Uit Die Bloute Hits All The Right Notes

DIANE DE BEER

Bloute In Paly Paul du Toit and Jenna Dunster
Paul du Toit and Jenna Dunster in Uit die Bloute

 

UIT DIE BLOUTE

DIRECTOR: Henriëtta Gryffenberg

CAST: Paul du Toit (actor), Jenna Dunster (actress), Leon Ecroignard (bass guitar), Jahn Beukes (percussion), Lizanne Barnard (keyboard), Pyjama Shark (acoustic and electric guitar)

TEXT: Adapted from two Eugène Marais stories

MUSIC: Lizanne Barnard

CHOREOGRAPHY: Ignatius van Heerden

PLACE: Atterbury Theatre, Pretoria

This latest production reminds those of us who saw the original show just why it is such a special production. It’s innovative, playful, imaginative, dramatic and as a bonus, has a sensational soundtrack.

It also has a warm heartbeat at its centre. Du Toit and Dunster are two young actors who might not have been the obvious choice and that especially makes it exciting. It’s about the unexpected which suits the piece.

With a text magnificently adapted from Marais’s much-loved Die Lied van die Reën and Salas Y Gomez, an unusual story of struggle for what is precious to you, this is  a performance that is delightful in its presentation of both the remarkable words and the addictive music.

Bloute with Paul du Toit and musos Lizanne Barnard and son
Paul du Toit and musos Lizanne Barnard and son Pyjama Shark in the background

The music/percussion sets the tone with its African slant which also bleeds into the percussive use of emotions from a knock at the door to a sudden movement exaggerated by clever use of a rhythm or a beat. This group of musicians is something special, starting with Barnard who has taken her compositions of 11 Marais poems and contemporised them with African and sounds and rhythms, so perfectly suited to the Marais words in both the poetry and the storytelling. She has also done three new compositions for Skoppensboer, Dieprivier and Eonone.

Bringing much of this to life is percussion genius Beukes with the help of the wacky Ecroignard, who adds to the depth and playfulness with the contemporary edge of the production pushed brilliantly by Barnard on keyboards and Shark on acoustic and electric guitar. They build a musical landscape that holds the production while adding detail while brightly colouring the edges. Then there are the songs beautifully interpreted and sung by Barnard with the depth of male voices introducing even more texture. I’m hoping for a CD.

Telling the stories, Du Toit and Dunster are energetic and enthusiastic as they embrace the performance gymnastics with gusto. It’s never easy when you have such a rich text to combine that with clever choreography, all of which has to unfold seamlessly to make it work.

But they do and it is the combo that turns this into compelling theatre with the two actors creating a comfortable rapport as they move between two quite different tales in both approach and dramatics – and they never lose sight of the text. There’s a wide-eyed deliciousness in Dunster’s performance while Du Toit goes full tilt, especially when in a persona more peculiar than his regular routines.

uit die bloute
The artists from Uit die Bloute

They get it right in a production which has put emphasis on the playfulness to balance the more serious tone as the second story unfolds.

Gryffenberg has pushed the performances and has been rewarded with a production that has everyone on and off stage engaged and entertained. It reminds one of the escapism offered by good theatre, in a way that doesn’t ignore quality and never opts for the lowest common denominator. It’s simply the best.

It’s the full package: starting with a good text, sublime storytelling and a cast of players, musical and dramatic, who can deliver and unwrap this gift they have been handed in spectacular fashion.

  • US Woordfees March 6 (12.30) and March 8 (8pm), 21, 22, 23, 24 March at KKNK, 15-19 April at Oppiewater Arts Festival

DEURnis – The Expansive Embrace of Performance According to Theatrerocket

If you’re looking for something completely different at this year’s US Woordfees (March 1 to 10), check Theatrerocket’s new productions in their latest DEURnis season:

Deurnis Ignatius van Heerden in Droom
Ignatius van Heerden in Droom

 DIANE DE BEER

 

If there’s one thing that the production company Theatrerocket has proved in its short existence, its that those of us who follow theatre must pay attention.

No one would have given much of a thumbs up to one of their first and probably edgy productions dubbed DEURnis. It just sounds silly – one-on-one theatre!

But they had an idea and they were determined. DEURnis is a one-on-one site-specific theatrical production with a very intimate yet cutting-edge and experimental approach. It involves a single audience member who views three separate dramatic pieces per package (there are four different ones to choose from at Woordfees this year), with each of these having one performer and one audience member.

Each piece is approximately 20 minutes long and written for a particular room/space in a house/building, so as a viewer, you move from one room or even caravan to the next to see your three chosen plays.

It is the social issues that permeate the different works that affect individuals in different ways depending who you are. And for those who aren’t interested in gimmicky theatre, that’s exactly the trap they have avoided by aiming for excellence and substance in the texts. Some will suit specific individuals better than others.

Personally I’m not too excited by the more confrontational ones (there’s usually one that’s slightly more out there in a package), but then other audience members might feel differently.

“We have been inundated by people interested in writing for this venture,” says Johan van der Merwe, who with Rudi Sadler started their production company Theatrerocket a little more than two years ago.

DEURnis Lem 1
Tiaan Slabbert in Lem

Both theatre fanatics of a kind, they know and understand the pitfalls and what audiences want.

Part of why DEURnis works so well is because it is such a well-executed concept. They understood from the beginning that the control had to be constant to see that everything works superbly. And as they have had many plays to choose from, they have managed to execute their strict code of excellence.

It’s a fascinating experience, being the only one in the room in situations with a stranger telling a story that is often inclusive rather than too intrusive but affects you as the viewer in very specific ways. For many it might also be uncomfortable to be this intimate with someone you’re not familiar with. But if you think about it, it makes it easier that you don’t know the actor.

This is not a financial venture for the company. With only single actors and audience members, the numbers simply don’t add up. But because of the way it has been done, the performance-experience the actors (at this stage mostly young but older actors have joined for this latest venture) accumulate, can’t be calculated.

Deurnis Net
Ben Pienaar in Net

And chatting to a few of them in-between performances, they are equally thrilled by how much they are learning in the process. “Each performance is different because of the reaction of the individual viewing,” says one performer. Many of them are already in their second play and the growth is obvious in their performances as well as the play’s toughness a second time round.

Prospective directors are also excited about the challenge and safety of testing their skills on such a small and intimate stage. “It’s a safe environment in which to experiment and push your own boundaries,” says Van der Merwe.

Having sat through two nights of 12 plays (even a dance with multi-media included), it doesn’t matter which package you choose. They’re all extremely well crafted and in sometimes scary ways, fun to experience. Following the earlier seasons, I was excited because of the great potential – and they keep delivering.

“We have been inundated by especially writers who find the format exciting and challenging,” says Van der Merwe and they have also expanded their initial idea with a new concept titled DEURnis 20-voor 2.

This time it is two actors with an audience of 20. Described as an unusual site-specific theatre experience, it is aimed at the adventurous theatregoer. “We are exploring the limits of theatre in a creative way,” says Sadler. A ticket gives you access to two pieces, each approximately 45 minutes long.

These will be staged in The Grappa Shed while the one-on-one plays are performed at the Quiver Tree Apartments in Stellenbosch.

From their earliest days, these two theatre aficionados knew what they were doing. They also realised that it wouldn’t be easy and had no romantic visions about making theatre. Theirs is a true passion, almost the only thing that keeps people pushing through the pain.

With DEURnis for example they have found a sponsor but the financial gain for everyone is minimal. Many of the actors though have been spotted and pulled into more lucrative theatre and television work and that is why it probably appeals to a younger performer who can benefit from the experience.

Last year they were rewarded with a kykNET Fiësta and an ATKV-Woordveertjie as well as being nominated for best production at Aardklop. Their other more traditional play, Die reuk van appels with Gideon Lombard was as richly rewarded.

And if I have to pick a favourite from this year’s batch, it would be Ignatius van Heerden and Droom. The dancer/choreographer has done something remarkable with movement and multimedia which easily transports its audience-of-one to another magical world.

That doesn’t detract from many of the others with sassy texts and performances, which will have you intrigued and sometimes intimidated but also excited about the way theatre finds ways to explore new directions which will hopefully appeal to those who don’t go to more traditional theatre – and then show them the way.

* For more information, check http://www.woordfees.co.za