The Theatre Gods Align for Koningin Lear

Koningin Lear with cast
TV screens amplified

We haven’t just gone back to nineteenth-century levels of income inequality, we’re also on a path back to “patrimonial capitalism”, in which the commanding heights of the economy are controlled not by talented individuals but by family dynasties.

From “Why we’re in a New Gilded Age”, The New York Review of Books — 8th of May 2014, Paul Krugman, reviewing Le Capital au XXI e Siècle, Thomas Piketty

And published as an introduction in the printed version of Koningin Lear

 

DIANE DE BEER

Pictures: Hans van der Veen

 

koningin-lear-in-storm.jpeg
The magnificent Antoinette Kellermann

Playwright Tom Lanoye has masterfully taken the iconic Shakespeare tragedy, King Lear, and recast it in a contemporary landscape with the most pressing issues of the 21st century all coming into play –  greed and grandiosity leading this particular wolfpack.

He starts with gender, flip-flopping the roles as the title Koningin Lear suggests, and gives the mighty Elizabeth Lear three sons: Greg, the eldest, Henry, the second in line, and Cornald or Corneltjie, her darling child. With the eldest two married, the two wives, Connie, the OTT shopaholic, and Alma, from the wrong side of the tracks and struggling to shrug that off, both play a particular type yet also connive with their husbands to secure future power.

Yet, as the original so smartly shows, greed might be the excess of our time, but there’s nothing new in the world of the top dogs except perhaps technology and the universal scale at which that power grows and disintegrates. It’s no longer a single kingdom on an island, everything and everyone in our universe is connected.

Koningin Lear
Neels van Jaarsveld and Anna-Mart van der Merwe

When you sneeze – especially if it affects the money markets – the effect takes on tsunami proportions. And this is where director Marthinus Basson ups the ante, being someone who always holds the bigger picture close. With this one it really counts.

The design adds to the dynastic feel of the production, which plays on different levels. Basson emphasises the age we live in with technology.  A backdrop of TV screens used in many different ways immediately add urgency and heightens the impact of the precarious nature of what Elizabeth is about to do.

More than anything else, power corrupts. And to play with it almost nonchalantly like this mother does, we all know will have devastating consequences.

koningin Lear Antoinette Kellermann
Antoinette Kellermann

This a family concern –  one that is worrying, because it is not necessarily the best that steps into a leadership position. Family is the determining factor, whether worthy or not.

Just a few minutes in, we already know that Elizabeth’s adviser would have been a better choice to make the handover a smooth and more successful one. For decades Robert Kent has been Elizabeth’s shadow, completely loyal to the family, often at his own cost

Lanoye’s words needed to be transformed in a South African context by someone who could adapt yet not dilute the essence of the playwright’s words. Antjie Krog, who previously worked wonders with the Mamma Medea translation, was the obvious choice. Not only did she have to translate, she had to transfer it to a local context.

Just listening to the language of this magisterial text is sublime, even the way Krog uses swear words or plays with the different characters in the way they use their language. She also knows how South Africans will react to different cars as wealth trophies and that “my losie by Lords” has more impact than Loftus, for example. It is all in the detail and why you can’t read, listen and experience the language and meaning enough.

koningin Lear trio
A scene from Koningin Lear

It’s a play that indulges your sense of disgust at the wealth accumulated by the powerful, their lifestyles, arrogance and disregard for anyone but their immediate family and then only those who find favour. They live by different rules and have no idea of or interest in anything but their own prosperity and anything that affects their well-being.

It is a work of majestic scale and demanded a majestic cast. With Antoinette Kellermann as Koningin Lear, half the battle is won. She is majestic as the matriarch of a business empire that she is in the throes of handing to her three sons. But first she asks for a declaration of their undying love with the results disastrous as she sets in motion a run of revolting, rampant greed and how that unhinges a dynasty in a modern world.

It’s no surprise that Steinhoff is snuck into the text at some point. If you still hadn’t got the drift, that will force you to take notice

Koningin Lear Antoinette Edwin
Edwin van der Walt in his extraordinary turn as the junkie and the powerful Antoinette Kellermann

We know the original story. It’s the way Lanoye has made this tigress fight until her last breath, the way Kellermann has ingested the text so that she can charge into glorious battle with her character and slay any dragons in her path.

And here her demise doubles up as she doesn’t only hand over all her weapons, her wealth and thus any sway, she also struggles with dementia with age finally catching up, something no money or willpower can change.

As the sons struggle with their inability to conquer the business world, pale shadows of their mother, their wives on the sidelines egg them on and soothe their egos.

It’s like an epic melodrama with a master conductor and performers who know how to play every word in its finest nuance. With the gravitas of André Roothman as Kent and a supreme supporting cast, it’s a play that strikes no false notes. Everything is music to your ears.

The three sons, Neels van Jaarsveld, Wilhelm van der Walt and Edwin van der Walt, with Anna-Mart van der Merwe and Rolanda Marais as the wives, represent a family in freefall. Not only have they not been schooled to take on their heritage, they only register the perks without any of the pitfalls.

On the sidelines, Matthew Stuurman is the carer and very importantly the moral compass who has nothing to gain or lose yet reacts with compassion to someone’s need, not something that registers where money is the only currency.

From start to finish, it is a production that ticks all the boxes. From the content to the language, the design and the staging, the extraordinary choice of cast with Kellermann conquering her most challenging role, it’s theatre to savour – over and over again.

Koningin Lear with cast

Koningin Lear is on at Cape Town’s Baxter Theatre  from November 7 to 16.

 

The Arts Not Always Recognised In The Way It Should Be Counts at Aardklop 2019

Aardklop 2019 made great inroads under difficult economic and social circumstances with women stealing the show on many of the stages writes DIANE DE BEER;

 

One of the problems that Afrikaans festivals battle with is inclusivity. It is less problematic in the Cape (Woordfees and Klein Karoo Nasionale Kunstefees) because Afrikaans is a language spoken by different groups.

Less so in a place like Potchefstroom where English would be the spoken language common to most of the people. But that doesn’t mean trying to embrace the different communities should not be attempted.

You want a whole town to celebrate and share in the advantages of any arts festival. The arts have often been used as inspiration in this country – good times and bad – and can be used as a common language.

20190928_122143_HDR
Organsier and jewellery maker Seitebaleng Legoale with poet Tlholeho Lekena celebrating their award

This year inroads were made with an art tour (for the second year in succession) to the local township Ikageng. Catching a specially designated shuttle, the Maboneng Township Experience, is the start of an inspired journey.

Founding director Siphiwe Ngwenya who instigated these art tours in Alex, Langa and Joburg previously, was also instrumental in the Ikageng initiative now being run by Seitebaleng Constance Legoale who has started specifically in one designated street where sometimes it is the house of the artist, other times, art is exhibited in specific homes. She believes this is just the beginning.

20190928_112737_HDR
Poet Tlholeho Lekena in action.

With Carien Brits from the ATKV’s language department as part of the experience, she kickstarts the tour on the shuttle with a talk on language, that spoken most widely in Ikageng (Sesotho) and the culture those making the journey will experience in the township where we are greeted by a local poet Tlholeho Lekena. He does a great introductory poem titled Grey, promoting the absence of white and black while rather focussing on a combination of the two – in essence an absence of colour.

20190928_120419_HDR
An anguished rape lament

From the different kinds of art, photographs, live poetry and writing put up on the wall raging about rape to the colourful grandmothers who are often the backbone of their self-made families, it is yet another small step to change township into town with none of the often-self-imposed barriers.

They were rewarded with an Aardklop award for ground-breaking work and hopefully the venture will go from strength to strength.

On the stages, it was the time of especially three women: Sandra Prinsloo, Antoinette Kellermann and Cintaine Schutte. Naturally there was more, but festivals always produce something extraordinary that stands out for different reasons.

Here it was about performance in three very different productions, yet each one with its own challenges and each one very specific to the production.

Sandra Prinsloo
Sandra Prinsloo Picture: Eye Poetry Photography

Prinsloo stars as Susan Nell in Kamphoer (on at The Baxter in Cape Town until October 26) , a piece that on paper looks tough to transpose to stage. But with the phenomenal Prinsloo working for the first time with insightful director Lara Foot (the production is currently playing at The Baxter in Cape Town), they workshopped the text with scriptwriter Cecilia du Toit, and produced something powerful for especially this time.

It’s a story of violent abuse during a time of war, someone whose rape earned her the damning title of camp whore, a woman left for dead at the side of the road, and finally, after many detours and gentle helping hands from concerned strangers, a chance at retribution.

For Prinsloo and Foot, the X factor was bringing this extraordinary woman to life. It’s not just about what happened to her, but how she experienced her life, something she had no control over. It is the way Nell (Prinsloo) takes you through her life, removes her skin layer for layer as she is violated and tries to rebuild and find a way to regain a measure of what could become a life once again.

It is the way she shares her story, the fragility of what becomes her existence, reaching a hand to help others but never escaping the trauma of her past that has such emotional impact even when she has lost that part of herself – she believes, forever.

If anyone wonders about rape, the lasting effects and the different ways it impacts individual victims, Nell’s story unleashes the horror in a way that removes any questions as it takes you to the core of what this defenceless woman had to endure.

None of this would have come across without the unique text, the choice staging and direction and Prinsloo’s towering presence as Nell.

She gives a performance of such devastating delicacy that the aftershock is shattering.

Cintaine Schutte
Cintaine Schutte

In the translated Tien Duisend Ton (which I originally saw in English), and here directed by Nico Scheepers with Cintaine Schutte and Albert Pretorius, the two lovers trying to make sense of their lives, Schutte’s desire for a child with Pretorius slightly dubious, what really matters is the performances.

And while Pretorius does what needs to be done, it is a blossoming Schutte’s performance that has you holding your breath throughout.

It happens at breakneck speed, almost in manic monologue fashion with Schutte’s inflection, her body language, the speed with which she reacts and charges her performance with emotional heft, that has you gasping.

Keep up and don’t lose her as she races off at a speed that’s sometimes exhausting yet always exhilarating. It’s contemporary, young and dealing with issues that many – young and older – struggle with on a daily basis, if they’re blessed to have that kind of luxury which this couple obviously have.

Schutte has been someone to watch from the start but this past year has obviously been her time and perhaps a new confidence is starting to emerge and colour her performances. No longer the new kid on the block and with a series of roles in her repertoire, the range, which is expansive for someone so young, she seems to have a newfound fire which is mesmerising.

And there’s so much more to come.

Koningin Lear in storm
Antoinette Kellermann     Picture: Hans van der Veen

 

Then there’s also the grand dame of classical theatre Antoinette Kellermann as Elizabeth Lear in charge and in command of the luminous translation of Tom Lanoye’s Koningin Lear by Antjie Krog (on at The Baxter in Cape Town from November 7 to 16) . With the support of a tremendous, choice cast, she inhabits a woman whose power is waning on a business and personal level.

As the story goes, she decides to pass her wealth on to her heirs, but they have to declare undying love before the inheritance can be owned. And that’s when the fun begins.

It’s also the arc she is expected to play, the transformation from start to finish as she first emerges as the powerful matriarch at the top of her game. And yet, from the beginning, there are some unnerving hitches which Kellermann exposes with subtlety because of the crescendo she is aiming for at the end.

With this performance of extremes, she has the mammoth task of getting to grips with a text which drives all of her actions. But Kellerman, being the artist she is, takes on the challenge and triumphs magnificently.

Because of the ambition of the playwright, all the elements had to work together sweetly – and they do. That’s what makes this such a majestic experience.

And these are but a few of the elements and people that made the 2019 Aardklop swing – under difficult economic circumstances – proving once again that the arts do so much more than simply entertain – even as it pulls that off too.

Nataniël Makes the Earth Move in When Giants Waltz – 12 Monumental Concerts

nats giants3
The stars from When Giants Waltz

DIANE DE BEER

WHEN GIANTS WALTZ – 12 MONUMENTAL CONCERTS  

Artist/writer/composer: Nataniël 

Musicians: Charl du Plessis (keyboards), Juan Oosthuizen (guitar), Brendan Ross (keyboards, saxophone and vocals), Werner Spies (bass), Peter Auret (drums)

Vocals: Dihan Slabbert and Nicolaas Swart

Costumes: Floris Louw

Venue: Theatre of Marcellus, Emperors Palace

Dates: Until October 27; Fridays and Saturdays at 8pm, Sundays at 3pm12 concerts only; 90 minutes long; no interval; no cellphones, sandals or shorts; no children under 15

 

No matter how little or how well you know this artist’s work, he surprises you.

How does he do it? I watched in wonderment and awe while experiencing the thrill of a performance that epitomises the excitement of live theatre – and it happens year after year.

It’s like a surprise party. Before the time he has much to say about what won’t be part of the concert, for example, the absence of a set, no more choreography, music that’s not accessible, no overarching story – he doesn’t speak much about what will be part of the show.

That’s Nataniël, someone who works imaginatively and creatively to catch his audience off guard, to always bring something new, not only with message as he moves with the times, but also with his evocative stage craft.

Nats giants4
Creative costumes are part of the storytelling.

Following a hiatus last year after more than a decade of annual shows at this theatre, he’s back with a vengeance in a way specifically structured to catch you unawares. The costumes are bigger and even grander in conception than before with many gigantic garments filling the giant-themed landscape.

They are heart stopping, from a different era, in royal fabric and often bright colours, with the result that many are clamouring for an exhibition of his stage couture. The finer detail is difficult to catch from an auditorium.

There’s a costume in front of a backdrop which mirrors the fabric, lamps drop from the sky and moonscapes create a lunar atmosphere, a brilliant blast of red with a sign dropping from the heavens with the word blue – in fact colour plays a huge part as his storytelling both tickles and tortures as he is wont to do. There’s always a sting in many of his tales.

Then the performance and the show, the substance and the visuals, the stories and the songs with musicians of stature who all contribute to the overall artistry, take over.

From the entrance with Nataniël tripping onto stage draped in creature couture which immediately puts you in an imaginary place, this genius storyteller takes you a-wandering in his world of merriment intertwined with melancholy.

nats giants 2
Nataniël in full flow

The language, the images he conjures up with his characters and the lives they lead, the way everything unfolds and the music which drifts between blues, jazz and a few pop classics – some original, others re-arranged – all come together sweetly.

Backed by three sassy vocalists or sometimes performing with only the sounds of a lone guitar as accompaniment, Nataniël has through the years found the music that works best for his voice and which accommodate and remark and elaborate on his stories. Sometimes he might google the saddest jazz song in the world (for example), which he then sings and when he can’t find anything for a particular story, he simply writes one.

He has never had a hit, he says only half-forlornly, but he shines when performing live, relaxed in his own skin, crooning with musos who know his style and get into the swing and rhythm (as well as a constant change of costumes for the band too) of his particular vibe. Everyone shines.

The show is presented in a series of montages, almost like paging through an album. The costumes and props do the visual fantasy and the stories fill in the details. These leave you giggling and gasping in turn as as he dips into the often hysterical lives of a woman who has arranged her life to accommodate the elephant in the room, another with blue ribbons whose knitting finds no conclusion and yet another whose names are constantly switched until she owns her identity.

He bookends the show with the history of giants and their place in the world and in conclusion, confronts those who feel larger than life with unchecked power, who believe they are mightier than the law and trample those they regard as lesser human beings and easy to destroy.

nats giant4
Nataniël in song

In each tale, once the laughter dies down, and just before the next song, the sadness of all the hilarity at what is sometimes the horrors we all encounter in normal living, hits you full on. But, with perfect timing, just before you succumb, a stunning new costume, or a song fills the empty space and we move on.

This is an artist who has perfected his craft. None of the normal rules applies. He has used a director on occasion but not for the last decade. He writes all his own scripts, guides his designer in the costumes he hopes to see, plans the lighting which sometimes only show the costumes in full light as the last note rises and designs the stage and anything he needs to accomplish a mood for a story and a song.

It’s transcendent what he achieves and in-between, he tours the platteland with shows and speaking dates, does cooking shows and TV series, and has just published his first book that didn’t first play on stage – in both Afrikaans and English.

It’s his imagination – unchecked – that never lets him down as he draws a world with his visually rich stories (in both English and Afrikaans) while entertaining in a manner few can achieve year in and year out.

When giants waltz, Nataniël says, the earth moves, which may be true. He doesn’t have to rely on size or stature, he gets everything moving with his gigantic creativity and imagination.

That’s the artist he is and it’s joyous to experience this kind of quality.

 

 

 

Make a Move on the Wild Side with Ben Voss’s Benny Bushwacker: Human Nature

Pictures: Val Adamson.

Ben Voss is Benny Bushwhacker. Photo credit_Val Adamson - Photo 6
Preaching to the converted

 DIANE DE BEER 

            BENNY BUSHWACKER: Human Nature

Starring BEN VOSS
Written by John van de Ruit
Directed by Janice Honeyman

The Studio Theatre @ Montecasino until October 20

 For many there might be much counting against venturing out for a theatre experience titled Benny Bushwacker: Human Nature.

It might appeal to the nature crowd, but depending on the seriousness of your calling, this might just sound too silly rather than wacky which might appeal.

What does catch the attention are the names Ben Voss and John van de Ruit. These two stage chums first made their mark with a series of Mamba two-handers before Voss stepped into another persona with the solo shows Bend it Like Beauty and Beauty and the BEE.

Van de Ruit in the meantime hit the headlines with his series of popular Spud books. The two again team up for this latest incarnation with Voss starring as Benny Bushwacker, a man who is desperately passionate about the environment.

While he tries to impart a serious message (which he does), he is also desperately funny – and the specific use of desperately becomes clear when you hysterically hear his version of natural disasters, sound effects and meltdown included.

And it is the memory of Voss pushing the envelope and his excellence on stage that might pull you into this one – and you would be following the right instincts.

Ben Voss is Benny Bushwhacker. Photo credit_Val Adamson - Photo 2
Ben Voss is Benny Bushwhacker

He is an extraordinary performer and just watching him perform, his skills, his detail to attention, his bravado and determination to hold everyone in that intimate theatre close while telling Bushwacker’s story, is something to behold.

Not only is Bushwacker, a nature man with a mission, in full flight, he also calls on a series of commentators, including his frail yet feisty gran and his spud-deficient nature buddy with the soprano voice as a result, for example. The acting is a tour de force.

As director Honeyman says: “He’s a good actor, and a thinking actor.” That shows and adds to the weight of the wackiness. She also admires the “less didactic, preachy context” of the text, which is what Van de Ruit explores so brilliantly.

They make a good pair because they obviously understand each other, which is the true strength of their collaboration.

But in the end, it is Voss’s performance perfection that turns this into mindful entertainment, not that anything stands between you and the laughter which takes over as Benny gets on a roll.

In these harsh times when we’re overwhelmed by a world at war with itself and its people on many different levels, escapism is worth striving for. And laughter is the best way to do that with Voss a master puppeteer to get this particular show on the road.

He has all the attributes to pull it off – and he does.

While touring South Africa, Benny Bushwhacker is raising awareness and moola for the Lebombo Leopard – Human Conflict Survey which all becomes clear when seeing the show.

Artists Lara Foot and Sandra Prinsloo Create the Perfect Storm for Kamphoer

Sandra Prinsloo
Sandra Prinsloo as Susan Nell in Kamphoer Pictures: Eye Poetry Photography

 

Sandra Prinsloo has established herself as the queen of solo shows. She knows how to pick them and with whom to collaborate. She tells DIANE DE BEER about her latest venture, Kamphoer – die verhaal van Susan Nell, with Lara Foot, CEO/artistic director of The Baxter, as director:

 

It’s the coming together of two talented artists who haven’t worked together before that can create fireworks on stage.

That’s exactly what has happened with leading actress Sandra Prinsloo and dynamic director Lara Foot. When they bumped into one another and Prinsloo said that Kamphoer was her next project, Foot acknowledged interest – and they made it happen.

That was probably the only simple element in their coming together. They were handed the initial script by their producers and with scriptwriter Cecilia du Toit in tow, they knew they still had a long way to go.

Kamphoer – die verhaal van Susan Nell (based on the best-selling and debut novel Kamphoer by Francois Smit and the non-fiction publication The Boer Whore by Nico Moolman and produced by Theatrerocket Productions) is the amazing true story set against the backdrop of the Anglo Boer War. A prisoner in the Winburg Concentration Camp, Nell is brutally raped by two British soldiers and a joiner and left for dead. She is confronted by one of her rapists many decades later when she tends war victims in a British hospital – where she starts reliving the old trauma.

“It was a process,” says Prinsloo, but as Foot is also a writer, it was also a huge but fascinating learning curve for Prinsloo. Because of the way the books are written, the main character, the one Prinsloo portrays, doesn’t emerge strongly.

What she does is more prominent than who she is. But the breadth of her experiences also presented them with many obstacles. “She manages to go through so much in a relatively short period of time,” explains the actress.

But being the experienced theatre makers they are, they found the solutions and from all accounts and early reviews, there’s a brilliant buzz about this one. There’s already talk of an English translation and travel to the Edinburgh Festival which both director and actress have experienced before.

Once they got talking, the women knew they had to discover who this woman was and how to present her. Who was she talking to? And what part of her journey do they cover and which parts do they leave out?

Foot made a construction graph, signposting the different features important in a text – to begin with. “It was very technical but taught me a great deal,” notes Prinsloo.

The presentation they decided should almost play in a kind of Truth and Reconciliation format. It also starts with the words, “Ek is Susan Nell…”(I am Susan Nell…)

But there were many dilemmas, such as the eventual confrontation between Nell and one of her rapists and the solution, a brainwave by Foot, is the perfect one.

Sandra Prinsloo1

This is a dramatic and traumatic story of one woman’s life and in present times, particularly relevant as the more things change, the more they stay the same. The dignity she fought for in her own life is exactly what so many women are still fighting for. Few will not identify with some of her life and that is the truly sad thing.

When she finds herself in the same room as her rapist, as a therapist she has sworn a medical oath to save lives – even if the only thing she wants to do is to kill this man who had so damaged her life.

What Prinsloo loves about the piece is how they are telling the story. “I play the character at different ages, but there are no huge shifts, even when I switch into different characters,” she says. It flows seamlessly.

She also embraces the staging, adores the set and has lost her heart to the music and the fact that composer Simon Kohler attended rehearsals and did quite a measured yet magical soundtrack to what was being said on stage. That can only benefit the final result.

Prinsloo has become a master of the solo show and while she enjoys huge ensemble casts and does many of those too, this journey has been a joyous if tough one. She loved the encouragement from her director, the choices Foot made, the consultation – in fact the full process.

Kamphoer is an epic tale but Foot managed the timelines and flew across continents and back to honour the Susan Nell story. “It was amazing to rehearse in a theatre space and to have everything we needed on hand,” says an actress who has gone through many phases of the South African theatre landscape. The last few decades have often been rough on individual players with very little support from outside.

Prinsloo is one of the lucky ones. From her early days she has been a force in the profession which she has served magnificently – and still does. She is one of the few names who still draw full auditoriums and once word is out, there’s no stopping her.

She works hard as she flies between provinces to play in different solo productions. A few weekends back she played what she believes might be the last performances of Moedertaal (her last solo outing) and she feels blessed (if slightly perplexed) that she only has Kamphoer at Aardklop. As an aside she mentions that she has also directed Hannes van Wyk in Sê Groete Vir Ma.

She will soon be seen in a new movie Racheltjie de Beer and there’s more on the horizon. She feels rejuvenated by the young guns like Christiaan Olwagen and Nico Scheepers who have opened new vistas on stage and screen but with advance notice about this latest solo season being so favourable, it will probably keep her touring for quite a few years and if an English season is added – longer.

For Prinsloo the positives are accumulating. She is excited not only about the performance but also about the timing.  It’s the right time for women to tell stories about strong women who overcome extreme adversity. “Healing can only start if you touch the scar,” she says referring to the play – but also valid in a much wider context.

So much time has passed, so many battles fought and still the issues for women remain the same. It’s time those with the voices start raising them – loudly. And if you can do it with Prinsloo’s power, it really counts.

 

Kamphoer – die verhaal van Susan Nell is at Aardklop in Potchefstroom from September 24 tot 27; and at Cape Town’s Baxter Theatre from October 9 to 26.

 

Maqoma’s Cion: Requiem of Ravel’s Bolero Mourns Death Magnificently

 

CION_Maqoma_0355
The memorable Cion conceived and choreographed by Gregory Maqoma

 CION: REQUIEM OF RAVEL’S BOLERO

Conceived and choreographed by: Gregory Maqoma

Creative input and rehearsal director: Gladys Aghulas

Music composed and directed by: Nhlanhla Mahlangu

Dancers: Vuyani Dance Theatre

Singers: Soweto Gospel Choir

Musical assistance: Xolisile Bongwana and Sbusiso Shozi

Costumes: Jacques van der Watt and Black Coffee

Set and technical direction: Oliver Hauser

Lighting: Mannie Manim

Sound: Ntuthuko Mbuyazi

Choir under direction of Bongani Ncube

Venue and Dates: Nelson Mandela Theatre until September 15

 

 

DIANE DE BEER

It is such a strange time in the world, with the arts perilously balanced with all the usual stumbling blocks. Add to that the decimation of arts writing on all the traditional platforms with nothing in its place – or where there is, no way for possible readers to find it.

With the result that everyone is battling to get their stories out there. I was at a National Theatre Live screening of The Lehman Trilogy with Sam Mendes directing Simon Russel Beale, Adam Godley and Ben Miles last week.

There were five people watching this majestic piece. No one I asked knew about the screening and I spoke and wrote about it because I love sharing the arts because of the impact it has on individual lives.

Hopefully similar things will not happen to Gregory Maqoma’s sublime Cion: Requiem of Ravel’s Bolero, currently on at the Joburg Theatre until Sunday in celebration of the vibrant Vuyani Dance Theatre’s 20th anniversary.

In an amplified version (“death needs amplifying in the present circumstances,” says the choreographer) which starts with bone-chilling sobs drenched by shafts of sharp light from which the dancers emerge, the tone is set as the heartache of those sounds find solace in the rhythms of Ravel’s Boléro. As the dancers start moving as one, they sweep your emotions along.

CION

It is a mighty piece on multiple levels and even though it is inspired and based on two Zakes Mda books, Ways of Dying and Cion, the strength lies in  the complexity of the whole with the evocative lighting, the heightened sounds of the Soweto Gospel Choir as the dancers bring their own singing to create specific rhythms and textures, all contributing to the enormity of what Maqoma is dealing with.

Enveloped in this grief, the production is mesmerising and astonishing in its excellence. From Black Coffee’s costumes, the diversity of the music and the singing, the Ravel rhythms often suggested by the dancers’ clicking or tapping or a drumbeat, the melancholy and sometimes even merriment of the production are completely overwhelming in its brilliance.

We are living in a world that takes dying lightly. Just the last few days in our country underlines that in different ways. Gender-based abuse has again galvanised women to step out and shout while simultaneously a young man is being sentenced for raping a 7-year old girl in a toilet at a restaurant.

A young mother kills four of her children with rat poison and goes out partying.

Shops in both Joburg and Tshwane are set alight and burnt to the ground while politicians argue whether this is xenophobia or not. People are dying because they are hungry and the root causes are never addressed.

Schoolchildren fear for their safety at schools while others are kidnapped on their way or back home.

In the rest of the world, refugees are growing in numbers as they flee from their countries because of war or dictatorships and some are simply banished because they’re not wanted. “We are forced into mourning,” says Maqoma who tells the story in the way he best knows how.

And yet failed leaders are mourned in their death and feted while their people suffer and eventually flee their land.

CION
Scenery and lighting extraordinaire

It is against this backdrop that Maqoma creates a visual spectacle that grabs you tightly around the throat and never lets go. The dancers move, en masse it feels, yet are given individual moments, from Afro fusion to a nod to the classics but in contemporary and fast- changing style, everyone on stage is celebrated and contributes to hold their audience in complete awe.

The beauty, the execution, the quality and excellence unfolding underline the talent of our artists who are out there fighting and creating on their own. If this is what they achieve while struggling, the heights they could reach are staggering.

But that is the world of the artist. He can’t help himself. As Maqoma suggests, with individuals who are daily running the Vuyani Dance Theatre, he has been encouraged and allowed to dream, which he fortunately does on grand scale. He doesn’t hold back and does it the only way he knows how

There are only five performances left. It’s one of those landmark theatrical experiences which is on its way to London to be staged during the Dance Umbrella festival at the Barbican. Those performances will be packed and so should they be back home.

It’s accessible, the music is mindblowing and Gregory Maqoma’s talent and collaboration genius should be witnessed again and again. His artistry is recognised internationally but he insists on staying and performing at home.

I am eternally grateful. Seeing Cion: Requiem of Ravel’s Bolero, not once but twice, has been a theatrical miracle.

 

 

Little Nataniël Waltzes With Giants

If you know Nataniël, you won’t be able to resist his latest season. If you don’t, DIANE DE BEER coaxed him to share the story of his upcoming show:

nataniel1

The title alone will stop you in your tracks: When Giants Waltz – 12 Monumental Concerts by Little Nataniël.

But that has always been his power – getting you to gasp – at his costumes, his words, his gestures – or simply the spectacular staging of his shows.

Not this time says the performer – but we won’t quite take his word for it.

The title dictates that the costumes will be monumental – and that is where he starts – always with the way he looks when on stage.

 Singer, songwriter and storyteller Nataniël returns to the Theatre of Marcellus for his 17th production at Emperors Palace after a year’s sabbatical. This latest creation will first be staged at Artscape, one of his favourite theatres, from September 10, with a smaller band but the same set, props and costumes as well as script to be presented as 12 concerts from October 4 to 27,  Fridays and Saturdays at 8pm; and Sundays at 3pm.

nataniel poster

A typical Nataniël year consists of three original stage productions, one at Artscape, one at Emperors Palace and one at the Atterbury Theatre. The rest of the year is filled with numerous concert tours.

These concerts (“the friendly shows”) are as structured and detailed as all his work, but allow him more freedom for improvisation and informal banter. For the first time he will present this format at Artscape and Emperors Palace.

And as a bonus, there will be as many costume changes as he can manage! With the show title as an example, he is going grand and gigantic. “Expect them to be epic,” he says. “I can hardly move them. Every time I do, I find myself with a sleeve in my hand.”

Last year’s sabbatical (only from the grandly staged shows) obviously gave him the chance to reassess. He believes audiences prefer his solo stories rather than a single story told from the beginning to end of the show.

This also gives him more time to play around, allows for a mini-sermon slipped in at some stage which also gives you a measure of where his head is at for the moment – always a bonus.

But then the title should do that too, he explains. “When giants waltz, the earth moves. Apparently,” he says, “size does matter!”

“As far back as your childhood, everything is a battle between big and small. This is my chance to lead a well-dressed rebellion against institutions. I despise any structure that involves a boardroom. Some people, however, will be victims of this stupidity.”

NatanielEmperorsPortrait (1)

If all of this simply sounds too serious, don’t fear, the shows are focused on entertainment yet “from a pedestal of profound values and issues,” he says with what may to some sound like a heavy heart.

“It’s fun from beginning to end. If we can’t have fun in this mess …” And if anyone can turn the prediction of the end of the world into something hilarious, Nataniël is your man.

The way he thought about this season was to start with a costume that he imagined as the outfit he would wear at the last ball held on the Titanic!

Staged with his trademark stylish lighting, he has visualised this concert as a series of portraits. It reminds him of those tableaux from a time, long, long ago when photography was in its infancy. “It will hopefully remind people of paging through an album,” he suggests. “When the lights go on, everything stops on stage! In the dark, out of sight, is when everything happens,” he notes. “During the blackouts we move.”

With his stories, he isn’t only comparing big versus small, but also the constant struggle between the indestructible and the threatened, the always present war between the individual and the establishment, and the exhausting debate between the political and the intelligent.

Nataniël performs music from an endless catalogue of blues and jazz evergreens, pop classics and original songs.

This time even the music has been simplified and made as accessible as he knows how.

And no more choreography. While some will miss those quirky hops, skips and jumps so beautifully executed with often military precision, he feels as if someone has handed him his freedom. “I would panic through every show that I would forget my steps,” he explained. “Why did I do that all these years? What was I thinking?”

He shares the stage with his brilliant band led by Charl du Plessis (keyboards), Juan Oosthuizen (guitar), Brendan Ross (keyboards, saxophone and vocals), Werner Spies (bass), Peter Auret (drums), and on vocals, Dihan Slabbert and Nicolaas Swart.

The minimalist set (notwithstanding the multitude of props) will be complemented by another collection of extraordinary costumes created by Floris Louw, Nataniël’s award-winning designer of the past 18 years.

Describing this as a concert for the connoisseur, he never fails to entertain. His stories and songs, the staging and the costumes, when they all come together – that’s showbiz, and perfect for these tough times.

Cds, dvds, books (including his brand new book – a memoir in Afrikaans and English), ceramics and products from Nataniël’s lifestyle range will be available at all performances.

*Artscape, Cape Town; September 10 to 15.

*Theatre of Marcellus, Emperors Palace; October 4 to 27, 2019

Fridays & Saturdays at 8pm, Sundays at 3pm

12 concerts only; 90 minutes long; no interval; no cellphones, sandals or shorts; no children under 15.

 

Bookings at Computicket.

 

 

Choreographer/Dancer Gregory Maqoma and Vuyani Dance Theatre Celebrate 20 Years, Spotlighting Zakes Mda’s Cion

©Siphosihle-Mkhwanazi_CION-29-1-1024x300
A scene from Cion ©Siphosihle-Mkhwanazi

Choreographer/dancer Gregory Maqoma and the Vuyani Dance Theatre are celebrating 20 years in the contemporary dance sphere in South Africa and abroad. DIANE DE BEER speaks to him about a reworked Cion, the piece he has selected to showcase their accomplishments in the Nelson Mandela Theatre from September 5 to 15:

CION
Gregory Maqoma in Cion

 

“I’ve just kept working,” says the explosive driving force behind Vuyani Dance Theatre (VDT), founder and creative director Gregory Maqoma, when reminiscing about the achievement of their 20th anniversary celebration with the already celebrated Cion at the Joburg Theatre starting on September 5.

Five years ago, the company celebrated with Full Moon which dance critic Adrienne Sichel lauded as “flights of conceptual fancy, wrapped around a creation myth, tap into South Africa’s diverse dance lineage ranging from classical ballet to contemporary African dance.

“Maqoma’s aesthetic plumage and Afro-classicism don’t ignore the Odette/Odile legacy but neither does he forget Africa’s ornithology.”

At that time, they didn’t have any backing, and not much has changed since. “It hasn’t been easy,” says the softly spoken Maqoma but argues that it speaks to their resilience. Then they were looking at their 15-year achievement, already a major feat for a local contemporary dance company, but this time round it’s #Vuyani20 and for the future, #ShapingTheNext20.

As they have done in the past, when it seems like too much of a struggle, they simply go bigger. And that’s not only into the future but also with what seemed to many the perfect production. For these current festivities, Maqoma has decided to amplify Cion because he believes that in current circumstances, death needs amplifying.

He is doing this by adding dancers as well as voices – and no less than the Soweto Gospel Choir – to this extraordinary performance. “It’s about legacy,” he says proudly.

CION_Maqoma 1

He points to their future and a combined invitation from “Sadler Wells, Theatre de la Ville and a Dutch company for performances of four shows two years hence.” That’s the luxury that he knows dancers in South Africa seldom have. “It gives us two years to just think,” he says. It also brings financial muscle and support, something that is sadly missing at home.

“We need acknowledgement of the spaces we find, as well as support and marketing,” he adds almost mournfully.

Everything happens here with little rehearsal time and much ingenuity as audiences can witness in the reworked Cion. That’s the way they roll. It’s not that he doesn’t speak loudly when given the opportunity, but from government they have had few favours.

CION
Cion

Artists/directors like James Ngcobo and Idris Elba (whose currently running production Tree Maqoma has just choreographed) know what the man is capable of and so do international audiences. But fortunately, Maqoma keeps coming home. This is where he dances and teaches with the company whose trainees will also be participating in the pulsating production on the Nelson Mandela stage in September.

His work has always been about challenging a Eurocentric way of structuring and to give it a contemporary African edge – with conviction – while at the same time honouring black artists. “We want to take control of our own craft,” he says. “It’s about validity.” And the fact that he should still be seeking that at this time, says so much about the world we live in.

If anything, Cion is proof of so much more than that.

CION_Maqoma_0235
Gregory Maqoma (front) in Cion

 

When it was first performed at the Market Theatre in 2017, he explained the creation thus: “I am drawn to Zakes Mda’s character Toloki the professional mourner from his beloved Ways of Dying as he further uncovers in his book Cion the story of the runaway slaves.

“In my interpretation, Toloki rediscovers death in a modern context, inspired by the universal events that lead to death, not as a natural phenomenon but by decisions of others over the other. We mourn death by creating death.

“The universe of greed, power, religion has led us to be professional mourners who transform the horror of death and the pain of mourning into a narrative that questions what seems to be normalised and far more brutal in how we experience death and immigration.

CION_Maqoma

“I am creating this work as a lament, a requiem required to awaken a part of us, the connection to the departed souls.”

And about that first season: nothing prepares you for the performance by Maqoma who has gathered a group of dancers, musicians and singers who mourn death in a way that both embraces and expunges the horrors of this world.

“From the design to the dance to the magnificent music and singing, Maqoma transports you to a place of healing by tearing the horror apart – step by step, note by note.

“If you ever see Cion is being performed anywhere, don’t hesitate, just go. It’s world class and feeds the soul.”

That’s what I wrote two years ago and that’s why it’s thrilling that he has decided to stage this majestic work at this particular time. If you see anything this year, it should be this.

Maqoma’s whole life has been about pushing boundaries and acknowledging himself and the company. “No more gatekeepers,” is his rallying cry.

cion.jpg
In full flow, Gregory Maqoma in Cion with singers in the background

And even though he laments the lack of support in a larger sense, he feels blessed for the support he has in the company. “I’ve been able to step away from the day-to-day running,” he explains. That gives him the luxury of time to sleep, to strategise and to dream. It also means he can make all of those a reality.

Vuyai Dance Theatre has become a machine that can function without his daily attention – and that, more than anything gives him great joy.

When he talks about going bigger, their first step towards #ShapingTheNext20 is to start laying the bricks for their own building. “If we’re able to cross borders, what is stopping us to lay those first bricks in our own country? We are fighting for our own space.”

In conclusion, he declares that he has been pushed post-apartheid to recognise the many atrocities including the senseless killings at Marikana – hence Cion. “It needs a strong push,” he exclaims, “we need to raise questions and we need to be loud.”

Government-funded art centres have not embraced their own he feels, and any plea from artists is landing on deaf ears. In the coming years apart from building VDT and working towards further success, he will also be developing a curriculum as a training institution and documenting the choreographic methodology of his and fellow choreographer Vincent Mantsoe’s work which will establish their own technique internationally.

It’s all about ownership, ownership, ownership.

 

 

 

 

 

 

Pietie and his Tannie Evita make #hetwo

 

Tannie Evita and Pieter Dirk Uys photo by Stefan Hunter
Tannie Evita and Pieter-Dirk Uys

It’s the great standoff between Pieter-Dirk Uys and his celebrity creation Tannie Evita Bezuidenhout. He tells DIANE DE BEER about the battle of sharp tongues and minds in #hetwo:

 

It’s difficult to imagine how actor/writer/director (and the list goes on) Pieter Dirk Uys (PDU) keeps producing fresh material – but a few minutes in his company, listening to those ideas almost tumble over one another, the answer is simple.

It’s his vocation, his passion, and PDU (with all his personae) is unique. I am reminded of a day decades ago when I slipped into a lecture hall at the then Pretoria Technikon (now TUT) and listened to him chatting to drama students.

Quick and nimble, thinking on his feet, and everyone eating out of his hand, I was quickly won over, but was certain that even though seemingly impromptu, this speech was rehearsed. It was only many years later that I understood how foolish I was. It’s simply the way he works and thinks and has fashioned a career not only brilliantly but with versatility and such longevity.

It’s always new as out pops yet another gag – whether it’s that of Piet Koornhof or who knows, decades later turned into Trump. He brilliantly used one of the Koornhof-driven apartheid laws and moved to British immigration officers to show the world for what it really is – up close.

Tannie Evita is one who just won’t let go. Ever since she slipped onto stage in 1981 (just short of four decades ago), she’s been misbehaving but as her creator explains: Because she doesn’t exist, she can’t be real and then, she proves them wrong.

PDU and his master creation have never come face to face on stage until now. As his publicity announces à la the LA Times: Uys dons false eyelashes and presidents listen. And even if that’s perhaps no longer a compliment, Tannie Evita’s long list of celebrity fans have been committed from the start and still remain true.

When he started impersonating her in 1978, it was illegal to have an opinion about anything political, so he reasoned, maybe an Afrikaans woman with an NP husband could spill the beans. “The fact that she was portrayed by a man dressed as a woman when cross-dressing was also illegal, could force the edge of the envelope. Or maybe that she was there for only one reason: to eventually make Nelson Mandela laugh. And she did.”

And many others.

PDU knows a good thing when he has one. The myth keeps running: “For nearly 40 years she has had to tolerate the impersonation of her by a local comedian,” reads the publicity blurb. “She tried to sue him for libel; she swore never to allow him into her life and yet, now in the 25th year of her democracy, she will be on the stage with Pieter-Dirk Uys at the same time.”

_Evita_Bezuidenhout_stand_up)
Stand up the real Evita Bezuidenhout

There’s a hitch though says PDU with a dramatic pause: “It starts with her death…” and sadly, you will have to go and see the rest for yourself because that will be the fun of #hetwo –  another of PDU’s gifts, titles, always read them carefully, as therein also lies a tale.

Know that it will be fresh and new but never clean – tralala. He recently picked up some flack because of Ouma Ossewania’s language. PDU is puzzled but not troubled. “The title is Ouma Ossewania Praat Vuil.” They have warning notices, age restrictions AND that title. Feels like old times as the wheels keep turning – round and round.

He has been put through the censorship wringer for most of his career. But that keeps challenging him. There are so many taboos, some where he will bend the knee but others he will keep challenging. In the apartheid years, the security police and the censorship board presented him with sold-out shows, but he’s not going to do things for expediency alone. Whatever happens, he deals with it. If people have a point, he will listen, if not, he will tell them that too.

That both PDU and Tannie Evita will have you giggling in #metwo while banishing the truoubles of the outside world is a no-brainer. While he is aware of everything in the entertainment basket, he’s never had a problem packing them in.

Apart from this latest creation, he currently has 10 shows in his repertoire. At the drop of a hat, he can pack up his wardrobe and go.

He has teetered around on those high heels, donned too many wigs and battled the elements whatever they might be on his own for decades. When people ask him about his swansong, he’s retorts  that every show might be one, he doesn’t know. But those who have watched him through the years will know that he has always claimed that he won’t stop.

He might do things differently, and with this coming face to face of PDU and Tannie Evita, he pulls yet another trick out of his shimmering stage hat. There isn’t an end to his inventiveness. He has done it his whole life, that’s how he rolls – to his audience’s benefit  and delight.

An artist isn’t always appreciated in his own land and PDU has been around so long, many tend to take him for granted. Don’t! Live theatre has become a luxury and many artists have had to turn to television or film just to pay the rent.

There are a few like PDU who knew from the start they would have to do it all. It is the only way he can achieve everything he wants to. “I’m writing a new solo play,” he says. “It has to be for one man only because I can’t afford to pay actors.” That’s the reality and has been for quite a while.

Bambi, Evita’s sister is on her way to Berlin for a few shows. There’s life in quite a few of his dames yet – and that’s how you do it.

And Tannie Evita shares her weekly comments on YouTube and Daily Maverick about the state of her nation, where her Evita’s Free Speech has gathered supporters from all the corners of the globe. Her 140 000 Twitter followers are also tuned in around the clock.

“My instinct drove me. I’m a terminal optimist which we have to be as artists because what we do is total madness,” he said last year when speaking to Marthinus Basson at a text market in Cape Town. This is what he wanted to do and where he wanted to be – on stage among people with passion and humour.

He also had a message for artists: “You have to be a unique talent. Don’t be a copy, we have enough of those. Be original. Don’t specialise, do everything. You must learn the alphabet of the theatre – everything. Read, watch documentaries by people who do what you want to achieve. Don’t be afraid to adore talent.”

And we do.

#HeTwo will perform in Johannesburg at Pieter Toerien’s Montecasino Theatre from July 31 to August 18. The run in Cape Town is at Theatre on the Bay from 27 August 27 to September 14. Book at Computicket or theatres.

Director Lesedi Job Has Many Voices And She Wants Them All To Be Heard Equally

Lesedi Headshot (002)
Lesedi Job

Young black female directors are a rarity in the South African theatre landscape (and probably around the world) but Lesedi Job, who has been on a roll since her first production a couple of years back, tells DIANE DE BEER she is determined to change all that:

 

 

Representation is a rare commodity but one of the few positives in our crazy world is that in spite of protestations, that is changing – especially in the world of theatre, film and television.

It’s voices that we have missed up to now and while some of their stories have been told by others, this no longer holds true. Think the Central Park Five story When They See Us, Get Out and BlacKkKlansman, to mention a few.

It isn’t even the stories that always need to change, it’s the perspective, says director/actor/singer Lesedi Job who is directing her 7th play, The Dead Tinder Society, in just a couple of years. “When James (Ngcobo, artistic director at The Market) first mentioned that I should direct, I was hesitant,” she says.

But that’s then and since that time, she has been piling on the experience with very diverse plays and even a sublime stint in Canada where she mixed and worked with the best in the industry. If there was a common denominator it was quite tough social commentary, she notes.

This wasn’t necessarily a choice but as a newbie, what she found was that she was mainly directing local debut works, which appealed to her because there was no blueprint. She was gifted to find her own voice. She knows and believes that hers is an important voice.

Also because of her age, which already broadens her viewing audience. It’s precisely her youth (30something), that drives me to want to see her newest work to catch her perspective and where her head is at. The topic doesn’t necessarily interest or affect me.

Having said that, there is much to recommend in Job’s latest production running until August 25. The new South African play dealing with post-divorce Tinder-dating, The Dead Tinder Society, is about that difficult time in a 30/40something woman’s life when she must re-enter the dating world – and how to do that. “It might not be a funny time in a woman’s life,” says Job, but both the playwright and the director wanted to highlight the funny side of this one.

Ashleigh Harvey Headshot_ (002)
Ashleigh Harvey

Actor Ashleigh Harvey (who has recently left SA for Britain) switched roles in this her debut playwrighting effort.
As she’s left the country, they have been speaking via social media and having studied at the same time at Wits (in fact the two actors are also Wits alumni), they knew one another well which made the process much easier.

“Ashleigh gave me carte blanche on the actors,” notes Job and she decided that with her pick of both a white and black actor, the interracial dynamic would also come into play. And when she was auditioning, the thing that appealed to her most was an actor’s hunger for the role. “I know when I felt like that, I did my best work on stage,” she says.

Sharon Spiegel-Wagner is best known as a musical theatre performer, but Job points out that she studied straight drama. “I think she’s loving this.” She had worked with Mpho Osei-Tutu on When Swallows Cry and she knew what she was looking for was versatility because he had to play different characters.

She’s thrilled with the process because with a new script, it’s important to have everyone on board – leaving any preciousness to the side. And they have. Job insists that she brings all her attributes to the table. Her age, especially, because she believes that whatever age, a play will be approached differently.

Tinder2
Mpho Osei-Tutu and Sharon Spiegel-Wagner. Picture: Wessel Odendaal

Also with a play that has Tinder at its centre, even if that is simply there to get to the more emotional stuff, you have to know what that culture is about. “You’re required to think on your feet,” she says because time is short and money is scarce. But Job has learnt to work around all of that. For the moment, it’s a fact of an artist’s life – and won’t change in the foreseeable future. “It’s important that the actors also have a voice and that they’re allowed to connect to their instincts,” she says. “I encourage play and towards the end, pull it all together.”

The way Job has been pulled from one play to the next is impressive, with different people spotting that it quality. She is in the process of finding her artistic voice. Because all the plays have been different, it’s allowed her to explore and examine her craft. “For me it is really important that what I do has to work for the writing. It’s about the text,” she says.

And while it is not the end goal, for the moment, theatre is her teaching tool. As an actress (Raisin in the Sun, Fishes of Hope), she knew she wanted to direct – some day.

And she’s had wonderful guiding hands from James Ngcobo to Megan Willson who pushed her to find her own voice. “It was like freestyle dancing. She stood there and gave me the tools – me, myself and I.”

At the time it might have been frightening, but it’s easy to see and hear when she talks, that this is a woman with a mind of her own. She has a strong voice and one that has found many different stages.

Her biggest dream is to grow the industry, to keep the wheel turning. “I want to be part of that. This is my life – and for all my years to come.”

Flying high so quickly, she has also become a target of politics, but she shrugs that off. “South Africa is too small, we should be working together not against each other,” she advocates. “We all need each other.”

Once theatre is up and running, she would love to turn to film and television but knows that she will always return to the stage. “That’s where an actor exercises his muscle.” And finally, the thing she really really wants to do is to create and direct a fully-fledged South African musical. “I know we can do it!”

And while few know it, not only is she a remarkable actress (who still wants to act), she’s also a good singer. “Even as a voice artist, I’m brilliant,” she says almost shyly. “It’s all about telling a story.”

And in that vein, meet Jody Green, a 36-year-old recently divorced mother of two. With the help of her best friend Ray, she signs up to Tinder (the infamous mobile dating app) in an attempt to put her shattered love life back together again.

Watch and learn.

Tinder
Sharon Spiegel-Wagner

Tickets@R130  at Computicket

Running time: 60 minutes

Pieter Toerien’s Montecasino Studio Theatre

Producers: VR Theatrical (award-winning Hedwig and the Angry Inch and Rock of Ages)