Review: Ar Fur

The Legend of King Arthur meets Saturday Night Fever, in a zany highschool pantomime

By Jaco Lotriet

Stage and Screen has had the pleasure of reviewing many great stage productions over the last 10 years. When Hoёrskool Randburg invited us to their pantomime production, Ar-Fur, I couldn’t resist. Not knowing what to expect, I nestled comfortably into my seat at the Roodepoort Theatre. What was about to unfold, could only be described as positively scintillating.

This highschool is renowned for its enthusiastic and grandeur-esque bi-annual stage productions. Boasting a large drama department, their shows are presented within the theatre arena, with a professional approach. Their productions culminate in an experience that is more than just a concert – it echoes the same dynamism I have found in professional full-scale theatre shows.

I had to continuously remind myself that the cast comprises of young people, ranging between 13 and 18 years of age. Their passion for the arts, focus on the momentous task ahead and sheer determination to deliver, are some of the attributes these youngsters possess and embody. Blend in foresight and direction from a most dedicated production team as well as 150 hours of rehearsal time and one can appreciate all accolades bestowed upon them.

The storyline of Ar-Fur is a subtle blend of two stories, one from folklore and the other from cinema, carefully twisted into a magical, madcap pantomime. The Legend of Arthur tells of a mythical, medieval story of a young boy born into royalty, but his identity kept secret. He releases the magical sword Excalibur set in stone, marries Lady Guineveer, who then happens to have an affair with Sir Lancelot, Arthur’s good friend…drama – we all know the story.

The premise of Saturday Night Fever is a simpler one: dance yourself into oblivion, in order to pursue the girl… In Ar-Fur, the blundering, yet charming prince, needs to ask Guinevere to the So-You-Think-You-Can-Dance competition. Win this, marry her and retain Camelot. It’s that simple.

To bring this mash-up of two tales to life, the lead roles were skilfully played by Gustav Lutz, Nicola Kotze and Janu Opperman. Lutz, stepping in as the protagonist, starts his role off as an unconfident prince, rounding his character off progressively into an assertive, macho-man, towards the conclusion. Lutz, a true muso at heart, came to the fore with his nuanced vocal capabilities during a rendition of Bob Dylan’s Blowin in the Wind.   A soulful, smooth delivery, with the odd crackle in his voice, swept me away, as he meticulously strummed his guitar.

Opperman, as Sir Dance-a Lot, is Ar-Fur’s nemesis. He exudes an austerity in his character that surprises beyond measure, confidently strutting his stuff on stage, as the dark horse in the story. Kotze, plays Guineveer. As the lady whom Ar-Fur needs to win over, her feistiness, so sturdily delivered on stage, makes it a challenge. A damsel in distress, she certainly is not…

All the performances deserves to be mentioned with great distinction, but I have to highlight a delightful character that stood out – that of Jaco Halvorsen. What is a pantomime without that guy in a dress?  As the incomparable Nenna, Halvoren’s witty quips and over-the-top gestures, lent a comical gist second to none, eliciting rapturous laughter from the audience. Complementing the ‘funny bones’ of the show, the two jesters, played by Eben Ernst and Jean-Pierre Lombard, enhanced the comedic vibe even further, engaging the audience in a fearless manner, stringing them along, almost making them forget about the battle for Guineveer and ultimately, Camelot.

In every show, there is one scene that is distinctly remembered for its tremendous impact all round. In Ar-Fur, that praise goes to the ‘Lady of the Lake’, featuring gifted songstress Céhanè de Beer, as the centrepiece. She was majestically lowered from above, onto a high platform, bathed in hues of soft blue light and adorned in a visually arresting costume, complete with grand tiara. This scene with de Beer and Lutz, transported the audience into a little fairy tale wonderland, further enriched by their bone chilling duet – Down to the River to Pray. Their voices in unison sent shivers down the spine; the two unique characters blended in to make a perfect harmony, melodiously capturing every bit of attention, without fail.

Various elements come together on stage to create a hilarious pantomime. Comedic timing, however, truly determines whether the storyline follows through or falls completely flat. This, in turn, only works if the script allows it to. Enter scriptwriter, Berdene Burger. The manner in which it was written, depicts her sharp wit and poised chic, crowning into what could best be described as comedic brilliance. Burger’s resume includes producing credits for the ever popular Nataniёl series, Edik van Nantes, on KykNET, amongst others.

Coordinating a school production on this scale, demands a director that defines the very essence of composure, creativity and most of all, patience. All these attributes shine through in Marintha Labuschagne’s directing, so clearly evident and appreciated by cast and crew alike. Her role as Dramatic Arts teacher at Hoёrskool Randburg has led to her being asked to direct the school’s bi-annual pantomimes, having honed her masterful skills that includes producing, over many years. Assisting Labuschagne as Technical Director behind the scenes, was Hannes Coetzee.

Contributing immensely to the enjoyment of this show, were Celia de Beer and Cooper Mlokoti, in charge of the music. With original arrangements, covering a wide spectrum of popular music, it was the glue that joined all the bits and pieces together, with toe-tapping exuberance. Ferdinand and Diani Gernandt, were tasked with the choreography and excelled in doing so. Whether frivolous, or intense, it captured the mood every time. The sequences included a sizzling tango between Guineveer and Sir Dance-a –Lot, choreographed by Leticia du Plessis, who also played Morgan le Fade.

Set design, and also Artistic Director, was overseen by Gesie Marshall. Lighting design by David Brink, with credit that is due to Thalia Bothma and Nelene van der Westhuizen in charge of the make-up and wigs department, coloured in all the faces in true panto-style.  Complimenting with the costumes, Esme du Toit created ostentatiously sequenced outfits, complete with a ‘chip’ on Sir-Dance-a –Lot’s shoulder…. literally.

Impossible as it may be to name all whom contributed to this enormous project with such verve and compassion, it is necessary to congratulate one and all for bringing it to its full fruition, from the revered producer Santi van den Berg, to Karien Brink designing the programme.

In the crazy world of pantomimes, one can always expect the unexpected. Ar-Fur delivered this in a spectacular performance and Hoërskool Randburg can definitely keep their heads raised high, knowing they can pull off such a grand production, without even so much as breaking a sweat.

Stage and Screen is looking forward to be invited to their next production.

Photos by Photo Nette Photography.