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.