Thoughts on Itshe by Fali Rose

 

(Cebolozakha Mgcwaba)
Image by Val Adamson

I was invited to witness a preview of ITSHE presented Durban University of Technology where second year drama student of Courtyard Theatre embark on a story that deserves to be told. Although due to Covid  this was only open to Drama Students from DUT. 

The set design by Greg King, IsiZulu Translation by Ntando Cele, lighting by Lerato Ledwaba, stage management by Thamsanqa Khumalo with Assistance Director by Inezile Hlophe. 

ITSHE is breaking boundaries and expelling socio-cultural norms, an eloquent isiZulu tale that probes at cultural norms and practices that may impact negatively on womxn and nations at large.

Philisiwe Twijnstra’s mixture of imagination, magical-realism and folklore, presents two tribes of KeVa and Siriva nestled in a secret moonlit forest where themes of gender, identity, black queer love, greed, incest, hunger for power and paranormal magic run galore.

The prologue is an immersive experience for the audience who under a night sky embalmed with a fierce fire and chanting, witness ‘Mother of Darkness’ casting a spell on a the young Okwayise, played by Mthobisi Gumede, Sifiso Innocent Pohlo, and Siyanda Magubane a handsome sturdy young man of royal blood. 

On the stage luminated by a foretelling twilight, we meet Nonombe our protagonist played by Sbongakonke Xaba, Slindokuhle Ngcobo, and Mandisa Mngoma also of royal blood who sits in angst surrounded by menacing spirits presenting her the fate as future Queen of Keva. 

Twijnstra explains that since this is a bigger cast she triple cast the leads; every night a different actor will spearhead the show. 

This evening a young actress Sbongangakonke Xaba who plays the first Nonombe approaches the role with a fierce command and plays an inner conflict with her eyes that suggest a rebellion against what is expected of her in the kingdom. Mandisa Makhathini, Nokubongwa Khanyile and Nolwazi Lukhele portray three wise deity gogo’s that inform the fate that awaits Nonombe, these roles are executed with focus although sometimes actors miss cues and emotional beats, It is advisable for actors to listen before reacting.

Okwayise appears with his royal servant cum lover, uNonkinga played by the Nomzamo Nyadi. His immediate attraction to Nonombe sees Nonkinga spew insults of jealousy and contempt when she sees her lover pining for Fafa (Indlovukazi) Nonombe whom she calls ‘an uncultured city prude who is ‘not woman enough’ and far removed for the Keva culture, a commentary inciting questions of society may look down on individuals who embrace their cultural hybridity. 

Nomzamo Nyadi’s performance as 'Nonkinga' is layered, her body language speaks volumes and she is able to deliver nuanced emotions.

There is a quest of unrequited love between Okwayise and Nonombe. Here we are confronted with the male gaze on the female body as Nonombe harshly rejects Okwayise’s advances, he laughs and shames her claiming she has lost touch with her culture because she is not willing to cower down to the advances of a confessing his love. Mthobisi Gumede has a good command of the stage, but we lose some of his dialogue, with good articulation and exploring emotional depth, he promises to be a captivating actor. 

Ibutho appear dressed in unconventional tribal-print kilts and break the awkward tension of Okwayise’s pursuit with song and dance as they prepare for a hunt in the forest. The actors here are eager to please and display a myriad of characters representing the male stance in the Zulu culture. Amabutho is a powerful symbol of the Zulu nation who relentlessly fight for the rightful uphold of a kingdom, but will the same men fight to protect the human rights of a young womxn?

The moon rises and retires Nonombe reveals to the audience her secret love for another woman, ‘Nomakhwezi’ the true love of her life, and her motivation to fight against this arranged union between her and Okwayise. 

Simultaneously she will against the patriarchal ideologies on the role of womxn. We are enthralled when we finally meet Nomakhwezi who is Nonombe’s lover, they share a pulpable spark and attraction, they are spellbinding and pull you in a quest to embrace black queer love. Although Sphiwo Shange is reluctant to delve into the role of lover, the pair offer a flirtatious affair. The next moment is a pivotal as we see a black character portray a panic attack on stage, a call to black cultures to perceive the reality and struggles of mental health issues. Nonombe is comforted by her lover who calmly tells her ‘Just. Breathe.’

Nontobeko Phakathi plays the role of Mother Queen of Keva  as ' Fafama' who has just lost her husband but instead of mourning she is dressed for glory and her only objective in the present moment is to marry Nonombe off to Kingdom of Siriva royalty in order to solidify her own Queendom. The actors here can afford some moments of building tension in their strained mother daughter relationship.

This looming union between the two was written in stone by the dead King Mafa but before he is even buried there is confusion and upheaval in the royal household, a mimesis of what South African witnessed when the Zulu Queen Mother passed on.

More secrets lurk in the forest, the actors live and breathe organically in the set designed by Greg King that mimics a dark warm womb. The Matriarchs of the two tribes appear in confrontation, the actors stand head-to-head like two bulls in a kraal lamenting a love shared for the fallen king and sacrifices must be made to solidify stronger blood ties between Keva and Siriva. 

Infidelity, barrenness and incest mark this exchange, the Nontobeko Phakathi and Sthabile Zondo tread thinly on the trope of ‘angry black womxn’ as they tend to shout at each other playing a general tone of anger, use of projection and exploring more vulnerable tones in voice and emotions would improve this exchange. 

A wedding is to take place, and we see Ibutho surround the couple in a ritual of consummating the union symbolized by an image of white cloth smeared with bloody paint. What if Nonombe can take a stand for love? 

What if womxn finally go against the adage of ‘you strike a woman, you strike a rock?'

This is the feministic tone that underpins the outcome of this tale. 

If change can happen, ITSHE challenges every man to be accountable and stand up for their nation to protect it just as they would their own children. 

This performance from the DUT Drama students was a pleasure to watch, it was the cast of witches that kept  underscoring each scene with subtle, eerie gesture accompanied by the drum beat, played by Philani Dude, Asanda Mhlungu, Busani Dube, Mondli Mthethwa and Nkululeko Advocate Kubheka that  harnessed the possibility of acceptance, love, and the empowered female figure accompanied by Twijnstra’s strong directing makes ITSHE a futuristic spectacular, with surreal setting  by Greg King, opening up a world so magical yet so familiar to where we are as a country. 

The show runs from 21-24 August 19h00. Strictly open to DUT Drama Students Only.

Thoughts by Fali Rose.

Thoughts on Bigly Yuge

Bigly Yuge Thoughts  by Philisiwe Twijnstra 

The play Bigly Yuge has broken down the walls of androcentrism and toxic masculinity by exploring the vulnerability and shamefulness in an hour through punchy lines and bratty conversations and had a tincture of moral comedy. The production features the brilliance of Baby Cele playing the role of feisty and spunky Cynthia with impeccable talents of Bongani Mbatha, Mduduzi Nombela and Xolani ‘XD Black’ Dlamini. The play produced endless comical releases.

Bigly Yuge is a play that combines comedy, song and dance. From dieting to exercise; from people pointing fingers and passing unkind remarks; to the strain on relationships; and the inability even to find a relationship – all the downsides to being a large person are explored in this new production. 

On centre stage there is a tuck shop around the shop there is a fence with three gates. The action takes place in front of the tuck shop. Around the corner fences there are rubbish bins. The lighting is minimal, and the usage of the props is guided by each character’s plot and desire to survive. 

These three friends who regularly meet up find the conversation inevitably turns to everyday dilemma they face as ‘fatties. One is facing an ultimatum from his wife “shape up or ship out”. Another cannot even hold down a relationship because of how he looks. And the third chap thinks he’ll find love by working through as many women as possible. 

All three have serious introspection to do, and realise they have to make drastic changes in their lives if they wish to be the people their partners would like them to be. But they also have to learn to love themselves before anyone else will love them in return.

The play has several amusing scenes and the most memorable scene was when the tuck shop owner was fat-shamed by his friends and he got everyone to wear tightly body fitted exercising costumes. Beautiful and hilarious moment in the play. But also, it was heart warming to see man in their lack of brazenness. The actors handled that scene with precise physical comical timing, but I do believe that scene carried so much power and reason.

Although I do think that the play as a whole could become better, when given attention to the following thoughts: There is a blur line between street comedy and theatre comedy and at times it proves hard to distinguish that difference. Hence this play demands an actor to identify the balance between acting-reacting and acting for laughs. 

The actors should be aware of articulation and speed; Comedy is a soft dance between being funny and being truthful. I missed the rawness of each scene because I presume there was lack of trust. Trust that each line spoken by an actor could release and receive the appropriate, deserving reaction from the audience. 

However, this is an easy fix. The actor could take more time and give the scene and the audience trust; also trust the build-up of each scene. Concerning the script, vital subjects were lightly thrown in the ocean and were left to drown, like the use of condoms and women abuse. These matters deserve the seriousness of their own, both in reacting and in the script.  

 How do men dialogue about condoms and woman abuse without air brushing it?  That could add another dynamic depth in the script.

Besides these detailed technicalities, something crucial stood out for me. It was witnessing, how Bigly Yuge deconstructed the idea of vulnerability and made the audience experience how it may have looked like when man could actually speak at each other. 

I was honoured to see such care and brilliance both carried on stage and as a subject matter. I truly applaud Tony Kgoroge and the cast for this workshopped collaboration for breaking the normalcy of toxic masculinity through man to man conversation.  Bravo and on to the next one. 

Bigly Yuge runs in The Playhouse Loft between December 4 and 15, with shows from Wednesdays to Saturdays at 19h00 with Saturday matinees at 14h00 and Sunday shows at 15h00. Tickets R100.  Booking through Web tickets outlets at select Pick ‘n Pay outlets, or online at www.webtickets.co.za Alternatively call 031 369 9540 (office hours).

Thoughts on Fudukazi

Thoughts By Philisiwe Twijnstra 

The art of storytelling is a highly respected medium around the continent of Africa, a  ritual that carves a path for a child to  continue imagining. I grew up listening to this legendary voice on Radio Zulu. Now, my daughter who is five years old had a chance to watch  and listen to Mama Gcina Mhlophe  and her artistic team, opening a pot of stories and magic.  

Indeed this is a great way to fuel the holiday spirit. 

Fudukazi’s Magic, based on the widely published children’s book of the same   title.  Fudukazi’s Magic is a play for the young once complimented by songs and percussions  and drums written and directed, by Mama Gcina Mhlophe. 

The play is set in the African bush, Fudukazi’s Magic features three singer-actors alongside  Gcina Mhlophe, Khwezi Becker and Nkosingiphile Mpanza  and two musicians Victor Sithole and Njabulo Shabalala. 

They tell the tale of a Queen Mother  tortoise which, while interacting with other creatures of the bush, uses magic to transform duller looking animals by adding a rainbow of colours to their coats. But there is one animal that was not kind; which was the a Hyena, whom was selfish and unkind. When the Hyena saw that everyone was colourful and beautiful.  The hyena went to Queen Mother Tortoise to  demand her to make him  more beautiful but because his heart was unkind. The magic from Queen Mother Tortoise made the hyena ugly  because he was mean. 

The set was comfortable as you enter the grand foyer of the playhouse; the stage is set up with a huge tortoise draped and adorned in vibrant colourful fabrics and further down  stage the musician set is ready to set the mood of  Fudukazi’s Magic. They’d set pillows in front of the chairs for the little ones. The room was filled with little laughs and adorable screams: as the actors told the story of Fudukazi’s Magic through their catchy melodies. What was most effective was that; Mama Gcina Mhlophe  has a beautiful presence, commanding energy  and her spellbinding focus  was supported by bringing a great balance of  talented actors  in their own right to make us laugh and enjoy—what kind hearts can do. 

Having said that, I do feel that the  script was jarring  at some point, and the play didn’t need sound amplification. The actors are trained to use their voices especially for this  type of theatre style. The sound amplification broke the intimacy  of the play, this includes the projection at the back. It took away the magic of storytelling. The notion that simplicity is best epitomize my thoughts about the production.  

Performances of Fudukazi’s Magic are scheduled for 10am daily from Tuesday to Friday, November 26 to 30; as well as at 2pm on Saturday, November 30; and thereafter at 2pm daily from Tuesday to Saturday, December 3 to 7.

Thoughts about 'Two'

It has been a while since I watched a theatre piece as short as Two. 'Two' is a physical piece  co-created by  Pumelela Nqelenga, Samantha Hammerschlag and Nomcebisi Moyikwa. Two is a physical play about two sisters having to deal with sexuality, religion and the female body in a family structure. The play combines movement and shadow puppetry and the minimal setting is made out of iron board, a table and a hanger with wrapped apples on the ground.

The style of the play made me think of Neil Coppen's Tin Bucket drum and the sisterly relationship theme made me think of Matty & Sis. And the physicality of the piece made me think of Woza Albert.

But there is something fresh and necessary about the piece 'Two'. The play deals with  family dynamics, childhood idiosyncrasies and first experiences. The play has successfully managed to balance movement, text and shadow puppetry nothing is over done or less done having said that the emotional sustainability and depletion of characters felt unexplored.

Everything you see had a purpose on stage, however I could not connect the hanger with wrapped apples to the story. That part of the set was not co-operated to the piece. Was the hanger suppose to be a tree? If so, then it could have been a beautiful image when used in the narrative.

The use of body enhanced language and displacement of  pain and fear and metaphorical use of the dress highlighted the urgency the play has. The sisters's lives is told through flashback and memory.

Question such as which memory rest, where in ones body are vital because memory at times become the elephant that holds the body down... And both sisters are stuck and held by their own elephants.  The play bounces off from theme to theme and each theme is cemented by each character's conflict.

However, Two would have been more effective , when it would have been longer. The themes of religion and God, sexuality, family, abuse are vast  yet they felt squashed and summarised. The play has room for more exploration both the physicality and text. The text is amazing and convicts you to your own elephants but that on its own is quickly snatched away because the journey of both characters is not explored to the fullest.

There is much to win when they open the play and let it breath.  It was quickly gone as an audience I was left hanging without anything to go home with. The play felt like a quick summarised essay. I missed the ugliness, the joy, the quirkiness, the playfulness, the danger and the fear.

Both performers  Pumelela Nqelenga and Nomcebisi Moyikwa work well together like a well oiled machine. They commit themselves to the story and to the energy of the play. I applaud both of them  for their commanding focus and ability. I found the story of sisters quite relevant piece.  The play is running tomorrow at Squarespace Theatre entrance is free.

Pumelela Nqelenga in 'Two' Image: Katty Vandenberghe

Thoughts about Woza Albert

Thoughts on Woza Albert

Woza Albert is an award-winning play written by Percy Mtwa, Mbongeni Ngema and Barney Simon directed Chris John. The play opened at the Playhouse Durban 6^th– 30^thDecember 2018.

The play is well written, it serves the build-up of the play, with punchlines and each character arch follows the through line of the story. It made the audience feel the need of Morena’s arrival.

As you enter the theatre you are greeted with minimal yet multi-purpose stage setting; two wooden square box inside the boxes it has few items used as props and behind it, there is a rail with different clothes hanging.

The two actors Bab’ Ngema and Bab’ Mtwa play roles of various black South Africans - a vendor, barber, servant, manual labourer, soldier - receiving the news that Christ (Morena) has arrived in South Africa where apartheid has foisted, and impoverished black lives. Christ's arrival trigger a crisis, and the government launches a bomb against the Morena.

 In the ruins, great South African leaders in resistance to apartheid such  as Albert Luthuli former president of the African National Congress, are resurrected. This play has crucial connotations events from the bible and structurally it shows influences of waiting for Godot.

Interestingly when the Zulu boy (exceptionally played by Bab’ Ngema) asked Morena (played excellently by Bab’ Mtwa) to raise the struggle warriors, the audience responded warmly. It reflected where we are as a nation we need a different Morena. 

In addition, I also felt that back in 1983 which that’s when the play was performed; this story was their reality and some of pieces of the story has become our reality in 2018.  

I am utterly grateful to have watched this play.  It was an experience to sit in the auditorium, waiting to see the original cast of Woza Albert playing at the Loft. 

It felt like a gift to be part of this monumental moment, witnessing the actors embodying different characters from a little boy to an elderly lady with clear precision and perfect synchrony of voice, body, sound, breath and movement, creating images using few words and action. 

Watching both actors excelling and sharing their talent of storytelling is astonishing and breath taking. I urge every actor in Durban to watch this play. Let’s fill up the seats… of the loft. 

Compu- ticket

6^th-30^thDecember 2018

   

Thoughts about 'ZemQadini'

Thoughts about 'ZemQadini'

by

Philisiwe Twijnstra

Watching last night's show made me realise that casting plays a pivotal role. You need an actor that will carry a story from the beginning to the end.This is what I appreciated with Msimango's work, he casted beautiful strong actors that complimented each other, both different from each other but they work well together like a tea in a pot.

Bhekani Shabalala, proves to be a treasure to keep, when I see him on stage, I always feel I want to join him. Bongani Mbatha does not fall short behind as well, one of the hard working theatre makers I have ever met. I could write so much about the actors'techniques, the actors'skill but watching them is more rewarding, so go witness it for yourself.

The premiering night of ZemQadini last night at SquareSpace Theatre, gave me exciting and satisfactory feelings which I appreciated.

The play is written and directed by Sboniso Msimango ZemQadini is a story that explores teachings of masculine behaviour to young black boys in rural and urban black communities in a post-apartheid context. What it means to be a man in a family and in a community - is one of the important questions that is posed by the story.

One brother is blind the other cousin brother can't walk and he is mute. Somehow they need each to survive, the play opens up with the blind brother doing his laundry, and the other brother lies down in bed not moving not talking. 

The story is a story within a story- the blind brother redundantly tells about the conflict that erupted the war into their families and how both cousins from both rivals became each others' survival kit. 

The set is simple,upstage centre there is a bed and stage left center there is a chair and they use props to help change characters.

The play was good, but it has so many rooms to develop, few things could make the play even heart cuttingly stronger, already the concept of the story is quite interesting if not intriguing.
The script has loopholes, the conflict and structure needs reworking. 
Msimango proves to have a nag to write neat dialogue but sometimes we get thrown in beautiful lines and forgetting the conflict, the structure that would help with the anti-climax.

We need to pay more attention to writing and taking time to re-writing plays, and this means having a culture of mentoring plays. I strongly think the script needs more drafts.

I felt that it was a bit to much to use live musicians, it didn't help the play instead it felt like a second play. My suggestion would be trust the actors, use the actors body let them be the story. We need two of them on stage kuphela! 

I know as theatre makers we get caught up in trying to be fresh but sometimes the piece works well in its simplest form. No gimmicks, No drums just the actor's voice and body. Trust that more.

I urge Durbanites to watch the play, it was refreshing to see actors playing and diving. Durban needs this, the play is 50 minutes long. Well done to everyone involve. 

Tickets R60

31 May - 02 June

Square Space Theatre

18:00

Thoughts about 'how Long'

With this post I am not bashing anyone or intending to disrespect anyone but I am mainly responding and reflecting. Nor what I say or write intends to offend anyone.

There is a huge difference between hopes and expectation. And last night I had high high high expectations and I truly didn't expect anything less because of who Bab Gib was to black theatre makers. He discovered a lot of South African icons.

He nurtured a lot of Icons we celebrate today, icons that are fearless, talented and daredevils. Some of them were in the audience, and most black theatre makers are influenced by his myth. I think most black theatre makers can't go around Gisbon Kente like most Europeans can't go around Stanislavsky, grotovsky and Peter Brook. He was a king of township theatre, a business man. He was a money maker.


I just want to say that the expectations were unbelievably high.

Bab Gibson Kente's work was not only about a beautiful voice, it was about emotion, audience and the social injustices. But there was something else, the actor cocooned the audience's emotion. One of the amazing things I have heard about him was that he knew how to work the actor to work. Body fit. Articulation perfect. Every word mattered. Every syllable had life. Every breathe had its place in an actors'body.

Stage presence always had to go hand in hand with alertness and being present, being in the zone. Eyes should shout, teeth, lips, tongue and the whole flipping mouth should work, the whole body sings.

'How Long' was produced 45 years ago and it was never done again. This was way to long. So you can understand the need and excitement to see this work on stage. It is bound to be emotional.

"How long" is a story that focuses on a dustman, Thwala played by who is battling to find enough money to keep his son Afrika in school, especially since he has successfully passed the JC exam. However, Africa does not have a passbook and this is a serious offence in the eyes of the police.

I won't talk about how weak the script is because this is our archived script there is no rewrite, there is no fixing, this is our history. Take it and Love it as it is.


The play is set in Soweto 1972 written by Gibson Kente directed by Bab Duma Ndlovu.


Bab' Duma Ndlovu is an interesting, pivotal figure in the industry.

The only theatre show by Bab Duma Ndlovu that I have seen is 'The game' Which was an excellent piece of theatre, for what it was. But honestly that was the only theatre piece I know by him, I'm not really familiar with Bab' Duma Ndlovu's theatre work that much. I wish I could.

I salute and respect the opportunity that Bab Duma Ndlovu and the playhouse theatre has given the audience of Durban. For this musical to be revived and celebrated. Indeed this is a great timing for the country. I also personally think it's good for high schools and primary schools to know about Gibson Kente's work. That is why I concur with a lot of friends that have said 'when you do Gibson Kente do it well and really well.'Especially for those who had no idea who Bra Gib was.


So perhaps now you're curious about what I saw last night.


Last night felt like an amateur sketch music play. I don't know what I saw last night, oh wait I might have seen singers just singing, dancers who were competing with each other, it felt like an audition choreography. "Ngifuna bangibone kinder dancing." messy, messy blocking, walking in, stand walk in, let's mime and pretend as if we talking, let's use our hands, lets mime again, oh lets laugh again oh! the cue is coming, let's move to the position of the next dance piece. The scene to scene transitions were to messy like my Afro in the morning and to many- if not trillion black-outs.


Beautiful music was just that beautiful. No emotion, no colour, no rawness just actors on stage using their gimmicks. I know, I will get into trouble because of what I'm saying.


But this is just my two cents thoughts, and my truth---go for yourself and watch it. And experience it for your self. I wonder whether during rehearsals did the director invite actors/dancers/proteges of Bab Gibson Kente that have worked with him to inspire and master-session-class the company about how it was done. Maybe it's because of the first night premier nerves, maybe, maybe not, however I do not think the blocking, the set, the light, the rewriting of the script is nervous as well, or is it?


Baba Gibson Kente 's work does not only entail a beautiful voice I'm really young and I have so much respect for people who have paved and weaved a way for me in this industry to even understand the body on stage.


Baba Gibson Kente is hailed as the father of township theatre. I always wanted to understand that, to see his work live on stage. But what an utter disrespect to people that knew his work, worked with him, studied his work, took his work as breathing and I hope last night would have been a night of excellent but unfortunately it was not. I cannot speak of the director's choices, as an audience, a theatre maker and a human being with feelings, I sat there on the third row, I had good seats by the way, I constantly felt there was no need to try contemporaries.(Is that even a correct word to use?)


I say this because already the audience makes it contemporary enough, the orchestra makes it contemporary enough, the actors were contemporary enough, the stage was contemporary enough, the light were contemporary enough. So please respect the script as it is, and the music as it was and those are just my thoughts.


Lastly, I want to mention two actors astounding performances by Nqopho as Nyakanyaka, and Mama Thembi Jones Mtshali. Nqopho held it together his character was consistent and believable. His timing was on point he engaged with the audience, he allowed and played with the audience. Mama Thembi Jones Mtshali just by walking in she knows the audience, I loved how she supported the young actors and goodness lord almighty she has an amazing uplifting, full of emotion kinder voice having said that, I do wish she could have sang more especially the scene at the bus stop. What a powerful moment! The light there is excellent.


To close off, I am not the director of the show, therefore I have no idea what goes on or went on, but I guess the director had his vision and I was taught to respect that. Believe me I do. But you only know this if you finish reading my reflection post. 

5-27 May 2018
Tickets R100-R150
Opera Theatre The Playhouse

Image Val Adamson