Pieter Dirk Uys has done it again as he has managed to do it in the last thirty eight years of show biz drawing inspiration from the political role players his new show Desperate First Ladies. In the show he highlights the influential women who pull the strings in the world and in the South African arena, that we have no choice but laugh.
For those of us who are old enough to remember he takes us back to an era that sometimes we wish to forget. We get meet our old friend Mr. PW Botha, the bald headed state president who was famous for licking his lips whenever he spoke and put us in our place by waving that famous finger to the current ladies who are the movers and shakers on the African continent. The Late Mother Theresa manning the switchboard gives an insight into life in heaven for those who aspire to get there one day. Mrs. Grace Mugabe the first lady from Zimbabwe shows how first ladies should behave, and the former first lady of Libya makes a guest appearance at the end of the show.
There is however also a serious side to the show, when Pieter gives us a humorous lesson on HIV/AIDS and how to use a condom. With the lesson over he soon reverts back to looking at the world once again and we even get a glimpse into the South African political landscape when Mrs. Evita Bezuidenhout gives a speech welcoming in the newly president of the country and saying farewell to the old president and his wives.
This show is funny and will have you laughing in the aisles of the theatre and is a definite must see show. The show runs until 1 October at the Baxter Theatre, so hurry and buy your tickets before you miss out
Sunday, September 11, 2011
Monday, August 29, 2011
Living Remote
Bertha Cummings reveals the secret life of the elderly. Masquerading as an angelic frail, helpless little old lady to her family, she is in fact an artful and wily mover, shaker, dispensing advice and “health products”.
Quite telling the show opens with how we live by the remote of the television, gate and sprinkler system and with our relationships, only visiting family occasionally. She points fun at the signs of getting old and then proceeds to inform the audience how to use this to your advantage. Some of the scenes were bizarrely funny like her fitness tips on the gym master and pole dancing. It reminded me of an elderly friend who still thinks that he is an irresistible gigolo – the wonderful delusional aspects of the elderly.
Anthea Thompson is brilliant in capturing the resilience of a survivor who refuses to let life get her down. Having only seen her as Kate in Taming of the Shrew – I was struck by how completely different she was and convincing as this wicked old lady.
This is a great show but not for the fainthearted.
Friday, July 15, 2011
Purgatorio
It is quite difficult to describe this play - moving, complex, mind blowing....totally absorbing!
Terry Norton and Dawid Minnaar were magnificent in the way that they seamlessly changed characters, appearance and roles from the soul searching for clemency to the interrogator driving the deep introspection needed to escape the room and "them". Slowly the audience becomes aware of the terrible events that brought them to purgatory - the passions and self interest that is so much part of us all. What is fascinating is watching the knife turn as each facade is stripped away and how we rebel against self awareness.
I sat there breathless hanging on each word not sure how it would play out. It is an intense drama but well worth every second
Terry Norton and Dawid Minnaar were magnificent in the way that they seamlessly changed characters, appearance and roles from the soul searching for clemency to the interrogator driving the deep introspection needed to escape the room and "them". Slowly the audience becomes aware of the terrible events that brought them to purgatory - the passions and self interest that is so much part of us all. What is fascinating is watching the knife turn as each facade is stripped away and how we rebel against self awareness.
I sat there breathless hanging on each word not sure how it would play out. It is an intense drama but well worth every second
Monday, June 13, 2011
ouroboros
Janni Younge, the director, says “When I gave birth to my first child, I felt closer to death than I ever had. It made no sense, but there it was – my experience. When I was writing “Ouroboros” this powerful encounter with life was so present, I could see only that. So I created this play. Fascinated by the fragility of the human being, the moment of creation [of the Self, of relationship and of art], the journey towards trust and wholeness and also by the cup of tea of glass of whiskey that happens along the way. “Ouruboros” is not a conventional play; it is structured across space and time; across interior and exterior landscapes. Watch “Ouroboros” as if you are reading a poem. Let the images and stories make connections and trust you own interpretation. …..”
Synopsis: “Ouroboros” is inspired by the poetry of Billy Collins, and is unconventionally structured and can be viewed as a weaving of interaction between the two main characters and is essentially a love story between a poet, Andre and a dancer, Nokobonisa.
“Ouroboros” is an ancient symbol of a serpent swallowing its own tail, forming a circle. It represents self-reflexivity or cyclicality in the sense of something constantly recreating itself.
The obtuse nature of the director results in one’s seemingly inability to easily grasp the meaning of the play first hand. Therefore, before one can begin to fathom this rendition of “Ouroboros” by the Hand Spring Puppet Company, one must first read the programme, otherwise you may react with a lack of information.
The cuteness and exquisitely expressive puppets are well observed and the animations are beautifully and expertly handled. I did however find the puppeteer’s cream coloured outfits were rather unappealing and very distracting to me. The general rule for puppeteers is they must blend into the background and the puppets seen to be the main characters. The idea is the audience be conscious of the puppets- not the puppeteers. The stage in this context of puppetry must always be black. Likewise, the puppeteers should be clothed in black thus blending into the background so the puppets remain the main feature.
Quite disturbing was a screen shape being totally visible as a background. Once as graphic visuals at the beginning – intermittently – and at the end; otherwise the screen should fade away completely. Manni Manim, as a lighting expert should know this.
In the modern times of technology, I ask myself: “Why is it not being used to create depth?” Another non-bio-degradable thought came to mind during the performance: Each tableau was laid out on a bare table with iron legs; the audience is constantly conscious of the puppeteer’s foot-work under the table. It would have been more pleasing if the table had been covered with floor hugging black cloth thus giving the puppets the full reign of the stage they deserved.
Remember when seeing this show to read the programme first.
Synopsis: “Ouroboros” is inspired by the poetry of Billy Collins, and is unconventionally structured and can be viewed as a weaving of interaction between the two main characters and is essentially a love story between a poet, Andre and a dancer, Nokobonisa.
“Ouroboros” is an ancient symbol of a serpent swallowing its own tail, forming a circle. It represents self-reflexivity or cyclicality in the sense of something constantly recreating itself.
The obtuse nature of the director results in one’s seemingly inability to easily grasp the meaning of the play first hand. Therefore, before one can begin to fathom this rendition of “Ouroboros” by the Hand Spring Puppet Company, one must first read the programme, otherwise you may react with a lack of information.
The cuteness and exquisitely expressive puppets are well observed and the animations are beautifully and expertly handled. I did however find the puppeteer’s cream coloured outfits were rather unappealing and very distracting to me. The general rule for puppeteers is they must blend into the background and the puppets seen to be the main characters. The idea is the audience be conscious of the puppets- not the puppeteers. The stage in this context of puppetry must always be black. Likewise, the puppeteers should be clothed in black thus blending into the background so the puppets remain the main feature.
Quite disturbing was a screen shape being totally visible as a background. Once as graphic visuals at the beginning – intermittently – and at the end; otherwise the screen should fade away completely. Manni Manim, as a lighting expert should know this.
In the modern times of technology, I ask myself: “Why is it not being used to create depth?” Another non-bio-degradable thought came to mind during the performance: Each tableau was laid out on a bare table with iron legs; the audience is constantly conscious of the puppeteer’s foot-work under the table. It would have been more pleasing if the table had been covered with floor hugging black cloth thus giving the puppets the full reign of the stage they deserved.
Remember when seeing this show to read the programme first.
Monday, May 9, 2011
A Raft In A Sea Of Madness
This evening’s show is fast, furious, frenetic frenzy, not for the faint-hearted. As usual the one man show reveals Gaëtan Schmid at his rolling marvellous crazy best. Not only does he personify the world at large, but the individual of everybody’s body language, both personal, private and what we show our friends at foes. It certainly is an eye opener when you recognise bits and pieces of yourself. I did wonder on the night how many people saw themselves and were laughing at themselves or recognised and laughed at people they know.
After touring nationally and internationally for the last three years with the award winning and popular Rumpsteak Gaëtan moves from the food that delights us to the human gestures that unite us. As in The Dog’s Bollocks, Gaëtan in his very own hilarious and informative way will entertain audiences with the fascinating subject : the secret language of the human body. Fascinating… even if you don’t want it to, your body talks and talks and talks and it won’t ever shut up!
Anthropologically, sociologically, biologically, psychologically, neurologically, but not too seriously, Gaëtan will analyse the provenance and the hidden meaning of everyday gestures. Underneath its irrelevant and comical narrative body language, social message is on the ever increasing importance of human interaction and communication. Gaëtan says our entire social system is based on communication. If we can improve the quality of our communication we will improve the quality of our society.
As always, the Gaëtan’s shows are timelessly well seamed, red hot and meticulously primed. At the World premiere he had a very good audience to play his part and to react with the people he was entertaining. He reacts so quickly and puts himself in an audience. He takes you into one situation and you think it is going a certain way and surprise, surprise, it takes you down a completely different road, while you are racing and laughing to his cleverness of approach.
This show is a tour de force which only halts for the drinking of water and laughingly complains about the heat of the lights. We are then back on the race, which is pure fun and observation of one body part and the relation from your eyes, nose, hands and private parts. The poetic reaction to the words of body language shows the actor’s depth of not only these words but action and reaction to the farce. It is always a delight to see a true professional that he is when he has his one man act. Having seen Marcel Marcus over many years both in London and Paris I tried to equate the two acts and found it impossible, as one is silent mime and the other is a portrait as a mime artist talking, shouting and acting out his body language in a hysterical way. This must see show will tickle your fancy in many ways.
His mannerisms and gestures are sheer delight to behold!
Raymond E Meylan
After touring nationally and internationally for the last three years with the award winning and popular Rumpsteak Gaëtan moves from the food that delights us to the human gestures that unite us. As in The Dog’s Bollocks, Gaëtan in his very own hilarious and informative way will entertain audiences with the fascinating subject : the secret language of the human body. Fascinating… even if you don’t want it to, your body talks and talks and talks and it won’t ever shut up!
Anthropologically, sociologically, biologically, psychologically, neurologically, but not too seriously, Gaëtan will analyse the provenance and the hidden meaning of everyday gestures. Underneath its irrelevant and comical narrative body language, social message is on the ever increasing importance of human interaction and communication. Gaëtan says our entire social system is based on communication. If we can improve the quality of our communication we will improve the quality of our society.
As always, the Gaëtan’s shows are timelessly well seamed, red hot and meticulously primed. At the World premiere he had a very good audience to play his part and to react with the people he was entertaining. He reacts so quickly and puts himself in an audience. He takes you into one situation and you think it is going a certain way and surprise, surprise, it takes you down a completely different road, while you are racing and laughing to his cleverness of approach.
This show is a tour de force which only halts for the drinking of water and laughingly complains about the heat of the lights. We are then back on the race, which is pure fun and observation of one body part and the relation from your eyes, nose, hands and private parts. The poetic reaction to the words of body language shows the actor’s depth of not only these words but action and reaction to the farce. It is always a delight to see a true professional that he is when he has his one man act. Having seen Marcel Marcus over many years both in London and Paris I tried to equate the two acts and found it impossible, as one is silent mime and the other is a portrait as a mime artist talking, shouting and acting out his body language in a hysterical way. This must see show will tickle your fancy in many ways.
His mannerisms and gestures are sheer delight to behold!
Raymond E Meylan
Thursday, March 10, 2011
A New Direction
I am very priveleged to be able to work in the performing arts as my day job. Strangely enough I do not come from a performing arts background, rather that of welfare administration. So you will understand when I say that I am passionate about administration.
No, not the filing and minute taking - essential daily activities which are the foundation of administration, but the bigger picture of building organisations, creating the better world to which we all aspire and creating strong sustainable programmes which will bring about that change.
A skilled administrator needs to wear several hats - the starry eyed visionary who can see the better world, the cautious, incremental implementer to make sure that programmes work, the financial whizz who can balance the books and manage the cash flow and the fabulous fundraiser and salesman who brings in the resources (not only the cash) to make the organisation work. Then there is the diplomatic staff manager and motivator and networker.
I am going to introduce articles on the business of the arts and share some of the fabulous blogs and sites that I am reading to keep up to date with this strange creature called the performing arts. I would really appreciate your comments and insights on the arts as it will help me to grow into the different hats to become a skilled administrator.
However there is still my true passion of Encore Entertainment Guide. This year I am going to start including my comments on shows that I attend - the original purpose of the blog. The grand plan got delayed when I got an attack of the doubts - who am I to comment on people's creativity. However, in the past 4 years of going to shows, I can honestly say that there is only one or maybe two shows that I didn't like. One was because I had no clue what was going on in it.
So welcome to the new Encore blog...
Angela
No, not the filing and minute taking - essential daily activities which are the foundation of administration, but the bigger picture of building organisations, creating the better world to which we all aspire and creating strong sustainable programmes which will bring about that change.
A skilled administrator needs to wear several hats - the starry eyed visionary who can see the better world, the cautious, incremental implementer to make sure that programmes work, the financial whizz who can balance the books and manage the cash flow and the fabulous fundraiser and salesman who brings in the resources (not only the cash) to make the organisation work. Then there is the diplomatic staff manager and motivator and networker.
I am going to introduce articles on the business of the arts and share some of the fabulous blogs and sites that I am reading to keep up to date with this strange creature called the performing arts. I would really appreciate your comments and insights on the arts as it will help me to grow into the different hats to become a skilled administrator.
However there is still my true passion of Encore Entertainment Guide. This year I am going to start including my comments on shows that I attend - the original purpose of the blog. The grand plan got delayed when I got an attack of the doubts - who am I to comment on people's creativity. However, in the past 4 years of going to shows, I can honestly say that there is only one or maybe two shows that I didn't like. One was because I had no clue what was going on in it.
So welcome to the new Encore blog...
Angela
Thursday, March 3, 2011
Jeremy Taylor in Concert
Last night I went to see Jeremy Taylor in Concert. My grandfather loved his music so it was very much a part of my childhood and I now have those original records. I proudly know all the words to Ag Pleez Deddy , Shoplift Girl's Lament Ballad of the Northern Suburbs and so many more.
Paul says that I have been in "groupie mode" for the past month since I learned that Jeremy Taylor was coming to Cape Town. So it was with high expectations that I went to the show. I was wondering if he would be as I remembered eventhough he is 74. I was not disappointed. He was fantastic and to my delight a spellbinding story teller. His Seff-Afrikan accent was perfect and it was fascinating listening to him change between that and his English accent.
The show was very interesting in that it was a look back to the South Africa of the 1960s with the funny songs but also some chilling moments of the times. A very telling statement was "It was a hard time for everyone... race was just the smoke screen for those who were seeking the power and control". He gave us a glimpse without judging, leaving that for the audience. I was struck by his compassion for people, the irony of the madness of the times and his love of South Africa.
It is a bit of history that is going to be forgotten. The Afrikaners were also oppressed and hurt during apartheid and things were not as rosy as it is made out. It brought out bitter sweet memories of childhood and growing up in South Africa
His poem "A night to remember" about the capture of Steve Biko was chilling and compelling. Of course the highlight was the final song Ag Pleez Deddy and it was wonderful to see how many of us in the audience knew all the words.
Back to the groupie mode - I couldn't help myself. One of the priveleges of the Kalk Bay Theatre is that the artists come up to the restaurant after the show. I heard Simon Cooper say that he might be reluctant to do so and found the stage manager to see if Jeremy could sign my records if he does not come up. Just in case I went to the stage door after the show where the stage manager assured me that he will be coming up to the restaurant.
Oh what a honour to meet him and talk to him. A real dream and to be able to thank him for the joy that his music has brought over the years. He very kindly signed both records and I even got a photograph with him. I am still thrilled the next day.
My criticism? The show was about 5 hours too short. I wanted him to keep on singing.
Subscribe to:
Posts (Atom)
