by David Simmons

It’s very rare we get to witness two completely different genres of dance in one very exciting and ambitious evening. Fire an Ice, a befitting name for two contrasting works, opened at the Joburg Theatre to mixed emotions. Diehard classical Ballet enthusiasts will revel in a gorgeous presentation of Act 3 of Raymonda, and those who appreciate modern dance will be equally indulged by the contemporary, Whispers of My Soul. Adjusting between the two pieces may be a little jolting for some, however the energy and mood shift between both acts make for a very ‘different’ theatrical experience.

As of late, Joburg audiences have been spoilt for choice with locally produced ballets that present a company of admirable dancers. It’s with ballets of this calibre that firmly bestow some of the best talent the country has to offer. For this season we get to observe two very different works of ‘art’.

The first represents the joy of traditional ballet, a genre that has been admired for centuries. The second showcasing for some may come across as unchartered territory, however it is very refreshing to see something original and innovative being staged. Dance, in its entirety is meant to explore different touch points both onstage and in the audience. Fire and Ice does just that and gives theatre goers something profound to talk about.

Raymonda Act 3 is the first time Johannesburg theatre goers will get to witness this famous Russian ballet. I would have loved to have been privy to the full -length work as we are offered a story steeped in romance and Hungarian influence. I found myself wanting to reverse a few steps to capture this enchanting story, however getting a taste of the final act added to an already noteworthy evening.

Sparkling costumes by Andrea Delgado created an almost imperial sensation which the dancers used to their advantage. With a glorious score by Russian composer Alexander Glazunov and staging by Brazilian producer Guivalde de Almeida, Raymonda Act 3 portrayed just the right amount of Ballet excellence.

For the second half of Fire and Ice, Whispers Of My Soul catapulted the audience into another dimension, a huge shift from the polite and elegant first act. This ‘new age’ offering brings with it the expertise of Paris-based choreographer, Redha who effortlessly transported viewers to a very dark and frigid place. It’s more Paris fashion show than dance exploration, but the combination works wonders.

The costumes, also designed by Redha needed a runway to showcase their craftmanship and were pivotal in brining the story the life. His offering is very haunting and at times you’ll find yourself unable to express your true feelings. The shear scope of the stage together with the usual movement of contemporary dance creates an out of body experience – something new to behold for amateur and novice dance lovers.

Pointing out exemplary performances from the company wouldn’t be fair, as each and every dancer took on their respective roles with aplomb and excellence. The transition from a 19^th century Russian Ballet to an almost futuristic offering is no easy task, and it is very clear that these young professionals have what it takes to embody vastly different characters.

Raymonda and Whispers of My Soul will appeal to two completely different audiences and although we are lucky enough to be seduced by two works, each will have stimulating impacts.

Fire and Ice will be running at the Joburg Theatre until the 8th of July 2018. Tickets are available at Webtickets or at the theatre.

Photos by Lauge Sorensen

The post Review: Fire & Ice appeared first on Stage and Screen.

by Louw Mulder

Avenue Q… there’s actually so much to say about this production, currently on stage at the Pieter Toerien’s Montecasino Theatre. It’s a puppet show, but it’s an adult play, it’s a superbly composed musical, but it is also a presentation of the fact that South African Theatre is ready to take the next steps towards innovative, edgy and ground-breaking stagings.

Jaco van Rensburg and Wessel Odendaal of VR Theatrical, together with Kosie Smit, present this arrangement in association with Dalro, with the musical staging and direction handled by Timothy le Roux, who I thought outdid himself. Robert Lopez and Jeff Marx composed the music and lyrics for Avenue Q, which is based on the book by Jeff Whitty. As the show progresses, the clever tunes slowly swift your initial impression away from the one you entered the theatre with…

Leaving the theatre after the show, I had an idea of what the structure and theme of my review would be. The naughty bits, the catchy tunes of a very clever and well-composed score was still fresh in my mind. But as I reminisced the next day with pen and pad at the ready, the whole realisation of Avenue Q hit home!

The main attraction around Avenue Q, as would be rightfully created by the leading advertising campaigns and publicity views, are the puppets, the main attraction and stars of the show. We have Princeton, the graduate with a BA in English, Rod, the homosexual who himself still has to come to terms with his secret, and then there is Nicky, who is the messy slacker with a bit of a wild side. Adding to the edgy side, is Kate Monster and Lucy, both slightly promiscuous female characters who are in constant search of Princeton’s attention. In my layman’s opinion, I couldn’t find any fault with the visual presentation of the puppets, and compliments with huge respect goes to their creator, Kosie Smit, who breathed life into all 18 puppets featuring each night in this production. Smit, whose passion and love for this show spoke for itself during the build-up to the opening night, is also in charge of the Scenic design, which I thought was stunning.

Nowhere was it ever made a secret that the content of Avenue Q exceeds real edginess, and possibly wouldn’t be seen as appropriate for conservative people, or teens under the age of 16 for that matter. After seeing the show myself, the story of Avenue Q is powerful enough to manipulate anyone’s views on matters that play a part in the lives of each and every one of us. There are puppets having sex on stage, a fair share of swearing, and some will say inappropriate utterances that may offend a lot of diverse theatre goers. Be that as it may, all the profanity and full-frontal nudity is coming from the puppets, which I believe makes all of this more acceptable!

Modern day issues, current-day curveballs and everyday events, are all addressed in a very comic and uproarious fashion. It disguises the hurt and cold truths of life, with the healing power of laughter. I refer to issues such as unemployment, being homeless, losing one’s job and even the rejection of friends and loved ones. The internal struggle with one’s sexuality, and the battle of coming to terms with it, feature prominently in the story, with perfect fit. These are the themes of truths we all face daily, that surface above the whole mosaic of memories when thinking back to Avenue Q, as you are lefty with a final thought… “It’s only for Now!” And yes; Everyone on Avenue Q, are a little bit racist too…

I do believe that the powerful message, which was camouflaged by the magic of humour, was made as effective as it is, due to the production quality. I am totally uneducated and uninformed about the art-form of puppetry, that my enthusiastic raves about Avenue Q may be seen as disproportionate, but I am sure once any theatregoer sits back, let go and enjoy the show, they will be entranced by the same childlike fervour I experienced.

With an edgy and very sharp script, I found it to be effectively complimented by the lyrics of each song. Dawid Boverhoff, Avenue Q Musical Director, did a stellar job, which I think would honestly not have been this powerful without the contribution of the strong and impressive cast. I thought that all their performances were enhanced by their passion and eagerness for this new genre, supported by every unique puppet.

The strong voice of the very talented Ashleigh Harvey, is a definitive sound which I found to illustrate many of the stories’ emotions, which the expressionless puppets had to tell. Her natural style of acting, even though in the shadow of her doll, pulled through in such a perceptible form, that her character’s intended expressions were effortlessly transferred to her puppet.

Alongside Harvey, is Ryan Flynn, who manipulates the lead character, Princeton, as well as the closeted gay republican, Rod. Whether his puppetry techniques were according to academic techniques, I cannot say, but I thought he was amazing throughout both acts. What was totally enchanting for me, was the moment I realised that the personality of Flynn’s character, imperceptibly echoed through his puppet. As impressed as I was with this, so I can cite how I thought the sturdiness of Flynn’s performance somehow kept the rest of the cast on par, which I thought was key to their phenomenal ensemble performances,

The rest of the cast consist of Daniel Geddes, Nieke Lombard, Greame Wicks and Songezo Khumalo whom all, through their puppets and their associating characters, contributed in his or her own right to Avenue Q’s success. Among the craziness of the puppets, are the three real people. For me, the inclusion of human characters added a valuable balance between the deep-cutting themes of the script, and the human reality. Yamikani Mahaka-Phiri, Grant Towers, and the hilariously talented Rebecca Hartle, each played their roles with effortless talent.

If you give me only a half a chance, I will grab the opportunity and fill a few more pages about my raving thoughts on Avenue Q. Older theatre experts may say that my exaggerated praise for this production are excessive, and that I am turning a blind eye to its shortcomings, but I do believe my views are justified, as I experienced a total sense of entertainment, along with the excitement of this brand-new genre introduced to SA Theatre.

As a warning, do not ruin your own Avenue Q experience by watching online video’s of this show, because one, you need to see it live, secondly, this South African production is way better than all the ones online, and thirdly, The Internet’s for Porn..

Due to the gut-busting depth of the text, the complete essence of Avenue Q will be best experienced after seeing the show for the third time.  Avenue Q opens this Saturday, 19 May 2018, on stage of the Pieter Toerien’s Montecasino Theatre, and will run for a limited season. The show plays for 2 hours, 15 minutes, with a 20-minute interval. Parental guidance for younger patrons are advised, as Avenue Q carries an age restriction of 16.

Visit VR Theatrical’s Facebook page for more detail on the show times.

The post Avenue Q appeared first on Stage and Screen.

By David Simmons

Celebrating art in South Africa is probably one of the most rewarding pastimes a person can participate in. We not only pay homage to art in its theatrical form, but applaud and honour the bursting and at times overlooked talent our country has to offer. The latest, sumptuous offering from Joburg Ballet brings us Carmen, a dramatic exploration of passion, seduction, jealousy and betrayal, the perfect quartet for a night of sheer and uncensored entertainment. Together with an illustrious score by Georges Bizet, Carmen scoops a well-deserved double thumbs-up.

Most classical music and opera enthusiasts will be familiar with the music and powerful story of Carmen. However, the title role and character in this impressive ballet is a complex one. Even though Carmen’s transparency is evident on stage, she is a woman with an agenda and an evident carnal desire to seduce even the most inconspicuous of men.

2018 has seen a number of productions focusing on women and Carmen is no exception. With a character who knows no limits in the art of seduction, we as an audience automatically fall in love with her. We may not agree with her motives, nevertheless her conniving free spirit is hard to pass off as unnoticeable. Her journey is one of desire and betrayal that ultimately leads to her downfall.

Set in Seville, Spain, Carmen’s account of love and deception is one we have heard countless times before. Hers is an emotional yet obsessed battle of sort, scarred with the usual complexities of deceitful liaisons. The intense and at times frenzied communication through dance and movement, makes this theatrical savouring all the more enticing. We witness a fiery love affair between Carmen and Don José, but their courtship is doomed from the start. Their passionate connection is distracted with the presence of Don’s finance, Micaela, and not forgetting Carmen’s star struck conquests, Captain Zuniga and Escamillo a famous Toreador.  Carmen snakes her way around weaving an imaginary cloak wherever she goes. She leaves no stone unturned and no contemporaries untouched.

The incredibly slick choreography by Veronica Paeper and Iain Macdonald’s artistic direction, gives this Ballet a notable flair, befitting international standards. If you are expecting pink tutus and sparkling tiaras, think again! Carmen is a first-class act filled with gypsies, flamenco influence and the unmistakable sights and sounds of a bygone era. The understated scenic backdrops and sets, typical of life in the 1800’s together with moody lighting throughout, creates a perfect ambience in keeping with an already high-spirited Ballet.

Playing the title role of Carmen is Claudia Monya who smoothly channels her desire and frustration with the flutter of an eyelash, the seductive arch of her leg and even a poised tilt of her neck. She is a marvel to watch with each movement in unison with the rhythmic click of a castanet, or the intense beat of Spanish footwork. Leusson Muniz as Don José is equally convincing and gives an enduring performance. Armando Barros who embodies Escamillo the handsome Toreador and Nicole Ferreira-Dill who takes on the role of Michaela, each exquisitely master their respective roles with fierce determination. Credit needs to be given to the entire company who effortlessly contribute to a very bold staging.

To add to an already outstanding offering, Joburg theatre welcomes The Johannesburg Philharmonic Orchestra who under the baton of Brandon Phillips creates a dazzling addition to an already well-crafted show. Joburg theatre is highly praised for producing Ballets of the highest standard and Carmen is no exception. The production sits in a league of its own and has a refreshing yet powerful tone. This may be one of the best locally produced ballets I’ve seen and with its incredibly short run it will be disrespectful not to see it twice!

Carmen will be running at the Joburg Theatre until 15 of April 2018. Tickets are available at Webtickets or at the theatre.

[tooltip text="Photos: Lauge Sorensen" gravity="nw"]Photos supplied by Joburg Ballet[/tooltip]

The post Carmen appeared first on Stage and Screen.