Fiona Gordon: Heads will be turned all over Cape Town’s city centre this week, as strangely dressed characters do even stranger things in and around the city’s public spaces.

In an effort to ‘encourage expression of creative thought’ Spier supports this public arts festival, ‘Infecting the City’, (curated by performance artist extraordinaire, Brett Bailey) as part of their community social investment.

With ‘Human Rites’ as the 2010 theme, and involvement from some of the city’s most prominent and prolific theatre-makers, it seems many of the pieces presented acknowledge aspects of this city’s rich and colourful history, and heritage combinations. This social art encourages different perspectives, and seems to seek to acknowledge the lives and struggles of others, and their impact on our presents, and futures.

I saw two pieces which used open spaces, which in itself from an accessibility and audience development perspective, is a great thing. But I was most grateful for the innovation of the third – a site-specific work that makes use of a monument as a performance space, in a way that some may deem disrespectful, but really to my mind, better fulfils the brief of ‘challenging us to think, reflect and communicate in uniquely powerful ways’.

It’s worth making an effort to attend some of the things on offer. Even if it’s just to watch the passers-by be forced to engage with the space, or happenings in it, in a different way than usual.

“Infection” may have negative connotations, but I certainly left my little sojourn in the city feeling inspired – infected with the positivity that comes from experiencing art.

And even the weather played along providing some of its own drama – threatening to rain out the second performance I saw, while I watched the third, a mere hour later, feeling the rays of the scorching sun. Ah, Cape Town…

Performances and installations happen daily 13-20 February, throughout the CBD, and are almost all free of charge. See www.infectingthecity.com for more details.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: They say a picture is worth a thousand words – in the case of ‘Pictures of You’, perhaps ten thousand…

Presented by a company who encourages their audience to ‘listen with your eyes’, and firmly rooted in the precision of communication that is necessary to do so effectively with the use of sign language, FTH:K expands theatrical boundaries with its ‘Pictures of You’.

FTH:K is a deaf and hearing company that aims to create a platform for experimentation and expansion of the notions of theatre and performance. Conspiracy of clowns is their workshop, and ‘Pictures of You’- its first work, first performed in 2008 on the Fringe at the National Arts Festival – is a remarkably tight production that looks set to continue to wow audiences for some time to come.

The scene is set on entering the theatre – showing what is obviously the living room of a house – table and chairs, front door, some pictures on the walls… The first action we see is a foreshadowing snapshot of drama, but after that, the story, on the surface, seems fairly conventional. A house-proud wife who collects the post every day and makes her husband tea while he reads said post – after he has checked the locks on the door. Repetition suggests routine, but also something more, as we see her obsession with control and cleanliness grow, and how she is transformed with memories of happier times.

But the really phenomenal thing is that this story is told without our conventional communication crutches – the use of the spoken word, and facial expression; making use rather of the powerful language of the body. Their faces are completely hidden throughout by full masks, but masks so expressive sometimes I can’t believe that they are not able to move… But to watch this ‘husband and wife’ move is akin to watching dance. In the rhythm of their movement, repetitively, and in the detail of how they do so, lies much of the power of this story.

Dextrous fingers command attention with even ever-so-slight movements. And the breath… sometimes I even find myself breathing with them.

But the words are not important here. It’s the pictures that are. And it’s well worth making a point of seeing them.

Presented by a conspiracy of clowns, in association with from the hip: khulumakahle (FTH:K), the production is devised and directed by Rob Murray, performed by Liezl de Kock and Dorian Burstein with visual design by winner of the 2010 Standard Bank Young Artist award for theatre and director of Out The Box Festival, Janni Younge and sound design by James Webb, winner of the 2008 ABSA L’atelier prize.

It plays in the Baxter Theatre’s Golden Arrow Studio until 13 February 2010. Tickets can be booked through Computicket.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: One has to wonder, when a stage show is billed as a ‘thriller’ what that actually might mean…

I guess one could expect a sense of sinister mystery, a fair amount of darkness, some spine-chilling moments – perhaps some death?

A basic set of household objects provides the framework for the telling of this tormented tale, where shadows and foreshadowing both feature powerfully, and additional elements are provided through the use of sound effects.

The stage is sometimes lit just by torchlight or candle flame. Theatres, as large old houses, can be scary places. Especially in the dark. More so when noises ignite imaginations that cannot be dispelled by light.

Subtle breaks through the proscenium arch involve the audience in a way that increases the immediacy of the action, to great effect. Nothing gives a sense of being lost in a thick fog, like trying to see an actor through an unexpected haze of dry-ice smoke.

Where nuances of accent, movement and costume indicate different characters and locations, a play of this nature requires seriously competent actors to maintain a sense of reality, and carry the suspense.

My friend, newly relocated to South Africa from England, asked me if I was sure the actors were South African – their (multiple) British accents were that clearly articulated. And, with the help of some clever production, they maintained suspense and intensity through to the deeply disconcerting end.

‘The Woman in Black’ is adapted by Stephen Mallatratt, from the novel by Susan Hill, and directed by Moira Blumenthal. Starring Eckard Rabe and Anton Luitingh, it plays at the Theatre on the Bay until 13 February 2010. Tickets, from R100, can be booked through Computicket.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: That fatal combination of love and politics is explored under the canopy of trees at Maynardville, in Antony and Cleopatra.

As we observe the interactions between the last queen of Egypt and her illicit lover, Roman hero Mark Antony, and their various legions, tensions run high and themes of power and love are strongly evident, as director Marthinus Basson cautions us to question our allegiances, and be considerate of our choices.

It is long, as Shakespeare plays are wont to be, but I don’t find my attention drifting, as it is wont to do. Although I am told that the production has been cut by 25 minutes, which I am sure makes a significant difference.

I could not fault anything from a production perspective. The scenery – simple, and completely effective – makes use of a raised, raked addition centre stage, and multicoloured ‘light sabres’ which give it an otherworldly feel, and denote the changes in scene. Lighting, which is particularly pertinent given the complexity of the setting, captures the moods and dramatic cues fantastically, and aids the clever use of the depth of the space surrounding the stage. The soundtrack is completely appropriate and also very well-utilised in the changing, and setting, of scenes. Costumes are neutral in colour, but detailed and interesting in their portrayal of character. The use of live snakes adds an element of excitement and authenticity to the drama.

Language seems to be a significant focus of the production, with much focus on the words and their delivery and rhythm. Diction is superb, especially considering the complexity of Shakespearean English, and the speed at which some of the actors must, and do, deliver their dialogue. Tinarie van Wyk Loots once again proves her mettle in a superb portrayal of the multifaceted Cleopatra.

Classical theatre is not everybody’s cup of tea, but classics are classics for a reason and this production is accessible and very well considered and executed in its portrayal.

Director and Designs: Marthinus Basson
Original Music: Braam du Toit
Lighting Design: Faheem Bardien
Sound Design: Lynley Pillay
Assistant Director: Hugo Theart

William Shakespeare’s Anthony and Cleopatra plays at the Maynardville Open Air Theatre Mondays to Saturdays until 20 February. Tickets, from R100, can be booked through Computicket.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: The voice at the beginning of Cinderella on Ice that reminds us that cellphones should be switched off, also suggests I be prepared to find the edge of my seat.

I think it’s a bit of a presumptuous remark, but soon find myself sitting in exactly that position!

The Artscape Opera House stage is transformed into an ice-rink. That in itself is no mean feat requiring the creation of 14 tonnes of ice during the run of the show.

But what amazes me even more is what happens on and around the ice.

The stage design, for starters, is superb – windows are lit from ‘inside’ the buildings, and the handles of the clocks turn – forwards and backwards! – to mark the passage of time. The monochrome ballroom forms a striking contrast to the colour of the town scenes; and virtually every theatrical technical trick is harnessed for this magical performance – from pyrotechnics, to flies and various forms of projection and lighting and sound effects.

And the Imperial Ice Stars, who really do dance on the ice, accomplish remarkable things in the tiniest of spaces, with the greatest precision. Andrei Penkine is the Lord Mayor’s Son, to Olga Sharutenko’s Cinderella, and they are a sight to behold. But no matter who is gracing the stage, the standard of skating and acting is exactly what one would expect of a world-class company – even from the young boy who features in the ‘town’ scenes. Goose-bump-inducing – and not from the cold!

The story is based on the classic fairytale, but does not follow tradition to the letter, and that’s quite lovely. The score is specially composed, and makes clever use of leitmotif to enhance the drama. The father and daughter relationship features strongly and helps to expand the human element, but the magic of fantasy is retained with features such as the moving clocks, which come ‘alive’ to show the marching of time; and through the fortune teller who weaves magic which results in the formation of a carriage before our eyes!

One of my favourite scenes is the presentation of the Swan Lake dance recital, which is masterfully constructed, and performs to an audience in the backdrop.

Equally memorable, the shoe-fitting scene, where all the ladies skate with one boot off!

Choreographic interest is maintained through the combination and juxtaposition of the gliding motions often associated with skating, and percussive, staccato movements – difficult as this is to comprehend, on ice – and tricks designed to make the audience gasp and cheer. Cartwheels and flick flacks and and even a ‘Michael Flatley’ moment or three, add to the excitement…

The feisty stepmother (Olena Pyatash) is commanding in a flamboyant wine-red costume befitting the strong and sharp character required of the role. All of the costumes, in fact, are fabulous. Another feature in a show where everything is of the highest standard. Throughout, incredible attention to is paid to detail, and therein lies the phenomenal success of this production, as those details combine to create a bold and spectacular whole.

Cinderella on Ice plays at the Artscape Opera House until 7 February 2010. Bookings on 021 421 7695.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Website: www.cinderellaonice.co.za

Fiona Gordon: Vaudeville is an adult playground of sensory indulgence – definitely a venue that suggests occasion!

Situated at the heart of Cape Town’s city centre party precinct, this three-hundred-seater supper club promises to be the start and end of many a great night out. The proprietors of the venue aim to provide a full evening of top-class entertainment, from wining to dining to dancing, all as part of an over-the-top theatrical experience – a fanciful extravaganza that combines the variety of vaudeville, with burlesque excess. I am sure that many lovers, new and old, will spend much time staring into each others’ eyes across the candle-lit lamps that adorn the tables. And groups of friends will make many a crazy memory celebrating… well, anything really – no excuses required!

The charismatic Irit Noble leads the quartet of sexy ladies that strut their vocal and voluptuous stuff in various numbers through the show, which also features jolly jugglers and pole jumpers, aerial flyers and daring trapeze. One certainly gets a sense of high-class circus, on and off the stage, with high impact performances introduced by a ringmaster, and floor performers and stilt walkers forming part of the eclectic mix of entertainment. The evening’s experience is definitely influenced by the position of one’s table, although each spot seems to have good and easy view access. The acoustics and sound-mix will surely settle with some attention and time. A sultry hula-devil plays with fire, and our attention is often drawn to the ubiquitous (solemn) penguin-man. Easily a highlight is the Romanian Olympic gymnast and ‘strength performer’ who astounded with his muscular control; and the couple who teased with their Tango, and impressed with their Acro-adage. Dressed in Baroque-influenced costumes, with make-up to match, five-member circus-Balkan-oompah-band, Jinx, provides an appropriately fantastic soundtrack.

I have been to a number of functions catered by Dish Food and Social, and they rate in my book as easily amongst the best caterers in Cape Town, providing all manner of intricate and imaginative delicacies. So I suppose I was surprised by what I felt to be fairly conventional menu options. But given that my partner went for the most conventional item on the menu (free range Namibian Sirloin served with chunky potato wedges, roasted vegetables and a rich red wine jus), and consensus at our table was that although the other options were decidedly tasty, that had been by far the best choice after all; I am sure that it is a well-considered and wise decision on the part of super chef Andrea Foulkes, and know that it speaks nothing of her culinary creativity and skill.
Portions are well-sized, especially considering the richness of the meal options. The wine list offers a reasonable range of choices for both the budget conscious, and those looking to extend the extravagance.

Both the starters, and dessert, are designed for ‘grazing’ – a variety of tasty tapas to start, served with the house salad and beautiful fresh ciabatta; and an ‘adult fantasy platter with a selection of decadent sweet delights’ featuring fairy cupcakes, brings the meal to a Turkish Delight-full close.

It is the extra touches that help to ‘make’ the place. Rich reds and purples colour the place with opulence, while the smoking deck offers a scenic and exclusive view of some of the city buildings. Many waiting staff ensure that whenever your heart desires something, there is someone close at hand to get it for you, but they manage to do so without being intrusive. The ‘ladies’, although a little dimly lit, is worth a visit, and it is suggested, even encouraged, that the party move upstairs to Moroccan-themed club, The Fez, to continue the festivities beyond the end of the meal and show.

In accordance with the theme, one really can afford a rare night of fancy-free fun. Dress up to the nines, if you will, and indulge the dream…

Performances run throughout the festive season from Mondays to Saturdays at 8:15pm with tickets costing R350 to R395 per person that includes the show, a three course meal and free entry into The Fez. For group bookings of ten or more, a 10% discount offer is available. Advance booking is essential, with ticket and VIP Lounge bookings via bookings@vaudeville.co.za or 0861 SUPPER. Vaudeville and the Fez Club is located at 11 Mechau Street (off lower Bree Street) on the Foreshore in Cape Town. Ample on-street parking with security is available around the venue. Please note there is PG13 rating on this show.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: David Kramer weaves multicultural magic at The Baxter with his 3 Wiser Men.

Cape Town comedians Marc Lottering, Nik Rabinowitz and Riaad Moosa again join forces for the silly season, under acclaimed director David Kramer, to help South Africans learn about, and laugh at, others and themselves.

The three take it in turns to impart their nuggets of wisdom, as they dissect the peculiarities of living in South Africa through the experiences of ‘everyman’ – from the ‘trappe van vergelyking’ taught in the primary school Afrikaans syllabus, to the police, to the differences between shopping at Checkers, Pick n’ Pay and Woolies, to much about airports and aeroplanes. Of course there is the requisite joke at Eskom’s expense and references to our television culture. It seems some of their newfound wisdom comes from the perspective of parenthood, as even Barney gets some airtime. With the help of Donveno Prins and his dynamic onstage band, they even take a turn to sing a tune or two.

They’re great on their own, but their interactions when they’re together is what makes the show. The ‘magic’ element is not quite slick enough to be successful, but Marc is super fab as the assistant in a spangly dress and the highest heels. Their ‘alter-personalities’ Beryl, Ayesha and Merle meet for their annual tea – this time at Mrs (Beryl) Rosenberg’s Sea Point home (of course, my doll-ing), where they exchange greetings and gifts, and some of the delightful drama of online interactions.

Their respective abilities to harness different accents and aspects of language is undoubtedly one of the great strengths of the show, and is put to use in a skit featuring caricatures of local characters through the eyes of a foreign visitor, suggesting all sorts of things for 2010.

The main ‘weakness’ of the show is also its strength, and lies in the fact that it is impossible for anyone to ‘get’ all the jokes. Realise that there will be things that go over your head – true for some people more than others, perhaps, but it is impossible to understand (sometimes even recognise) every layer of this multiplicitous performance. But this diversity also makes it extremely accessible.

The beauty of this show lies in the exploration of the multiple cultures that make up the kaleidoscope of Cape Town; and how through that, the audience – no matter who they are – is given a window into other worlds, and a glimpse of their own; as something of everyone is represented on this stage.

3 Wiser Men runs at the Baxter Theatre from 18 November 2009 to 9 January 2010 and tickets cost from R75 to R120 via Computicket. Performances run from Mondays to Fridays at 20h00 and on Saturdays at 18h00 and 21h00. There is a PG 16 rating on this show.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

www.baxter.co.za

QUACK! with masks by Janni Younge, winner of the 2010 Standard Bank Young Artist Award for theatre. Photographer: Clare Louise Thomas

Fiona Gordon: From the Hip:Khulumakahle is a young and vibrant theatre company that is pushing the boundaries of theatrical exploration.

They aim to revolutionise the South African theatre industry through the development of deaf and hearing performer-creators. And they seem to be making a success of it from both a creative, and developmental perspective. This theatrical sensation seamlessly integrates hearing and non-hearing performers – despite trying to discern, I actually couldn’t tell who could hear and who couldn’t.

FTH:K has drawn together a phenomenal team of collaborators, and this is obvious in the quality of this production, which juxtaposes innocence and the manifestation of evil intent, in an anxiety-ridden esoteric theatrical experience. Quirky, and interesting, the detail in the design is incredible, but the story itself is pretty obscure. I find myself making all sorts of visceral connections to tales of my youth – Coppélia, Rapunzel, The Strange Case of Dr Jekyll and Mr Hyde… A man lies dying in hospital (cue scrubs and heart-shaped flashing, beating red light), and in his delirium escapes to the parallel universe in which we spend the duration of the play. It is dark, both literally and otherwise, with a dreamlike soundscape adding to the intensity as we are taken into a sinister world of falsehood and questionable motives.

This is ‘Quack!’ meaning ‘impostor’ – a concept emphasized by the fact that the cast wears masks throughout. Janni Younge – recently announced winner of the 2010 Standard Bank Young Artist Award for Theatre – is the artistic force behind their creation, and it is obvious why she is being recognized for her contributions. The fake faces, while being obviously so, almost take on personalities of their own, appearing sometimes even to change expression. Without the luxury of facial or verbal expression, these performers are articulate in the use of the nuance of their bodies. It really is poetry in motion.

Directed by Rob Murray, with masks by Janni Younge, sound design by James Webb and Brydon Bolton, set and props by Jesse Kramer, costumes by Leila Anderson, and cast consisting of Liezl de Kock, Lysander Barends, Emilie Starke, Taryn Bennett, Marlon Snyders, Jori Snell, Tomri Steyn and Christopher Beukes.

QUACK! will be performed at the Intimate Theatre on Hiddingh Campus in Cape Town from 10-21 November 2009, Tuesdays – Saturdays at 20h15, with a matinee on Saturday 14 at 14h00.

Tickets cost R50. Concessions (students, pensioners, Deaf and disabled) are R40; for Members R35 and block bookings of 10 or more R35. Tuesdays are “Twos-days” – pay R50 for 1 ticket and get two!

For all bookings contact FTH:K on 021 448 2838 or clowns@fthk.co.za.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Fiona Gordon: Debbie Turner’s Cape Dance Company presents a season of contemporary dance, with works by top choreographers.

Honestly, I really considered missing this one. Now don’t get me wrong – I knew the performance would be of a high standard, and I would enjoy it, and all. But in the middle of what might well be called Cape Town’s ‘Month of Dance’ – I am well aware that at some point, one saturates. And I had seen, in performance, every piece on this programme, bar one. And so it was in the end the promise of one particular piece that got me there, but I’m not in the least sorry I went. In fact, I can’t quite believe I considered not going…

The scope of the Artscape Theatre stage does much more justice to these works than could possibly be done at a festival, or smaller venue, which is where most of their audience would have seen them. Instead of the usual black, both the mats and curtain surround are white, allowing the lighting to really feature, which has an extremely positive effect on the visuals and mood throughout.

The dancers are focused, and exhibit strong long lines and a sensitivity to the dance. They perform with an obvious integrity, and move comfortably in and around the space, with remarkable ‘flow’. Many of the dances display particularly feminine qualities, expressed often in the movement of the hips, and often costumed with long hair flowing.

The programme begins with ‘Treasures of the Heart’, choreographed by former principal dancer of the Alvin Ailey American Dance Theater, Michael Thomas. Kitty Phetla’s piece is just lovely – and features a delightfully flirty duet between Mila de Biaggi and James Bradley. Gregory Maqoma’s ‘Molo Wethu’ also combines the sensual elements of femininity and playfulness in a successful whole.

The piece I went to see was Mamela Nyamza’s ‘i-Dolls’, and my instincts were right. Bubblegum, hairdryers, lipstick and high heels… Using pedestrian movement and clothes, with her signature movement style as the base, this piece pokes fun at the modelling industry in a way that is both very funny, and poignant.

The second act has a decidedly more masculine element, as the technical strength of the company is featured in two successful pieces – Debbie Turner’s ‘Gladius’, and what has become a signature piece for this company, Sbonakalisa Ndaba’s ‘Indlela’ – both of which I enjoyed, despite their length, and having seen them more than once before.

Which just goes to show – there is no such thing as a repeat performance…

The Cape Dance Company performs as part of a programme of three different shows presented on by the Cape Academy of Performing Arts. Performances of all three productions are at the Artscape Theatre from Tuesday 3 to Sunday 8 November 2009. Tickets, at R85 for Cape Dance Company and R70 for Cape Academy of Performing Arts and Headshots, are available from Computicket or Dial-a-Seat 021 421 7695.

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za

Acclaimed UK play ‘New Boy’ makes its South African premiere at The NewSpace Theatre, with an all South African cast.

The opening minutes of this play have me slinking lower in my seat, rather embarrassed, as I wait to sense the reaction of the friend next to me in response to the very explicit sexual discussion taking place from the stage.

But it doesn’t take long for us to settle and for the references to become really funny.

This is a pertinent look at sex. And high school. And how the experiences of those two are intricately entwined.

Barry is the New Boy – aloof and attractive, who pays very few people any attention. And yet, he establishes a friendship with the ultra-stereotypically-looking-and-behaving nerdy Mark. They are, it emerges, both virgins, although Mark has spent a lot of time thinking about how best to change that, while Barry waits for the one. Mark’s encouragement to change that status quo leads to all sorts of interesting developments, in their lives, and in their friendship.

It’s not hard to imagine why the girls would, and do, fawn after Barry – Stephen Jubber has a beautiful body (a shower scene leaves very little to the imagination). But it is Clive Gilson as Mark who must take the proverbial cake. He really assumes the part – looking and behaving every bit the struggling schoolboy in a perfectly believable performance.

My other favourite thing is the set… colourful and functional, with sliding bits and many things which open and shut. Unassuming lockers yield glasses of wine and changes of clothes. Much credit to the production team, whose design and lighting go a long way towards making this show work.

The supporting roles are not to be underestimated, with the most credible performance by Gahlia Phillips.

It’s funny, contains much truth, and is really well presented – in my opinion easily one of the better offerings from The NewSpace this year.

Directed by Russell Labey, adapted for stage by Labey, from the novel by William Sutcliffe. Lighting is by Jane Gosnell with set designed by Leopold Senekal. Starring Stephen Jubber as the new boy Barry, Nicole Franco as Margaret, Clive Gilson as Mark, Dylan Edy as Dan, and Gahlia Phillips as Louise.

New Boy runs at The NewSpace Theatre (44 Long Street) till 15 November 2009. Performances are from Mondays to Fridays at 8pm with a matinee show at 5pm on Saturdays. Tickets range from R95 to R130 via Computicket and Mondays are ‘buy one get one free’ nights via 021 422 5522. PG 16 (language and nudity).

Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za