One of the things that I love is listening to music in the open air, especially classical music. My favourite event is Opera in a Convent Garden. All my friends know that Paul and I are unavailable on the first Sunday of February as we are picnicing to the most beautiful music in a wonderful setting. Others are the Kirstenbosch concerts, Nederburg Starlight Concert and De Waal Park.
I like being able to sit back comfortably in my deck chair or on the ground close my eyes and just revel in the sounds and experience. I also enjoy having my glass of refreshment and snacking on tasty treats. Very different from sitting in a chair in an auditorium. It is a perception (not reality but it clouds my thinking) of the
formal venues such as City Hall as being uncomfortable. However that is
never the issue when I am there. Curious, but maybe the paradox of being
human.
I know that more informal settings increase the difficulties of performance in terms of the requirements of musical instruments, logistics and of course the weather, but somehow the performance is more personal and much more enjoyable.I suppose it raises the isssue of the need to present a perfect performance (possibly the high art agenda) versus the need to meet audience demands. Is it acceptable to respond to the demands of the audience if it will affect the "quality" of the performance. There again should art not be adapted to go to its audience rather than hide behind "high art" hidden in the theatres? How can we be an art loving nation if it is not all around us? But is there money in getting art out there? Lots of interesting questions...
There are quite a few articles on individualising the performance experience. the LA Times looks at how the Music Centre is using the outdoor park as a performance venue. BBC News has an interesting article on The Silent Opera. That sounds like a really interesting way of experiencing opera.
Thursday, January 24, 2013
Reimaging performance venues
In my mind break even is the holy grail of arts management (here in Cape Town). How do we continue to provide the services and bring about the change we want and still pay the bills. Surely living out your passion shouldn't be soul destroying? Hence I am always interested in articles about generating income in the arts and pushing the boundaries of service delivery. An invaluable resource for this is ArtsJournal. which provides a weekly summary of articles from around the world. Brilliant!
The article from the LA Times "Grand Park holds grand potential for Music Centre" is interesting in how the managers of the Music Centre developed new strategies to increase the use of the centre and the surrounding area to increase both the revenue and audience size. The Centre management moved from landlord to impressario with huge benefits to the centre and the local performing arts community. Performances were taken out of the auditoria and performed in the recreational space in the surrounding park - sounds like Cape Town's "Infecting the City". They introduced Active Arts a free grassroots arts development programme. That would be wonderful for our own emerging artists - many of whom are absolutely fantastic performers.
It is a great article with much food for thought.
The article from the LA Times "Grand Park holds grand potential for Music Centre" is interesting in how the managers of the Music Centre developed new strategies to increase the use of the centre and the surrounding area to increase both the revenue and audience size. The Centre management moved from landlord to impressario with huge benefits to the centre and the local performing arts community. Performances were taken out of the auditoria and performed in the recreational space in the surrounding park - sounds like Cape Town's "Infecting the City". They introduced Active Arts a free grassroots arts development programme. That would be wonderful for our own emerging artists - many of whom are absolutely fantastic performers.
It is a great article with much food for thought.
Wednesday, January 23, 2013
THE THREE LITTLE PIGS: BAXTER THEATRE
by Taryn Saunders
In fairy tales and fables, we are told right at the beginning who the hero is, who his friends and allies are, and who is trying to lead him off the path and into the slaughterhouse. But as we know, more than once upon a time in a Justice System not so far, far away, this is not the case at all.
The Three Little Pigs is an Animal Farm-style tale in contemporary South Africa with an intelligent script, sharp acting and plenty of farm puns. Two pigs (police officers) have been brutally and mysteriously murdered. We follow an intense investigation into the case as the last little pig ploughs through bureaucracy, violence, lies and stupidity to find the cause of his brother’s death. The twisted plot comes to an even more twisted end.
The characters, brilliantly performed half animal half humans, are very familiar, especially to a South African audience. James Cairns, Albert Pretorius and Rob Van Vuuren give focused and detailed performances. Their physical comedy skills are used exceptionally well in characterising the various animal-humans that populate the pigs’ world. One would not be blamed for thinking that they are in fact half-human mutant creatures. The dialogue is machine-gunned at the audience with brutal wit and satire as barbed wire looms over a straw-strewn interrogation room.
In a country populated by spokespeople who ramble like chickens, journalists who pick like vultures on the carcasses of fact and fiction while high-powered wolves run dodgy operations tracked by little pigs, the parallels are more than co-incidental. The Three Little Pigs is one of the best satires on our stages in a long time. It is an important story told in an exceptional way. We never know who the Big Bad Wolf is, where he is, and we’re always afraid.
If George Orwell could comment on the production in a quote from Animal Farm, he’d say:
“There, comrades, is the answer to all our problems. It is summed up in a single word-- Man”
In fairy tales and fables, we are told right at the beginning who the hero is, who his friends and allies are, and who is trying to lead him off the path and into the slaughterhouse. But as we know, more than once upon a time in a Justice System not so far, far away, this is not the case at all.
The Three Little Pigs is an Animal Farm-style tale in contemporary South Africa with an intelligent script, sharp acting and plenty of farm puns. Two pigs (police officers) have been brutally and mysteriously murdered. We follow an intense investigation into the case as the last little pig ploughs through bureaucracy, violence, lies and stupidity to find the cause of his brother’s death. The twisted plot comes to an even more twisted end.
The characters, brilliantly performed half animal half humans, are very familiar, especially to a South African audience. James Cairns, Albert Pretorius and Rob Van Vuuren give focused and detailed performances. Their physical comedy skills are used exceptionally well in characterising the various animal-humans that populate the pigs’ world. One would not be blamed for thinking that they are in fact half-human mutant creatures. The dialogue is machine-gunned at the audience with brutal wit and satire as barbed wire looms over a straw-strewn interrogation room.
In a country populated by spokespeople who ramble like chickens, journalists who pick like vultures on the carcasses of fact and fiction while high-powered wolves run dodgy operations tracked by little pigs, the parallels are more than co-incidental. The Three Little Pigs is one of the best satires on our stages in a long time. It is an important story told in an exceptional way. We never know who the Big Bad Wolf is, where he is, and we’re always afraid.
If George Orwell could comment on the production in a quote from Animal Farm, he’d say:
“There, comrades, is the answer to all our problems. It is summed up in a single word-- Man”
Wednesday, January 16, 2013
6 Steps to Surviving 2013
Kerryn Krige has written an excellent article giving tips on where not for profit organisations need to focus for stronger, sustainable organisations with greater impact. It is really worth reading the full article. Briefly the 6 steps are:
1. Look beyond the jobs mantra
The need is to focus on building sustainable organisations and businesses. Entrepreneurs create the jobs in the business sector and systems are needed to help them succeed. There needs to be a strong social focus in entrepreneurship so that the increased employment opportunities are linked to positive development.
2. accountability - getting our house in order
Kerryn proposes that it is only an accountable, robust civill society that can hold others to account. NPOs need to commit to the Codes of Good Governance. She suggests that accountability and transparency are central to survival in 2013.
3. monitoring and evaluation
basic measurement is essential for non-profit leaders to challenge their assumptions of what does and does not work. This knowledge creation makes it easier for organisations to form partnerships which can lead to a natural consolidation of the sector.
4. from programmes to activism
This seems like a return to our old roots of holding government to account rather than providing services. This then requires that donors to support activism and the rights movement. It feels like the wheel is turning and it is a good call for non-profits to rethink what they are about.
5. rise of the community based organisation (CBOs)
Donors prefer to channel funding through well structured organisations who can look after the funding. This means that less money gets to the programmes. There is a call for the development of the institutional structure of CBOs to be able to access donor funding.
6. making profits out of non profits
Kerryn calls for organisations to take a longer term view on the type of funding needed to survive. This is similar to the field of social entrepreneurship where there is a profit motive on some programmes to subsidise the development work. The African Social Enterpreneurs Network (ASEN) is a fabulous resource.
1. Look beyond the jobs mantra
The need is to focus on building sustainable organisations and businesses. Entrepreneurs create the jobs in the business sector and systems are needed to help them succeed. There needs to be a strong social focus in entrepreneurship so that the increased employment opportunities are linked to positive development.
2. accountability - getting our house in order
Kerryn proposes that it is only an accountable, robust civill society that can hold others to account. NPOs need to commit to the Codes of Good Governance. She suggests that accountability and transparency are central to survival in 2013.
3. monitoring and evaluation
basic measurement is essential for non-profit leaders to challenge their assumptions of what does and does not work. This knowledge creation makes it easier for organisations to form partnerships which can lead to a natural consolidation of the sector.
4. from programmes to activism
This seems like a return to our old roots of holding government to account rather than providing services. This then requires that donors to support activism and the rights movement. It feels like the wheel is turning and it is a good call for non-profits to rethink what they are about.
5. rise of the community based organisation (CBOs)
Donors prefer to channel funding through well structured organisations who can look after the funding. This means that less money gets to the programmes. There is a call for the development of the institutional structure of CBOs to be able to access donor funding.
6. making profits out of non profits
Kerryn calls for organisations to take a longer term view on the type of funding needed to survive. This is similar to the field of social entrepreneurship where there is a profit motive on some programmes to subsidise the development work. The African Social Enterpreneurs Network (ASEN) is a fabulous resource.
It is time for Civil Society to join mainstream thinking
Kerryn Krige has written a fantastic article on 6 Steps to Surviving 2013. It is based on her participation in the "Looking back, Looking forward" forum at GIBS. Social development has reached the agenda of business schools. There is a recognition of the important contribution of civil society in building South Africa. Although this is something that we practitioners have always known, it has been difficult to get the government and business sectors to acknowledge the important contribution that we make. Kerryn notes that it is in the non profit sector where the potential for real change lies and that government and business need to start engaging with the sector if they want to move forward. There is the realisation that society is more than rules, profit or jobs. It is also the engaging of people to create long term solutions to pressing issues. It is necessary for us in the not for profit sector to create a co-ordinated approach where our expertise is used to build the better society for which we all strive. We have a window of opportunity and need to take it.
Saturday, December 29, 2012
Branding
I attended an interesting talk on why branding is important for community organisations such as Rotary. I thought that the points were particularly relevant to arts organisations and hope that you will also benefit from the ideas shared.
Your reputation is more than just a logo. It is the values that you stand for, your opinions and what others say about you. You need to guard you brand, like your reputation, zealously and be passionate about what you do.
Branding is th organisation's reputation and what it will offer its clients and the wider community. It is the collective understanding of the organisation by those clients. Branding is an experience which touches the emotions, senses and perception. It is important for your message to touch the senses - hear taste and see the experience - to ensure that people remember you.
It is important that the clients have a consistent, authentic experience that they can trust. Branding needs to be part of every interaction (touch point) with the organisation service, product and all activities. It states the difference between the competitors, increases your recognition and encourages customer loyalty.As such the organisation needs to build trust by consistently meeting and exceeding expectations, always delivering on the promise. Be authentic and real by being honest and transparent about what you do.
Your reputation is more than just a logo. It is the values that you stand for, your opinions and what others say about you. You need to guard you brand, like your reputation, zealously and be passionate about what you do.
Branding is th organisation's reputation and what it will offer its clients and the wider community. It is the collective understanding of the organisation by those clients. Branding is an experience which touches the emotions, senses and perception. It is important for your message to touch the senses - hear taste and see the experience - to ensure that people remember you.
It is important that the clients have a consistent, authentic experience that they can trust. Branding needs to be part of every interaction (touch point) with the organisation service, product and all activities. It states the difference between the competitors, increases your recognition and encourages customer loyalty.As such the organisation needs to build trust by consistently meeting and exceeding expectations, always delivering on the promise. Be authentic and real by being honest and transparent about what you do.
address to arts graduates
Address to the graduates of the 2012 City of Cape Town Arts Training Programme
I was honoured to be asked to address the graduates from the accredited arts training programme run by the City of Cape Town.
Congratulations on the completion of your courses.
Today I would like to talk about the importance of such programmes which skill and nurture people to enter the arts in a more professional manner. We need people to work towards a unified industry where there is an agreement on what we want to accomplish and agree on a code of ethical conduct and good practice. You have the skills and opportunities to make such a contribution towards this industry.
The arts industry is both a wonderful and frustrating sector which has the potential to transform society. The arts are fundamental in developing new ways of thought and interpretation and imagining the way we want our world to be. The arts provide the nation with its identity, passion and soul. It helps us to express ourselves and to come together to be proud of our country and our culture. It is that undefinable ingredient that moves us from survival to a life of infinite possibilities - the difference between a pencil sketch and a full blown multimedia spectacular.
Given that there are some curious conversations about the arts which affects our ability to grow and be recognised. One is that the arts do not have any value because there is no direct economic benefit; hence the reference to the creative industries or arts industries in an effort to gain recognition. There is also the idea that anyone can “do” the arts and that it is some form of recreation. However the same people will also complain about the lack of world class talent in South Africa.
People are ignoring the tile, skill and investment needed to grow the arts and an industry. This is where courses such as this and accredited training is vital in building a South African arts industry. We need professionals, who can efficiently create and present the arts; who can move us away from the debate to celebrating our world class artists. We need you to present South African art in a manner which generates the recognition of our talent, personal enjoyment and enrichment which in turn nurtures the income and business structure. This is a huge request of you but by successfully implementing your training you will be doing this and so much more.
Thank you for inviting me to your graduation. I am looking forward to observing your growing contribution towards the South African arts industry.
I was honoured to be asked to address the graduates from the accredited arts training programme run by the City of Cape Town.
Congratulations on the completion of your courses.
Today I would like to talk about the importance of such programmes which skill and nurture people to enter the arts in a more professional manner. We need people to work towards a unified industry where there is an agreement on what we want to accomplish and agree on a code of ethical conduct and good practice. You have the skills and opportunities to make such a contribution towards this industry.
The arts industry is both a wonderful and frustrating sector which has the potential to transform society. The arts are fundamental in developing new ways of thought and interpretation and imagining the way we want our world to be. The arts provide the nation with its identity, passion and soul. It helps us to express ourselves and to come together to be proud of our country and our culture. It is that undefinable ingredient that moves us from survival to a life of infinite possibilities - the difference between a pencil sketch and a full blown multimedia spectacular.
Given that there are some curious conversations about the arts which affects our ability to grow and be recognised. One is that the arts do not have any value because there is no direct economic benefit; hence the reference to the creative industries or arts industries in an effort to gain recognition. There is also the idea that anyone can “do” the arts and that it is some form of recreation. However the same people will also complain about the lack of world class talent in South Africa.
People are ignoring the tile, skill and investment needed to grow the arts and an industry. This is where courses such as this and accredited training is vital in building a South African arts industry. We need professionals, who can efficiently create and present the arts; who can move us away from the debate to celebrating our world class artists. We need you to present South African art in a manner which generates the recognition of our talent, personal enjoyment and enrichment which in turn nurtures the income and business structure. This is a huge request of you but by successfully implementing your training you will be doing this and so much more.
Thank you for inviting me to your graduation. I am looking forward to observing your growing contribution towards the South African arts industry.
Tuesday, December 11, 2012
The business of the arts?
Most people know that I am passionate about the concept of turning the arts into a paying business. Where artists can earn a decent living and be recognised for their talents and ability to translate our daily existence into works of art (visual and performing arts)
The Daily Maverick has published this brilliant article "The art scene cocktail round: Anyone bored yet?" Andrew Miller makes some interesting points about the current support of artists, especially visual artists and type of training that the arts really need. It is noted that the majority of genuine entrepreneurial activity amongst the youth appears to take place in the arts - so where is the support for these people?
Andrew Miller makes three valuable recommendations:
1. Accept that the broad world of the arts is as much a business as a creative calling – and support it accordingly with real BDS.
2. Move (far) beyond the idea that an expo or arts showcase has inherent value for the artists.
3. Aggressively seek to expose young artists and creative business people to real digital literacy.
Imagine what the arts would look like if we could we move from subsistence, survivalist arts businesses to operational entities that employ people? Worth thinking about
The Daily Maverick has published this brilliant article "The art scene cocktail round: Anyone bored yet?" Andrew Miller makes some interesting points about the current support of artists, especially visual artists and type of training that the arts really need. It is noted that the majority of genuine entrepreneurial activity amongst the youth appears to take place in the arts - so where is the support for these people?
Andrew Miller makes three valuable recommendations:
1. Accept that the broad world of the arts is as much a business as a creative calling – and support it accordingly with real BDS.
2. Move (far) beyond the idea that an expo or arts showcase has inherent value for the artists.
3. Aggressively seek to expose young artists and creative business people to real digital literacy.
Imagine what the arts would look like if we could we move from subsistence, survivalist arts businesses to operational entities that employ people? Worth thinking about
Monday, November 26, 2012
Branding for not for profits
I often think of branding as being a commercial marketing issue only for big business. Is it not taking valuable time and resources away from our services and helping people?
Oscar Abello has written an interesting article on why branding is important for small nonprofits
He argues that a lack of branding means that small grassroots groups don’t get the credit they deserve for being the world’s frontline soldiers in the struggle against poverty. Fundraising platforms gives organisation access to tools to be able to tell their story, connect with people and organisations and attract more resources for their work. Branding gives the organisation the opportunity to tell their stories about their place in fighting poverty, highlight successes and the people they have helped and encourage key partnerships with other organisations and the community that they serve.
Wednesday, November 14, 2012
the importance of educating the audience
Misson Paradox is a wonderful blog which addresses arts marketing. I found this post to be very interesting and helpful. This post reminds me of the initial purpose of encore - to educate and inspire people to support our local arts. Nice to know that an instinctual response is on track.
A vital element of good arts marketing is the ability, and willingness, to teach. People don't engage with things they don't understand.
That's a barrier that separates people from art. This is especially true for more traditional art forms like opera, classical music, ballet and theatre. Art has it's own language and customs. You may not notice them anymore because you have become so close to the art. That's understandable, but it's also a problem.
When you start the marketing process it's helpful to see yourself as a teacher and your audience as smart, but slightly anxious, students. So maybe you shoot a series of videos explaining exactly how musical theatre gets made. Maybe you find an entertaining way of explaining a complex opera. Maybe you do a series of blog posts with dancers explaining moves common to the work.
Just remember that your goal here is to be a good teacher. Your goal isn't to lecture. Your goal isn't to make yourself feel smart at your student's expense. Your goal is to make them a smarter, more informed, consumer of the artform in general.
Why? We remember and value great teachers. If you become one your value to your audience increases.
The art we do comes and goes. One play today, another tomorrow. Great teaching remains.
Use your marketing platform as an opportunity to teach. It will make your work much more effective.
A vital element of good arts marketing is the ability, and willingness, to teach. People don't engage with things they don't understand.
That's a barrier that separates people from art. This is especially true for more traditional art forms like opera, classical music, ballet and theatre. Art has it's own language and customs. You may not notice them anymore because you have become so close to the art. That's understandable, but it's also a problem.
When you start the marketing process it's helpful to see yourself as a teacher and your audience as smart, but slightly anxious, students. So maybe you shoot a series of videos explaining exactly how musical theatre gets made. Maybe you find an entertaining way of explaining a complex opera. Maybe you do a series of blog posts with dancers explaining moves common to the work.
Just remember that your goal here is to be a good teacher. Your goal isn't to lecture. Your goal isn't to make yourself feel smart at your student's expense. Your goal is to make them a smarter, more informed, consumer of the artform in general.
Why? We remember and value great teachers. If you become one your value to your audience increases.
The art we do comes and goes. One play today, another tomorrow. Great teaching remains.
Use your marketing platform as an opportunity to teach. It will make your work much more effective.
Tuesday, November 13, 2012
7 things every leader needs to quit
Being a leader is not easy, especially in an arts organisation. I found the article below interesting and useful - hope that you do too.
1. Measuring success compared to another’s success
Your leadership will not be like someone else’s leadership. It’s not designed to be. You’ll likely be successful in ways other leaders aren’t. Some of those may be visible and measurable, but some may not be. The goal should be to be the best leader you can be.
2. Pretending to have all the answers
There’s an unfair expectation many leaders face to be the person with the answer in every situation. Seriously, how’s that working for you? The sooner you admit you don’t have all the answers, the quicker your team will be willing to fill in your gaps.
3. Trying to be popular
If you want to be popular, be a celebrity. If you want to be a leader, be willing to do the hard tasks to take people where they need (and probably want to go) but may be resistant to along the way. Leadership can be lonely at times. Be prepared.
4. Leading alone
Just because leadership can be lonely, doesn’t mean you have to lead alone. Good leaders surround themselves with people who care, people who can hold them accountable and sharpen their character.
If you have a tendency to separate yourself from others, stop now and reach out to someone. Take a bold risk of being vulnerable and release some of the weight of responsibility you feel.
5. Acting like it doesn’t hurt
When people you trust betray you…it hurts. When people rebel against your leadership…it hurts. On days where it seems you have more enemies than friends…it hurts. Don’t pretend it doesn’t. You won’t lead well if you’re a crybaby, but you should have some outlets where you can share your pain.
6. Trying to control every outcome
Three reasons not to: 1) It doesn’t work. 2) It limits others. 3) It’s not right. Leadership is not about control. It’s about relational influence.
When you control others, you limit people to your abilities. When you empower people, you limit people to their combined abilities as a team…and there’s strength in numbers.
7. Ignoring the warning signs of burnout
At some point in your leadership, if you really are leading through the deep waters of change, relational differences, or simply the stress of wearing the leader hat, you’ll face burnout.
When you start to have more negative thoughts than positive thoughts, when the pressure of leadership is unbearable for a long period of time, or when your leadership starts to negatively impact your physical or emotional health or your relationships, it’s time to seek help.
Be honest: Which of these do you most need to quit?
1. Measuring success compared to another’s success
Your leadership will not be like someone else’s leadership. It’s not designed to be. You’ll likely be successful in ways other leaders aren’t. Some of those may be visible and measurable, but some may not be. The goal should be to be the best leader you can be.
2. Pretending to have all the answers
There’s an unfair expectation many leaders face to be the person with the answer in every situation. Seriously, how’s that working for you? The sooner you admit you don’t have all the answers, the quicker your team will be willing to fill in your gaps.
3. Trying to be popular
If you want to be popular, be a celebrity. If you want to be a leader, be willing to do the hard tasks to take people where they need (and probably want to go) but may be resistant to along the way. Leadership can be lonely at times. Be prepared.
4. Leading alone
Just because leadership can be lonely, doesn’t mean you have to lead alone. Good leaders surround themselves with people who care, people who can hold them accountable and sharpen their character.
If you have a tendency to separate yourself from others, stop now and reach out to someone. Take a bold risk of being vulnerable and release some of the weight of responsibility you feel.
5. Acting like it doesn’t hurt
When people you trust betray you…it hurts. When people rebel against your leadership…it hurts. On days where it seems you have more enemies than friends…it hurts. Don’t pretend it doesn’t. You won’t lead well if you’re a crybaby, but you should have some outlets where you can share your pain.
6. Trying to control every outcome
Three reasons not to: 1) It doesn’t work. 2) It limits others. 3) It’s not right. Leadership is not about control. It’s about relational influence.
When you control others, you limit people to your abilities. When you empower people, you limit people to their combined abilities as a team…and there’s strength in numbers.
7. Ignoring the warning signs of burnout
At some point in your leadership, if you really are leading through the deep waters of change, relational differences, or simply the stress of wearing the leader hat, you’ll face burnout.
When you start to have more negative thoughts than positive thoughts, when the pressure of leadership is unbearable for a long period of time, or when your leadership starts to negatively impact your physical or emotional health or your relationships, it’s time to seek help.
Be honest: Which of these do you most need to quit?
Monday, October 22, 2012
I Am Hamlet: Review by Daniel Dercksen
Reviewed by Daniel Dercksen :What Simon says, matters
'I am Hamlet'
Directed by Patrick Walton
Cast: Leon Clingman and Aidan Whytock
Capetown theatre buffs are fortunate to have an independent producer like Sugar-Daddy feeding us with slices of imposing international plays.
Following its sensational Line, the staging of British playwright Richard James' witty and intelligent I Am Hamlet is another sumptous feast.
Theatregoers are ultimate voyeurs, and ultimately want their craving satisfied. With the delicious mindbender I am Hamlet, one viewing is definitely not enough.
The stage becomes a battleground of wit and willpower between a conceited actor and imposing director, who use the 'flowery' words of the Bard to duel to the death.
It's one of those ingenious creations where a deadly secret is neatly wrapped into its core, and as the play unfolds, the audience slowly unravels with the characters and the result is devestatingly profound.
Swapping roles, where the director's impassioned and over-dramatic interpretations have to be reigned in by the actor, or where the actor's lack of interest of understanding forces the director to tear out his hair, it's amusing drama that playfully untangles the knots and unnerves thior confidence and bravura.
The Intimate Theatre is offers a perfect setting for the play, allowing the audience to step on to the stage with the actor, and share the audition process intimately. It is this soothing seduction that ultimately poisons reason and reveals its melevolent nature.
As hidden motives and buried secrets reveal the true nature of the motivations of the characters and the action, Shakespeare's Hamlet is indeed a wonderful metaphor to reflect the turmoil and disillusionment of the characters. I am Hamlet skillfully journeys into the mindscape of the anxious characters, exposing emotional torment
An underlying anger exposes a fragile vulnerability that is sometimes funny, and sometimes heartbreaking.
There's definitely "more than meets the eye!" and what Simon says, matters.
Knowledge and knowing battle ignorance as the ritualistic audition becomes a platform that tests theirs strengths and weaknesses. The audition and Shakespeare's words touches a nerve that triggers unexpected behavior and crucifies morality. The audition turns into a personal interrogation that result in some great interaction and reaction between the performers.
Leon Clingman delivers an astounding (and sometmes frightening) performance as a director who yearns to gain recognition in mainstream theatre.
Aidan Whytock is a revelation with his masterful abilty to balance introspective silence with intense emotions; his sensitive vulnerabilty and fearful aggression is superb as we slowly learn that Simon has more in common with the Prince of Denmark than meets the eye.
Imaginatively directed by Patrick Walton, I am Hamlet is one of those rare gems you have to experience.
'I am Hamlet'
Directed by Patrick Walton
Cast: Leon Clingman and Aidan Whytock
Capetown theatre buffs are fortunate to have an independent producer like Sugar-Daddy feeding us with slices of imposing international plays.
Following its sensational Line, the staging of British playwright Richard James' witty and intelligent I Am Hamlet is another sumptous feast.
Theatregoers are ultimate voyeurs, and ultimately want their craving satisfied. With the delicious mindbender I am Hamlet, one viewing is definitely not enough.
The stage becomes a battleground of wit and willpower between a conceited actor and imposing director, who use the 'flowery' words of the Bard to duel to the death.
It's one of those ingenious creations where a deadly secret is neatly wrapped into its core, and as the play unfolds, the audience slowly unravels with the characters and the result is devestatingly profound.
Swapping roles, where the director's impassioned and over-dramatic interpretations have to be reigned in by the actor, or where the actor's lack of interest of understanding forces the director to tear out his hair, it's amusing drama that playfully untangles the knots and unnerves thior confidence and bravura.
The Intimate Theatre is offers a perfect setting for the play, allowing the audience to step on to the stage with the actor, and share the audition process intimately. It is this soothing seduction that ultimately poisons reason and reveals its melevolent nature.
As hidden motives and buried secrets reveal the true nature of the motivations of the characters and the action, Shakespeare's Hamlet is indeed a wonderful metaphor to reflect the turmoil and disillusionment of the characters. I am Hamlet skillfully journeys into the mindscape of the anxious characters, exposing emotional torment
An underlying anger exposes a fragile vulnerability that is sometimes funny, and sometimes heartbreaking.
There's definitely "more than meets the eye!" and what Simon says, matters.
Knowledge and knowing battle ignorance as the ritualistic audition becomes a platform that tests theirs strengths and weaknesses. The audition and Shakespeare's words touches a nerve that triggers unexpected behavior and crucifies morality. The audition turns into a personal interrogation that result in some great interaction and reaction between the performers.
Leon Clingman delivers an astounding (and sometmes frightening) performance as a director who yearns to gain recognition in mainstream theatre.
Aidan Whytock is a revelation with his masterful abilty to balance introspective silence with intense emotions; his sensitive vulnerabilty and fearful aggression is superb as we slowly learn that Simon has more in common with the Prince of Denmark than meets the eye.
Imaginatively directed by Patrick Walton, I am Hamlet is one of those rare gems you have to experience.
Tuesday, September 18, 2012
Bench
Bench is an interesting interaction between two men contemplating a crime. Initially it has a "Waiting for Godot"feel in that the characters are waiting for someone who never appears. There is a clever twist that leads to a satisfying end.
I enjoyed the banter between the two characters. Brent Palmer and Adrian Collins are brilliant together and play off each other so well. Its is an emotional and clever journey between comedic and serious moments as you get to know the characters. Henry, the con man, is so greasy that he almost becomes endearing. Dwain initially appears as the passive aggressive fool but slowly upwraps the different layers of their lives revealing Henry's character.
I attended the script reading at the Baxter several months ago and this is a tighter version of the script. The play has a lot of swearing that wasn't in the reading which I initially found irritating. However it fit the context of the play and added to the comic moments. The audience was completely absorbed in the play and there were many outbursts of laughter at the clever dialogue. It is a must see and well done to Brent on the script and both Brent and Adrian for a fabulous show.
I enjoyed the banter between the two characters. Brent Palmer and Adrian Collins are brilliant together and play off each other so well. Its is an emotional and clever journey between comedic and serious moments as you get to know the characters. Henry, the con man, is so greasy that he almost becomes endearing. Dwain initially appears as the passive aggressive fool but slowly upwraps the different layers of their lives revealing Henry's character.
I attended the script reading at the Baxter several months ago and this is a tighter version of the script. The play has a lot of swearing that wasn't in the reading which I initially found irritating. However it fit the context of the play and added to the comic moments. The audience was completely absorbed in the play and there were many outbursts of laughter at the clever dialogue. It is a must see and well done to Brent on the script and both Brent and Adrian for a fabulous show.
Friday, August 24, 2012
"Business" Education for Artists
I firmly believe that the performing arts needs a corps of "non-creative" professionals who can run the industry effectively. People who can let our talented artists improve their skill and perform more. Cynically you might say that it gives people like me a place in the industry.
It seems like madness that an artist has to create, produce and then manage their work to be able to perform. In any other sector we bring in others who specialise in a particular field like financial management, human resources, logistics and so on; and yet artists are expected to do all this and provide a world class performance. Ask any creative and all they want to do is perform / create. Unfortunately there is often not the work - unless you create it yourself. In South Africa the arts courses focus on the creative aspect of the arts with a few modules on the business of the arts. Wouldn't it be wonderful if all our higher institutions offered a business of the arts programme?
This idea has been growing over the past three years which has led me to research the curriculum for arts studies in the USA, UK, Europe and Australia. The arts is seen as a reputable profession that needs trained / qualified people. The programmes focus on the above aspects as well as technical skills, arts history, arts education / audience development as well as performance.
Butts In the Seats takes this as a given but focuses on the teaching of the curriculum referring to an excellent article by The Savvy Musicians Blog called Reimagining Higher Education for the Arts. Cutler suggests that students looking for a career in the arts need to be more than just talented artists. They need to be good collaborators and have some basic entrepreneurial ambitions.
It seems like madness that an artist has to create, produce and then manage their work to be able to perform. In any other sector we bring in others who specialise in a particular field like financial management, human resources, logistics and so on; and yet artists are expected to do all this and provide a world class performance. Ask any creative and all they want to do is perform / create. Unfortunately there is often not the work - unless you create it yourself. In South Africa the arts courses focus on the creative aspect of the arts with a few modules on the business of the arts. Wouldn't it be wonderful if all our higher institutions offered a business of the arts programme?
This idea has been growing over the past three years which has led me to research the curriculum for arts studies in the USA, UK, Europe and Australia. The arts is seen as a reputable profession that needs trained / qualified people. The programmes focus on the above aspects as well as technical skills, arts history, arts education / audience development as well as performance.
Butts In the Seats takes this as a given but focuses on the teaching of the curriculum referring to an excellent article by The Savvy Musicians Blog called Reimagining Higher Education for the Arts. Cutler suggests that students looking for a career in the arts need to be more than just talented artists. They need to be good collaborators and have some basic entrepreneurial ambitions.
Thursday, August 23, 2012
Internet Ideas for Artists
I often joke about being a technophobe and a dinosaur who uses pen and notebook as preferred form of recording. However even I am being dragged into the 21st Century (kicking and screaming all the way). Ironically I am an avid collector (or hoarder if you ask Paul) of information and so am completely in love with the internet. I have become a regular follower of arts blogs and getting the most amazing information and ideas from all over the world. My favourite is Butts in the Seats.
Through various links I came across the Internet For Artists Handbook web site. It is fabulous with very clear and simple explanations of all aspects of using the internet and social media to promote the arts. There are also links to best practice in each media - wonderful. Now I just have to implement them all
Through various links I came across the Internet For Artists Handbook web site. It is fabulous with very clear and simple explanations of all aspects of using the internet and social media to promote the arts. There are also links to best practice in each media - wonderful. Now I just have to implement them all
Sunday, September 11, 2011
Desperate First Ladies
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
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
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
Subscribe to:
Posts (Atom)
