Market Theatre - Press Office (RSS)

Defending the indefensible

2012-02-07T09:33:45+00:00

In: Uncategorised

Such is the Market Theatre’s international reputation that when overseas visitors to Johannesburg want to sample local dramatic “kultcha”, they typically head to Newtown. American, British and German accents are often to be heard in the auditorium while the house lights are on. With the curious arrogance I share with many of my compatriots, I find this amusing when the production promises to be one laden with sociopolitical references and linguistic quirks specific to SA. Will they get it? Surely not. As the lights went down and the foreign voices grew silent at the start of Somewhere on the Border, I assumed there’d be lots of confused faces and questions later: questions I could help to answer, drawing not on any special theatre knowledge but on the simple fact of being South African. This production is a re-staging of a play written in exile by Anthony Akerman, banned by the censors in 1983 but performed to acclaim three years later. Then, Somewhere on the Border directly addressed the anxieties of predominantly white audiences about compulsory military service, the “bush wars” in Angola and elsewhere, and the ugly end-game of apartheid in civilian society. In 2011 Andre Odendaal revived the play at the National Arts Festival. Based on its success, producer Kosie Smit has secured consecutive runs in Johannesburg and Cape Town. Somewhere on the Border is the story of five conscripts. Though all white, they are temperamentally, ethically and ethnically different, and divided by language, religion and attitudes towards apartheid. However, as they are broken in by their sadistic bombardier (Charlie Bouguenon), they develop a fraternal bond: one tested and ultimately ruptured when they are sent to fight in Angola. In one sense, the play falls into a dramatic genre familiar to anyone who has watched Vietnam war films such as Platoon or, to draw on an SA stage example, Greig Coetzee’s White Men with Weapons. We suppress a squeamish delight at the creative vulgarity of the bombardier. The range of insults is remarkable, and there is a perverse poetry in the crude verbal onslaught of the barrack room and parade ground. We soften towards unpleasant characters and discover that sympathetic ones are tainted. We see them as equal victims of war and the society that spawned it. Yet the play is entrenched in a particular time and place, in its discourse and diction, and, relentlessly, in the nuances of racial dynamics in Southern Africa in the 1980s. But lest this production should become a narcissistic exploration of the multiple pathologies of whiteness, Ndino Ndilula appears sporadically onstage to embody the “blackness” the young troopies are trained to fear. In different guises, he mocks them, cowers before them, threatens them and ultimately forces them to confront their complicity in the military machine. Akerman’s play also turns the mirror towards the audience. I was forced to acknowledge that I had no better idea of what it was like “on the border” than anyone else in the auditorium. I am part of that lucky thirty-something generation of white men: old enough to say I grew up under apartheid but young enough to say I wasn’t conscripted (and therefore able to distance myself from all that the defence force represented). But we’re all complicit, white and black, in one way or another. Not guilty, necessarily, perhaps not even responsible, but ineluctably bound to apartheid and its consequences. Somewhere on the Border is as fresh today as 26 years ago. Chris Thurman Where: Job Market Thea February 12, Baxter in Ca from Februa to March 17 urg’s tre until then the pe Town ry 22 FINANCIAL MAIL FEBRUARY 3, 2012 75

Social issues take centre stage at the Theatre

2012-02-07T09:27:27+00:00

In: Uncategorised

A MELTING pot of traditions and relative morality set the scene for the poignant Shwele Bawo, A Grave Injustice. Written and performed by Motshabi . Tyelele and directed by Lynn Maree, the play runs at the Market Theatre from 12 February. The story’s many themes create multiple layers for thought. Identity crises among men and women, the disintegration of family structures, women and child abuse, relationships. incest, the power of the media and the inequalities in our justice system all come under the spotlight. For more than 12 years Dikeledi has been a faithful wife to SoIly Nkabinde, turning a blind eye to his infidelities and physical abuse. When she realises her daughter has also been a victim of abuse at Solly’s hands, Dikeledi plans to kill her husband and break the chains of her repetitive abuse. “The audience sees Dikeledi’s story and that of South African society at large. Do we keep on judging her? Are we going to look at ourselves and see what we’ve become and see what we stand for?” asks Tyelele. Shwele Bawo, A Grave Injustice is at the Market Theatre from 12 February until 18 March. Details: 011-832-1641 or www. computicket.com STAR: Motshabi Tyelele wrote and stars in Shwele Bawo, A Grave Injustice, at the Market Theatre.

Abnormal Loads

2012-02-06T07:47:35+00:00

In: Show Press Releases

Market Theatre in association with Standard Bank and
Think Theatre
present
Abnormal Loads
Written by 2011 Standard Bank Young Artist Neil Coppen
Directed Neil Coppen and Jana Ramos Violante
Writer/director Neil Coppen (creator of Tin Bucket Drum and Tree Boy, has set his latest play in a fictional battlefield town situated in the once war ravaged valleys of northern KwaZulu-Natal. It has been described in the national press as a breathtaking amalgamation of ghost story, love drama, historical epic and dark comedy.
When thirty-year-old loner Vincent Liversage meets sixteen-year-old Katrien Joubert (the rebellious daughter of the local NG Kerk dominie) an unusual friendship is forged and soon the two hatch a plan to escape the oppressive town of their birth. However, to obtain freedom they must first confront and challenge their divided family histories.
As an annual town re-enactment from the Anglo-Boer war approaches, Vincent and Katrien find themselves cast in the roles of their long-lost ancestors, playing out and – often unwillingly – repeating events from their ill-fated love affair. It isn’t long before the young lovers come to realise that history has a much stronger pull on them than they had imagined. Setting out to rewrite its undesirable conclusions is a task not without its own set of creative challenges.
With a narrative that whisks audiences through two centuries of South African history, Abnormal Loads presents a theatrical world in which the past runs in tandem with the present and events shift seamlessly from the grandeur of a battlefield in 1879 to the intimacy of a bedroom in 2011.
Coppen’s acclaimed production features a multi-talented cast comprising of some of the country’s finest talents, including Allison Cassels, Mothusi Magano (of Tsotsi and Plein Street fame) and Jenna Dunster (of Isidingo). Once again, Coppen has collaborated across disciplines and mediums to bring his new work to life. Movement, sound, music, multi-media and shadow combine to create a unique theatrical experience.
Abnormal Loads is running at the Market Theatre in Johannesburg from April 11th – 20th 2012.

Reviews of Abnormal Loads
“Astonishing” The Mercury
“Captivating and heart-rending theatrical mastery.” The Witness
“Extraordinary” artSMart
“Neil Coppen’s accomplished dramatic comedy Abnormal Loads is a must-see.” The Mail & Guardian
“A resounding success.” The Tonight
“Breathtaking.” The Crystal Calligrapher
“Innovative and intriguing” The Herald
“Ground Breaking” City Press.
“Exceptional.” BuisnessDay
“A beautifully hewn work.” Artslink
“Heartbreaking” LitNet

PRODUCTION INFORMATION

Written and Designed by Neil Coppen
Directed by Neil Coppen and Janna Ramos- Violante
Think Theatre Producer and Administration - Margie Coppen
Company Manager - Tina le Roux
Lighting Designer - Tina le Roux
Stage Manager - Nosipho Bophela
Assistant Stage Manager - Shayna De Kock
Movement - Ntombi Gasa and Janna Ramos-Violante
Costume co-ordination - Neil Coppen & Julia Wilson
Additional period costuming - Neil Stuart Harris
Sewing - Neil Stuart Harris, Julia Wilson and Alison Cassells
Soldier and Zulu costumes courtesy of The Dundee Die Hards
Sound design - Tristan Horton
Score composed by Gary Thomas
Musicians - Gary Thomas (Guitar, Ebo & Vocals)
Guy Buttery (Mabira and Saw)
Ant Cawthorn-Blazeby (Violin)
Karen Van Pletsen (Female Vocals)
AV Design and Technician - Vaughn Sadie
AV kindly provided by Wired Media
Heliograph Hill designed and built by Xavier Clarrisse
Assisted by Mlungisi Emmanuel Dlamini
Model Houses and heliographs built by Bryan Hiles
Ground cloth painting and props by Wendy Henstock
Door frames constructed by Bongani Phakati & Super Buthelezi
Welding - Bongani Phakati
Original poster design - Colwyn Thomas
Poster and programme layout- Greg Lomas
Photographer - Val Adamson, Sean Laurenz & Suzy Bernstein

Character: Cast Members:
Vincent Liversage Mothusi Magano
Katrien Joubert Jenna Dunster
Moira Bashford Liversage Allison Cassels
Prudence Ngobese Fortunate Dhlomo
Gerty Ngobese Ntombi Gasa
Edna Bashford Jana Ramos- Violante
William Bashford Clinton Small
Johan Joubert Thomie Holtzhausen
Charlie Ngobese Nhlakanipho Manqele
Chorus Nosipho Bophela and Shayna De Kock

Season: 11 April – 20 May 2012

Venue: The Main Theatre

Performance Times: Tues – Sat, 20h00 and Sun, 15h00

Gala Event: Friday 13 April 2012

NB: Tuesday performances R72 only!

To make block bookings, please contact Anthony Ext 121 or Tiny Ext 135 on 011 832 1641.

For further information, interviews and images, contact:
Lusanda Zokufa, Interim Marketing Manager
Market Theatre Foundation
011 832 1641 ext 118 or 123
072 367 7867
lusanda@markettheatre.co.za

Dance Umbrella 2012 programme

2012-01-30T10:51:31+00:00

In: Show Press Releases

Dance Umbrella programme 2012

Woza Albert’s Director reveals all

2012-01-25T13:51:46+00:00

In: Uncategorised

Article

By Prince Lamla

I was born in Pietermaritzburg. Then few years later we relocated to Qwaqwa in the Free State. I trained at the Market Theatre Laboratory in 2001 and 2002. After I’ve graduated at the Lab, I wanted to be an actor. I found an agent, went to auditions, found auditions very boring and full of false hope. I felt I was wasting my time. I remembered that the reason why I went to train at the Lab was to learn as much as I can and then go back home to plough back to my community. But I felt I was not ready yet. I thought about fieldworking at the Lab, approached the Lab and unfortunately I couldn’t find work at the Lab. But Mr Oscar Motsikoe (now Senior Administrator at the Lab) advised me to go back home and work with groups over there. I took his advise and went back home. Fortunately my friends Mr Ohentse Bodibe and Mr Ntsane Mopeli were busy working with Community Theatre groups in Qwaqwa. So Ohentse and I started to devise a number of plays with different groups. And then Coal Yard was born. Coal Yard went on to win the Market Theatre Laboratory’s Zwakala Festival in 2005 and also premiered at the Market Theatre. It had a successful ran at the Market, received rave reviews and was nominated for Best Cutting Edge Production at the Naledi Awards. In 2006 Ohentse and I got an opportunity from the Market Theatre to work as director assistants in Austria (Vienna) at Schauspielhaus. Later that year I joined the Market Theatre’s Writers’ Forum under the guidance of Mr Craig Higginson (Literary Manager of the Market Theatre). Having mentioned Mr Higginson, him and Professor Malcolm Purckey played a vital role in my life and I’m so grateful. Another opportunity came up in 2007 from the Market Theatre to go work as assistant director at the Live Theatre in the UK (Newcastle). I directed two plays at Sibikwa Arts Centre in 2007 and 2008. In 2008 I directed a staged reading of the play as part of PANSA Festivals of Contemporary Readings Competition. I worked at Unplugged Communications under the Artistic Department. In the very same year I was given an opportunity by Fresco Theatre Company to work as assistant director. I then shifted my focus back to Coal Yard in 2010 by doing schools tour in Qwaqwa. And finally in 2011 the Lab employed me to work as a Fieldworker. I’ve mentored student directors at GOMACC and ran theatre workshops for Grahamstown Foundation (The Sasol Gauteng Schools Festival) and also ran theatre workshops for the Department of Education’s educators in Qwaqwa. It has been quite a humble journey for me. Through my journey so far I’ve learned the best lesson and that is when a door closes another one opens and also patience. Just keep on walking with your head held up high, humble, honest, respect others and clear vision. Know what you need and want. And lastly only God knows what’s next for you. He is the main driver. The only thing one can do is listening to His guidance and you will never go wrong.

I firstly saw Woza Albert! at the Market Theatre in 2002. The story line and its physicality made me to love it dearly. Story wise I was touched by the ordinary people on the streets who were just asking for simple things in their lives and not luxurious things by then. The human element in the story is sound. I could see myself in those characters. The element of the Bible in the story is something out of this world. Powerful. And also how cleverly the story is written. The story was relevant by then and still rings true even today. Look at South Africa now. Food for thought: Is our government achieving its goals? The rich are getting richer and the poor are getting poorer every single day. We are all gifted but not the same. Some people are oppressing and suppressing others. Jealousy and sabotage destroys the future. We cannot be leaders at the same time. We should remember or learn the meaning of humanity. If we see talent in someone, lets nature it and support that person. Every single artist deserves and is entitled to work. It shouldn’t be a struggle to find work. But all the artists must be HONEST. HONESTY, HONESTY, HONESTY!!! Each artist knows his/her own strengths and weaknesses. Do not say you are an actor but knowing very well you are not an actor. Stick to what you know best, channel all your energy into it wholeheartedly and then we will start seeing quality. God knows why we here. I strongly believe that art is a calling. I think South Africa can be a better country. We are a loving society at heart. I wanted to direct Woza Albert! some years ago. But I realised it was going to be difficult for me. I felt I had to establish myself as a director. Woza Albert! had a huge impact on all the plays I directed and especially stylistically. A good reference is Coal Yard. So at some point in my life I had to make peace with myself by directing Woza Albert!.

I realised that this beautiful craft is really special, unique and big. You can tell by the way the spectators have received it. Playing to full houses every day tells us that Woza Albert! is quality and we should embrace it. I feel it has made me a better director. We learn every day in our lives. God also blessed me with special actors. He chose Mncedisi Shabangu and Hamilton Dlamini for me. He knew very well that they are the best actors who can tell this story extremely well. They are humble, full of respect, generous, funny and can be very crazy sometimes. I enjoyed working with this two talented gentleman. I learned a lot from them. I call them my angels. So Woza Albert! means a lot to me. I can never finish writing this article if I were to write everything. And I am so grateful for the opportunity given to me by the Market Theatre to direct Woza Albert!.

All the scenes had their own challenges. So I’m a type of a director who strongly believes in team work. I’m not a dictator. I do not impose ideas on the actors. We work together intensively. We all have to grow in the process. My vision was clear. Stay true to the story, make it look and sound fresh. The biggest challenge for me was the blackouts between scenes. I wanted to get rid of them. But it became very difficult because the play dictates everything. We finally agreed that Woza Albert! won the debate and we settled for blackouts.

It’s important for me to also acknowledge Mbogeni Ngema, Percy Mtwa and the late Barney Simon for the legacy that keeps on taking the country by storm. THANK YOU.

The main thing that I want Woza Albert! to achieve is create a healthy dialogue in the country. I wish the civil society can come in big numbers to see this art. And I also wish all the politicians from different political parties can come see Woza Albert! Woza Albert! is for every single citizen of this country, South Africa. We did it for them

Yellowman exposses how the human spirit can be drained

2012-01-20T12:06:45+00:00

In: Uncategorised

Yellowman exposes how the human spirit is drained

The damage parents’ bigotry can inflict upon their children is a subject that either raises intense debate or scarcely any thought at all. The weighty issue of what happens when parents dehumanise their children is the powerful dust of Yellowman. By LESLEY STONES.
Parents bring kids into the world and do everything they can to ensure they excel, right? But when a parent becomes the biggest critic, what then? This extraordinary tale soars through a bold and brilliant script and stunning acting. Rarely has simple storytelling been as mesmerising as it is in this two-hand drama.
It’s set in Southern Carolina, a state where black-on-black racism is more pronounced than the white-on-black variety. The ebony blacks despise the lighter-skinned blacks, disparagingly calling them “yellowmen”. Kids can’t play across this colour bar, marrying a different skin tone sees you ostracised by both sides and workers believe paler men are literally a shadow of their own brute strength.
Truth is they really despise themselves, as dark-skinned, wide-hipped Alma (Mwenya Kabwe) explains, and take it out on the supposedly more attractive paler breed. David Johnson plays her friend Eugene, a skinny guy whose intense emotions are darker than his pale black skin. Kabwe and Johnson are absolutely amazing, drawing us into their lives as they move from innocent childhood into budding young lovers then, finally, world-weary adults.
When Alma is in New York you can see her gliding down the sidewalks as she finally discovers her inner talents and beauty. “I want to be somebody,” she says.

The script by Dael Orlandersmith is poetic and lyrical, with words often repeated to beat away in your brain and emphasise the emotions. Director Lara Bye has produced a tight and thrilling show, backed up by simple changes of clothes and a couple of boxes as the only props.
The community Alma and Eugene describe is seething in poverty, resentment and soaked in gin and bourbon. Both play other characters including their own parents, by switching on different accents and mannerisms. It’s amazing how Kabwe can turn from the daughter into her mother by a simple change of stance.
Yes, you can draw parallels and say the theme of racism will resonate in South Africa, but there’s really no need. This is a play worth seeing in its own right, simply because it’s the most enthralling theatre I’ve seen in a long time.
Eugene’s father is black-black, but despises his lighter-skinned son for being everything he isn’t. Kabwe’s mother continually puts her daughter down. “You ain’t ever going to look good,” she tells her, and becomes convinced that her husband would have stayed if it hadn’t been for the black bitch to which she gave birth.
It’s heart-rending to see the kids grow up and make fresh lives for themselves, only to be torn down for becoming too uppity. In the end bourbon becomes the truth serum, loosening tongues and sparking the rage that has simmered for decades. There’s not a sound in the theatre and we’re barely breathing as Eugene describes a funeral where hate overflows into a bloody night of confrontation and revenge.
The parents, steeped in prejudices and self-loathing, have their wish. Their promising children are brought down to their own level, not allowed to fly, not allowed to succeed where the parents couldn’t. You must know your place, and your place is down with the despairing masses.
At the end the audience didn’t clap. It cheered. It would have been just as easy to weep. DM
Yellowman runs at The Market Theatre until 5 February.
Photos: Ruphin Coudyzer

Eccentric play not for the thin skinned

2012-01-17T09:51:03+00:00

In: Uncategorised

Written By Percy Mtwa, Mbongeni Ngema and Barney Simon
Starring Mncedisi Baldwin Shabangu and Hamilton Ntokozo Dlamini
Directed by Prince Lamla
Season: Tuesday 10 January to Sunday 05 February 2012

Tales of the black experience during the apartheid era are often delivered in two extremes. Either heart wrenching tales of brutality or illustrous celebrations of culture and unity that strengthened an oppressed community. This 26 scene, action play is a pot roast of acoustic theatrics, blunt expose and collaborative brilliance.

This historic classic returns to the Market fusing the extremes of satire and drama. The duo expertly exchange characters and anecdotes to chronicle the numerous tales of the ordinary working class black South African. Although seeing two shirtless black men for over an hour was a bit disturbing, their sincerity and commitment to their roles was admirable.

At first glance the play appears hap hazard and obnoxiously tangled, but what lies in the core of the narrative is a bitter truth of the hopes and ambitions of an oppressed people who question the premises of religion, politics and social inequalities. Also its a moving ode to the revival of the kings and queens of black history. A powerful piece of expression, this play both unsettles convention and delights an unsuspecting audience.

If there’s anything you do this weekend- the Market Theatre is the place to be at

2012-01-16T13:35:03+00:00

In: Uncategorised

Theatre The two-man ensemble theatre piece Woza Albert! is a classic of the South African stage. Written by the late Barney Simon, in collaboration with performers Percy Mtwa and Mbongeni Ngema, it is considered one of the finest examples of anti-apartheid art. Its manner of physical-theatre storytelling influenced theatre practitioners internationally as it travelled the world. It opened at the Market Theatre in 1981 and this week celebrates its . third decade on the boards with a production starring Mncedisi Baldwin Shabangu and Hamilton Ntokozo Dlamini, two seasoned actors who, like the play, started their careers in Newtown. The satire depicts a moment when Christ returns to apartheid South Africa. Directed by Prince Lamla. >>Barney Simon Theatre, Market Theatre complex, Newtown, from January 10 to February 5. Performances are from Tuesday to Saturday at 8.15pm and on Sunday at 3.15pm. Tel: 011 832 1641. It’s retro season at the Market Theatre. In addition to Woza Albert!, the venue is staging Anthony Akerman’s anti-war drama Somewhere on the Border. Seasoned theatre practitioner André Odendaal directs this work, which was written in exile and banned in publication by the apartheid censors. The reasons cited, according to the production notes, were the play’s offensive language and the fact that its portrayal of the South African armed forces was “prejudicial to the safety of the state”. The play opened at the National Arts Festival (then nicknamed the Grahamstown Festival) in 1986 and it caused a minor scandal. It apparently “attracted the attention of the Military Police in Cape Town, who confiscated the actors’ army browns they were wearing as costumes and, while performing in Johannesburg, two actors were severely assaulted by members of the defence force’s Civil Co-operation Bureau in an unsuccessful attempt to shut down the production”. A bunch of young men, thrown together by compulsory conscription, reveal the dark side of masculinity in an intense psychological drama. »Main Theatre, Market Theatre complex, Newtown, from January 10 to February 12. Performances run from Tuesday to Saturday at Spm and on Sunday at 3pm. Tel: 011 832 1641. Director Lara Bye’s production of Yellowman returns to the Market Theatre almost half a decade after its initial Jo’burg run. The work, based on a play written by American Dael Orlandersmith, is a love story set in South Carolina that features Mwenya Kabwe as Alma and David Johnson as Gene. The production is marked by quick-witted dialogue and solid performances, exploring the relationships of Gene and his father and Alma and her mother. The plot is driven relentlessly by that oldest of American obsessions, colour. The result of this pathological need for a whiter hue is a deeplying, self-destructive hatred that ends in entrapment and death. If the plot was only about death, it would have been too much to bear but the fact that it is also a moving love story helps to enliven the plot. »Laager Theatre, Market Theatre complex, Newtown, from January 10 to February 5. Performances run from Tuesday to Saturday at 8.15pm and on Sunday at 3.15pm. Tel: 011 832 1641

‘Woza Albert!’ is terug

2012-01-16T13:20:20+00:00

In: Uncategorised

Tot 5 Februarie in Markteater Thys Odendaal Die drietal Percy Mtwa, Mbongeni Ngema en Barney Simon se nou reeds klassieke Woza Albert! keer einde vandeesweek terug na die Mark-teater in Newtown, Johannesburg - en heel gepas vir ‘n speelvak in die Barney Simon-teater. Die stuk het indertyd meestal onder spelleiding van Simon intemasionaal groot opslae gemaak. Dit word van Vrydag opgevoer onder spelleiding van Prince Lamia, die jong regisseur wie se produksie van Coal Yard as wenner aangevvys is op die Zwakala-kunstefees en wat daama ook ‘n hoogs suksesvolle speelvak in die Mark-teater gehad het. Die akteurs wat hulle aan die nogal strawwe toets onderwerp om elk heelparty uiteenlopende rolle te vertolk, is Mncedisi Shabangu en Hamilton Dlamini. Die ontwerpers vir die nuwe produksie is Wesley France, Nduka Mntambo en Thando Lobese. In Woza Albert! word die vraag gestel wat sou gebeur as Jesus Christus (Morena) SuidAfrika tydens die apartheidsjare besoek. Dit is ‘n satiriese kykie na die absurditeite van apartheid en dit skep ‘n geleentheid vir twee veelsydige akteurs, wat ‘n taamlike lang lys van straatkarakters moet vertolk. Dit sluit onder meer in sang, dans, mimiek en toneelspel; hulle moet beelde skep met karige omskrywings. Nadat Woza Albert! sy premiere net-net langer as drie dekades gelede in die Mark-teater beleef het, is dit ook in Europa en die VSA opgevoer. Die buiteland het die eerste keer kennis gemaak met fisieke teater van Afrika en die stuk het opslae gemaak. Dit is ook bekroon met meer as 20 internasionale toneelpryse. Dit was in 1983 die eerste keer op die planke in Londen; met Patrick Ssenjovu en Lucky Ngema. In 2002 is dit weer in die stad opgevoer, die keer met Siyabonga Twala en Errol Ndotho in die hoofrolle. Toe ‘n span van die BBC se TV-diens in 1981 in Suid-Afrika was vir die algemene verkiesing, het hy onder leiding van David Thompson ‘n gelyknamige rolprent van die stuk in Johannesburg gemaak. Voorskoue begin Vrydag en die speelvak begin amptelik volgende Dinsdag en duur tot 5 Februarie. Kaartjies vir die opvoerings van Dinsdae tot Saterdae om 20:15 en Sondae om 15:15 kan by die teater gekoop word of by Computicket. Navrae: a 011 832 1641. Barney Simon, mede-skrywer van Woza Albert!, wat van die naweek pasilk in die Mark se Barney Simon-teater op die pianke is.

A celebrated and much loved South African classic

2012-01-16T12:52:38+00:00

In: Uncategorised

The Market Theatre, by arrangement with DARLO (Pty) Limited, presents Woza Albert ! between 10 January and 5 February next year. Written by Percy Mtwa, Mbongeni Ngema and Barney Simon, the production stars Mncedisi Shabangu and Hamilton Dlamini, and is directed by Prince Lamla. Woza Albert! is one of the plays for which South African theatre is best known internationally. Its physical style of storytelling was to inspire and influence theatre companies around the v world, and it is one of the best examples that define South African theatre in all its vibrancy, innovation and humanity. This celebrated and much-loved South African classic asks what would happen if Jesus Christ (Morena) came back to South Africa during apartheid. This lively satire of the absurdities of apartheid provides a showcase for the talents of two dextrous actors, who play a range of ordinary characters on the street. The first part of the play sets the scene, attacking the pass laws that prevented black South Africans from moving and working freely. Similarly, it sketches in a few short minutes the semi-slavery that was imposed on manual workers by bosses who could fire them if they got too independent. However, there is always a rich vein of humour even in the worst adversity. The use of clown’s noses to distinguish the elite Afrikaners, including the Prime Minister from the apparently subservient blacks was one of the features to make this play famous. The short, impressionistic sketches begin to move from background scenes of generally downtrodden life to interviews with individuals about the impending visit of Morena, who inaugurates his Second Coming by flying to South Africa courtesy of SAA. The second half of the play becomes considerably darker and more resonant. Jesus is in the country and his life is replayed in the apartheid context. He is first welcomed then imprisoned. When he is taken to Robben Island, his escape is easy as he walks back across the bay to Cape Town. This retelling of a familiar story in a new context becomes devastating by the end, shedding light on both the Bible and apartheid South Africa. The new season of Woza Albert! features the talented performers Mncedisi Shabangu and Hamilton Dlamini. The 2012 production will be directed by emerging talent, Prince Lamla, whose production, Coal Yard, won the Zwakala Festival and had a highly successful run at the Market Theatre. The Market has had great success recently with the restaging of classics from the past, and Woza Albert! comes as the latest instalment. As with the recently highly successful Sizwe Banzi is Dead, this play has been interpreted by a new generation of theatre practitioners for a new and growing audience.