You don’t simply ‘watch’ The Color Purple, you experience it … it’s akin to a religious experience where you immerse yourself in it, and then you emerge afterwards feeling that any piece of theatre hereon after is always going to be compared to this and will be left wanting.
As I drifted out of the auditorium, I caught these snippets from fellow theatre-goers: ‘Extraordinary’! ‘Marvelous’! ‘Simply superb’! Yes, they all spoke using hyperbole because that’s just about all that can be said for this production – if one is not rendered speechless by its sheer excellence.
I’m sure I’m in the vast minority of those who had not previously read the book (written by Alice Walker in 1982) or even seen the film of the same name. So I had only a vague notion of the background and storyline before going to see the show. I’m not sure this makes a difference. Feel free to correct me if I’m wrong.
Within seconds of opening the audience is swept away by the innocent exuberance of Celie (Didintle Khunou) and her sister Nettie (Sebe Leotlela) bursting onto the stage, singing as only children without a care can. But within just short moments we realise this isn’t the case. Time moves swiftly onstage and we see that this simplicity is just a front for the harsh life that the sisters experience. It’s the early 1900’s in the American South: times are tough for young African-American women.
In these times troubles are borne with proud humility. Life dishes out harsh blows, as do the men from whom there seems no escape. However Celie finds shelter from the storm in the unlikely form of Shug Avery, the woman her own husband pines for. Sophisticated, stylish, and with a mind of her own, Shug is the first person to show Celie how to nurture her own individuality. For the first time Celie begins to understand that it might be possible that she’s her own person, and that she might have a chance at having a life of her own, away from the cruelty and appalling conditions inflicted upon her by the loathsome Mister. Khunou plays Celie with dignity, charm and strength and a voice that will capture your heart.
Lerato Mvelase makes an enchanting Shug. She holds everyone in the palm of one hand, while wanting to grab all that life has to offer her with the other. It’s a riveting performance. And in the very eye of the Shug storm is Mister, played with such discerning insight by Aubrey Poo that the audience can’t help but be captivated, first despising him, eventually sympathising with him and by the very end of the show feeling quite fond of him.
Yamikani Mahaka-Phiri as Mister’s son is delightfully endearing, with a voice that proves he’s to be taken a lot more seriously than his character might suggest. But it is Neo Motaung who surprises in her role as Sofia, Harpo’s strong-minded wife. Wow! This is a powerhouse of talent to look out for in future. With a voice that pulsates and resonates into your very core, not to mention a laugh that begs to let you in on the private joke! Motaung is an astonishing treasure that has been unearthed!
The entire cast creates a striking ensemble that moves effortlessly to the choreography of Oscar Buthelezi, and under the baton of Musical Director Rowan Bakker, together with the 8-piece orchestra, they generate a joyful noise that will undoubtedly bring audiences to their feet time and time again in thunderous applause, not only at the conclusion of each performance, but at other moving moments throughout it too.
Director Janice Honeyman has proven time and again that she is the Queen of all she surveys in her field but this time she’s outdone herself, and together with Executive Producer Bernard Jay has crafted a genuine masterpiece! This is an authentic gem of a production, the likes of which one rarely gets the privilege to see. Grab the opportunity while you have the chance! You’ll be so glad you did!
The Colour Purple is on The Mandela Stage at The Joburg Theatre until Sunday March 4th, 2018. Tickets are priced from R240: Telephone 0861 670 670, go online at www.joburgtheatre.com or book in person at the Joburg Theatre box office. Theatre patrons can also book online and pay at selected Pick N Pay stores.
[All photo credits: @enroCpics]
A Review of Saturday Night Fever, currently on stage at the South African State Theatre
I’ll start off with a confession – I’ve never seen the film version of Saturday Night Fever!! Shock, horror, yes … you can all pick up your jaws and close your mouths now! I didn’t see John Travolta do the whole strut thing in the iconic 3-piece white suit, I only saw the stills; I didn’t hear the Bee Gees’ soundtrack played in its original backdrop format. Hence, when I heard the adapted radio versions, I had no clue of their actual depth or meaning. But that’s all ancient history, relegated to what had become that somewhat lacklustre Disco file of the late 70’s, when I was %$# years old!
Roll on to September 2016 and Bernard Jay’s production of Saturday Night Fever hits the Opera Theatre of The South African State Theatre … I’m now $%*@ years old, and I’m damn excited about it all! Disco’s back! It’s fun, fab, retro and groovy (ok, I know, nobody uses that word)! Glitter balls, go-go boots, big hair and colour, lots and lots of colour!
The storyline goes roughly something like this (just in case you’re part of the uninformed minority):
It’s June 1977, the hottest summer on record and New York is sizzling. Down in the boroughs racial tension is brewing, jobs are scarce and people are angry. Money’s tight, hope seems like a foolish luxury and the only light on the horizon is the glittering disco ball above the dance floor in the club where Tony Manero and his crew, The Faces, hang out on a Saturday night. Tony is ‘da man’. He struts, he moves, he grooves, and everyone else is in awe, especially Annette. Unfortunately, he would prefer the aloof Stephanie Mangano to be as awestruck, but that’s going to take a bit of work on his part. Throw in a side-plot or two, some angst, some religious guilt and there you have it! Oh, and don’t forget all that unforgettable Bee Gees music – Staying Alive, Night Fever, More Than A Woman, Disco Inferno, What Kind of Fool … and of course, many more.
And it’s all here, everything that can be crammed into a nutshell stage show, and Jay has pulled no punches with putting together a theatrical dream team for this creation. Sarah Roberts’ costumes are spot-on, instantly transporting you to that era of (slightly embarrassing) flares, high waists and wide lapels. Award-winning director Greg Homann proves that he’s clearly able to cast his net a lot wider than solely serious theatre. In this, his musical directing debut, he’s done a sterling job. Musical maestro Rowan Bakker, assisted by Drew Bakker directs his 8-piece band with pacey, up-beat panache through, what for many, is a trip down a music memory lane (by the way … just a quick shout out to Trombone player Dan Selsick … you know, trombone players never get mentioned, so … hi). The energetic, vibrant cast are put through their paces by choreographer Weslee Lauder, who ensures that every step, lift, spin and turn is executed with slick precision.
But oh my word … that set!! Denis Hutchinson has created a living, breathing entity that surges around the stage as if it is its own entirely separate, individual character! It opens, shuts, slides, rises, sinks, splits – I almost wanted to ask it to make me a cup of coffee! It is an innovation of design genius, enhanced by ingenious, strategic lighting.
And to populate this epic masterpiece, one needs a bunch of gorgeous looking talent, which we have in shovel-loads. The cast is a cohesive and comfortable ensemble, ably navigating the ups and downs that their characters endure, as the audience is quickly swept up and into their lives, their struggles and their triumphs. Accolades must go to:
Daniel Buys, playing an understated Tony. There’s every opportunity for him to overplay the role, but he reigns it in, allowing his talent and charm to shine through whether he’s taking to the floor at the 2001 Odyssey nightclub, or singing his poignant solo rendition of ‘Tragedy’.
LJ Nielsen, for her touching portrayal of the sweet but vacuous Annette, who has yet to discover who she really is. Nielsen’s beautiful, rich voice certainly can’t fail to catch the audience’s attention, even though Annette failed to catch Tony’s. And I have to say, I particularly loved her facial expressions. They just added an extra nuance to her entire performance!
Natasha van der Merwe for her perfect depiction of the ‘on the surface’ cool and collected Stephanie Mangano, while below that tough exterior she’s paddling for all she’s worth! Stephanie epitomises every ‘Tony’ trying to improve his life, determined not to be dragged back to where they started from, but struggling between a new life and acknowledgement of their roots. Van der Merwe gets it right on all levels, striking a balance between tentative and determined and finishing strong.
Kiruna-Lind Devar, the sweet-faced and even sweeter voiced Pauline who only wants to do the right thing. Watch this space people; this is a young performer going places. Big places!
Sebe Leotlela as nightclub singer Candy is incredible and deserves more prominence, as does Bongi Mthombeni as Monty, who could also be put to much better use here.
Take the show for what it is. It’s an enjoyable musical; a bit of a serious theme here and there, but lightened up with many well-known sing-a-long tunes, well-executed dance numbers, a bunch of great looking people in colourful clothes, on a drop-dead incredible moving set! It’s not rocket science, don’t try and read too much into it. Just go and have fun … we all need to have a lot more fun and we’re damn lucky that we have a bunch of people out there who are working their butts off to give it to us!
Saturday Night Fever is on at the Opera Theatre at the South African State Theatre in Pretoria until October 9.
If you haven’t already booked at Computicket, go and do that right now! Why are you still reading this? Go … book … NOW!!!