Gavin Werner (Meeting Murphy, centre) with two actors playing the parts on either side.
Foto: Nardus Engelbrecht

The theme of bullying captured by Gavin Werner in Meeting Murphy will touch everyone who would have experienced it in some form. Another one that popped up in quite a few texts was memory and the way individuals remember the same event in different ways. How we view the world is often coloured by past experiences and this can lead to discomfort in some instances.

The Salt Lesson by the insightful Sibuyiselo Dywill also tackles memory but here it has to do with different generations, cultures and languages and most importantly for the playwright, from the same bloodline. In any context this is a huge ask but with the South African apartheid past, when the elderly family member (white) suffers from dementia and regards the youngster (black) as an intruder rather than a son, things can get really messy.

Playwright Sibuyiselo (with the mic) surrounded by the three actors in his play The Salt Lesson.
Picture: Nardus Engelbrecht

It’s such a clever idea which explores different issues in genius and thoughtful fashion forcing audiences to look at their own world views from a different vantage point.

Scenes from The Salt Lesson. Pictures: Nardus Engelbrecht

With plays written in home languages including Afrikaans, English and Xhosa, the premise is embracing and expansive with the graft expanding year by year. Once we can figure out how to present theatre in different languages so that everyone can understand – easily – Teksmark will truly break down barriers and shift theatre in this country into a unique stratosphere.

And if you want to check out what is happening at the second Gauteng Teksmark to be held at UJ, where different playwrights and others involved in the theatre industry discuss their ideas as play readings, enquire with J.C. Aucamp at 0763335945 or jc@kunste.org.za.

The KKNK 2024 Gauteng Teksmark will be held on 24 and 25 October at Keorapetse William Kgositsile Theatre, Kingsway Campus, University of Johannesburg.

ANDREW BUCKLAND RETURNS IN THE CLASSIC UGLY NOO NOO TO JOBURG’S MARKET THEATRE

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DIANE DE BEER REVIEWS:

THE UGLY NOO NOO

DIRECTOR: Janet Buckland

PERFORMER/WRITER: Andrew Buckland

VENUE: Mannie Manim Theatre at the Market

DATES: Until September 1

Pictures: Ruphin Coudyzer

What a delight to revisit Andrew Buckland’s The Ugly Noo Noo, which was written and performed for the first time in 1988.

That feels like a lifetime ago and it’s not often that we get the chance to revisit these classics of local theatre that travelled the world and won accolades all round.

They cleverly kicked off with The Making Of, presented as part of performance lectures and demonstrations at SO|The Academy for the Less Good Idea in Johannesburg with Buckland giving audiences (those who had seen it before and those going for the first time) insight into the development of his signature style. For him, the play was a response to the political and social context of apartheid South Africa in the late 1980s. For the audience, the talk was a chance to get closer to the thinking and strategies of this astonishing South African theatre maker.

Athena Mazarakis, Momenteur for SO | The Academy for the Less Good Idea, explains that The Ugly Noo Noo is a seminal work in the canon of South African theatre.  

“The work is not only a biting piece of allegorical protest theatre but it also established Buckland’s unique style of the highly physical one-hander that blended elements of mime with razor-sharp text.

“It is a style that has since influenced and inspired multiple generations of performers and theatre makers, defining a particular South African brand of physical theatre marked by the combination of physical virtuosity with a strong textual strand and the solo performer who single-handedly takes on an entire cast of characters.”

She reminded audiences that, “not only is this re-staging a reminder of the part that theatre and artists played in the struggle but is also a continued reminder to artists today of the power that their work holds to critique and question the many injustices that surround us.”

For Buckland, his work is all about the imagination of the audience, where the action of the piece is given life. “It’s a delicate line to get the audience curious, like charades on steroids, as you draw them into the play.”

Play, in fact, says Buckland, was where it all began. He was the youngest of seven siblings and started playing on his own for hours, being the hero in his own world.

For this particular piece, 36 years ago, it began after witnessing his wife’s response to what had become known as the Parktown prawn. “I always loved language put together with movement or stillness,”  he says.

Thus began the encounter between a human and an insect. He felt trapped in the world of apartheid at the time. How does a white man deal with what is happening around him on stage? He knew he had to participate in a meaningful way. The Ugly Noo Noo gave him the perfect allegorical way out, offering him a novel way of telling stories while at the same time pointing to the world around him and the horror confronting South Africans.

What he was familiar with was his own angst and fear. Being the artist he is, The Ugly Noo Noo was where it all began. And while we were in the grips of apartheid when it first emerged, this time the world is struggling with a sudden explosion of fascism all over the place, and the timing of the current season could not have been more apt.

Looking back, that has been Buckland’s weapon (deliberately or simply instinctively). His work has managed to capture a particular zeitgeist which in some fashion seems to hold countries  to ransom.

What he discovered with this work was that it was possible to use laughter as a vehicle to invite people to acknowledge and confront their fear.

Watching the performance all these decades later and again hearing the text it is obvious why it was such a success while still retaining all the power of performance and  storytelling as when it was first performed.

When talking about the making of, Buckland referred to his age, but what struck me was that all his many years of training, of honing his craft, have added to the detail and impact of his movement, which might have been diminished with age. Older and wiser, he knows where and how to compensate and embellish.

The text has lost none of its initial cunning and while his antics on stage has the audience in laughter much of the time, the real essence of the text is a still a stomach punch.

It is one of those that has all the elements celebrating the art of performance and storytelling when there’s a true genius at work. Buckland has always been one who worked with delicacy and delight when presenting his art. And his choice and timing of when and what to perform is spot on.

Hopefully he will return to that classic treasure trove of his and bring back all those memorable gems.   

A FIERCELY FUNNY SOLO ACT AT THEATRE ON THE SQUARE WITH A SKILLED SCRIPT AND DEXTROUS PREFORMANCE BY AARON MCILROY

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DIANE DE BEER

A VEGAN KILLED MY MARRIAGE

Actor: Aaron Mcilroy

Writer/director: Craig Freimond

Show times: Weekdays at 7:30pm and Saturdays at 5pm or 8pm

Dates: Until 14 July


A solo show is a difficult gig for any performer. It’s the actor and the script with no backup if things go wrong. They have to think on their feet.

But when it works, it’s usually a blast. They’re sometimes funny and often sad. But whatever the material, the performance is usually the determining factor.

That’s why I try to give solo artists at least one chance. If they’re good, you’re theirs for life and usually the progression is also special to witness.

When I saw  that Craig Freimond was the director and the scriptwriter, I knew this would be a winner. His reputation is established and I was pretty sure the trip would not be wasted.

It’s always interesting to discover new actors and Aaron Mcilroy’s performance was hugely entertaining.

The title is pretty self-explanatory and in this time of extremes, vegan is a good topic through which to exploit that particular behaviour trait. Anyone who gives up anything with success can be very painful and annoying. Perhaps “sanctimonious” captures the essence more specifically.

And that’s exactly what happens here as  this particular vegan convert decides he has to inspire the world. He has discovered the life and it is his responsibility to pass it on. Get the drift…

Especially braais – that sport of kings in the South African context – are not the place to start preaching a vegan lifestyle. But, of course, new disciples, have hardly learnt the finer nuances of taking things slowly. Trying to persuade someone to let go of their way of life because that’s what you have done is hardly a proven recipe.

And that’s exactly what happens. But without showing the play’s hand completely, rather discover it for yourself.

Mcilroy knows how to work a room, he has an abundance of tricks in his bag to layer his performance, and the script is coloured smartly with the sharpest South African shades, is extremely funny and very recognisable to anyone who has ever been in any relationship.

We all start out with good intentions and then the personalities and needs of the different parties come into play. How different individuals play their moves often determines the outcome.

Freimond and Mcilroy make a good team. It’s a sassy little play, a smart performance and, at 60 minutes long, perfect for a chilly Gauteng evening. Take some friends and have a relaxing time out.

THE WAY A CHILD’S HEART FINDS HAPPINESS

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REVIEW BY DIANE DE BEER

THE KING OF BROKEN THINGS

DIRECTOR AND WRITER: Michael Taylor-Broderick

ACTOR: Cara Roberts

VENUE: Mannie Manim Theatre at the Market Theatre

DATES: Until Sunday

AGE: From 10 years old

DURATION: Approximately an hour

This is the final call for this delightful play which has been doing the rounds for some time but, is as far as I know, this is its first visit to Gauteng.

Solo plays are festival standards and a wonderful way to discover new directors and actors. In this instance, Roberts, who according to the internet, is based in Durban, has been seen on local stages but also has a number of solo productions as part m of her repertoire.

That tells you about a performer who knows how to generate her own work, something they need when trying to survive in an industry hard hit in any troubled times. Survival is part of their normal game.

And for the character Roberts is portraying in this particular venture, a 10-year old boy, it is all about survival.

We don’t know too much about him except that he is living in a world of “broken things”, which dominate his life and the space in which we find him. If the world he was given is too difficult to navigate, it seems, his remarkably skilled solution is to create a space that can accommodate his wounded soul.

But that is how many young children react to a tough situation which they might not understand and in which the adults in their lives are sometimes the culprits who have created what seems to be a dark space.

And we all know that while communication is the best way to keep anyone’s world on track, it’s something that everyone seems to have a problem understanding. Just check around you and the problems you bump into – communication is such a handy tool if we would just go there.

Yet when your life seems to be dominated by pain, losing people you love and trying to find the reason for these tough times, you will find a way. You might not understand what is happening, but in this instance, the young child talks and creates his way to a better place.

It’s one of those plays that presents you with a moment in time, one that most of us encounter in some way, but he has found a way. If others can’t fix you, there are ways to make your dreams come true.

Roberts is an astonishing actor. Playing someone much younger is a tough ask, but with a smart script and a performer that throws herself at the role with just the right balance, it works.

It’s a charming hour and a play which I think especially teenagers should see. They would pick up a few life lessons and discover the way theatre can generate both wisdom and wit as The King of Broken Things leads them into a world of wonder where imagination is the ingredient that really matters. Shows tonight (7pm), tomorrow (3 and &pm) and Sunday (3pm). Bookings at https://www.webtickets.co.za/v2/Event.aspx?itemid=1537172754

STATE CAPTURE IN FULL COLOUR IN THE BROTHERS NUMBER ONE AND A WEEKEND SPECIAL AT JOBURG’S MARKET THEATRE

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REVIEW BY DIANE DE BEER

Pictures: SUZY BERNSTEIN

Astrid Braaf confronts David Dennis.

THE BROTHERS NUMBER ONE AND A WEEKEND SPECIAL

A new South African Political Play

PLAYWRIGHT: Richard Calland

DIRECTOR: Greg Homann

CAST: David Dennis as Uncle; Michael Richard as Tim; Astrid Braaf as Journalist; Zane Meas as the Lawyer; Ziaphora Dakile as Tiger Claws; Melissa Haiden as Virginia

ASSISTANT DIRECTOR: Aalliyah Zama Matintela

SET AND COSTUME DESIGN: Lisa Younger

LIGHTING DESIGNER: Hlomohang ‘Spider’ Motheto

AV DESIGNER: Xolelwa ‘Ollie’Nhlabatsi

SOUND DESIGNER: Vagile Mpumlwana

VENUE: Mannie Manim Theatre at The Market

DATES: Until May 19

In the programme notes the playwright is described as a prominent political analyst, and a columnist for the Mail and Guardian newspaper as well as the author of a number of political books.

Zane Meas and David Dennis.

The following is also stated:

The Brothers, Number One and a Weekend Special is the story of the rise of State Capture, starting with the announcement of a new Minister of Finance in late-2015. The play, which tracks a two-year history, is written by astute political analyst, Richard Calland, who has been close to the frontline of South African politics since 1994 and a political columnist at the Mail & Guardian since 2001.

As the drama unfolds, an audience witness the high-stakes manoeuvres, clandestine dealings, and manipulation of public sentiment that fuelled further racial division across the nation. Calland weaves a narrative that connects the dots between government, media, and corrupt businessmen, laying bare the underbelly of a political landscape marked by noise, complexity, and a dangerous volatility.

This leaves you in no doubt about what is going to follow and my first thought was, this being the 30th celebration of what still feels like our young democracy, the play must be seen as a sign of our maturity as a country.

David Dennis and Astrid Braaf.
In confrontsation Astrid Braaf, and Ziaphora Dakile.

This kind of play, with a representative audience all loudly involved from start to finish, has a lot to say about what we have gone through and, how we have emerged with much more political smarts and cynicism following the Zuma years. Even though we are still suffering many financial and ideological blows from that horrific time, we are not as easily duped, no longer the silent sacrificial lambs we were then.

And at the heart of what unfolds is the playwright who as a political analyst and journalist, has the information at his fingertips.

How can we forget how the iconic Brenda Fassie song title Weekend Special became something completely different in South African minds?

Michael Richard and Melissa Haiden.

This was perhaps the turning point of the whole Zuma fiasco – his Weekend Special. You can dupe a country as much as you want it seemed, but when you go for their money, that’s a completely different ball game – and when things started to unravel for the shameless Number One. Des van Rooyen was no match for the controversially fired Nhlanhla Nene – as the rand went into free fall.

Remember those heady days for the Gupta brothers, who are still hiding out (with South African billions, mind you) somewhere in the Middle East, Switzerland or India depending on  which sources you trust.

Back to the play. We all know the facts; there were many newspaper reports as well as Thuli Madonsela and Zondo’s inquiries. With Homann smartly mixing his cast with stage veterans such as Zane Meas, Michael Richard and Dennis Becket and three young but also experienced female actors (more familiar I suspect to Cape audiences), we all had to think on our feet to work out the different characters.

David Dennis is Mac Maharaj whispered an audience member close by, but in the end it didn’t matter. You quickly gathered that the men were part of the corruption including the Guptas, as well as those handling all the shaky deals from government side, with Richard being the one watching and guiding his journalist.

David Dennis makes his point.

It was glorious to see these three in action on the same stage, masterfully matched by the young female energy in their particular roles of either ferreting out, or defying any corruption allegations, depending on their particular alliances.

It takes one back to those early days of discovery. Remember the Saxonwold shebeen? People carrying handbags stuffed with money, others denying visits to their overlords, those in command of State Capture. It feels a bit like a horror movie, but not with Calland orchestrating the manoeuvres and connecting the different dots.

And everyone was laughing. We have, after all, dodged a bullet and most of us are much less gullible than we were in those heady early days of our democracy.

The anguish is palpable.

It’s a fast-paced political thriller of sorts and it’s our own. What I would have liked is a bit more clarity in the staging. With seats on three sides, the projections were difficult to follow from the side. And some gave insight into the full affair which was unravelling at a speed.

Short and straightforward interactions would have  added more punch (from both a script and staging perspective) and added a contemporary edge. The audience obviously loved it and were fully engaged, and so was I. But, especially as we all knew the details, it simply would have elevated it into a landmark play.