Review of Mine Boy By Caroline Smart

REVIEW FOR ARTSMART

© Caroline Smart (editor of artSMart) http://www.artsmart.co.za Date: June 21, 2014

(031) 2616036 csmart@iafrica.com 082 892-3959

 

MINE BOY

Stable Theatre: June 21 to 24

 

 

Co-directors Roel Twijnstra and Jerry Pooe have created a hard-working and energetic team drawn from varied levels of ability and experience to present the first musical adaptation of Peter Abrahams’ ground-breaking novel, Mine Boy.

 

Mine Boy is a collaboration between the Wushwini Arts and Heritage Centre, the drama department of the University of KwaZulu-Natal’s Howard College campus and Stable Theatre. The cast is made up of independent artistes, members of Eager Artists and UKZN students.

 

Written in 1949, it was one of the first books to look at the conditions of blacks in South Africa a year after racial segregation was introduced. Roel Twijnstra, who is also in charge of set and costume design, adapted the novel and has portrayed the humour, noise, chaos, anger, passion and resilience of the times.

 

The leading character is Xuma who leaves his home to travel south to Johannesburg to find work. He is unfamiliar about city ways but soon learns what it means to have a black skin. He is taken in by a shebeen queen, Leah, who steers him towards her niece, Eliza. Forming a love triangle is the loyal Maisy.

 

Xuma finds work on the mines. He is good at his job and builds up an amicable relationship with his boss. A mine disaster unites one and all in a fever of resistance.

 

Heading the cast as Xuma and Leah are Tafi Hanes and Philisiwe Twijnstra who both deliver consistently strong and articulate performances. Philisiwe is particularly memorable in this role which reveals her skills as an actress, singer and dancer.

 

In a production that has some highly dramatic effects, other notable performances come from Sxaxa Henema, Chuma Mapoma, Nqobile Mthemba and Chris du Plessis.There are some vibrant dance sequences choreographed by Sifiso Majola together with the cast. Design and video projections are by Doung Jahangeer, photographs by Dean Hutton.

 

Most theatre venues have their challenges, especial those which have been converted into performance spaces - ie too big, too small, too wide – all of which impact on the acoustic value. Stable Theatre is a former disused electrical warehouse turned into a theatre space by the late Kessie Govender. The roof is extremely high and the walls are bare brick, all of which impacts on the acoustics.

 

Performers need to take this into consideration and ensure that their diction is clear and projected, which wasn’t always the case in Mine Boy. Another problem is that while the vocalised reactions from the ensemble are full of energy, they often drown the speech of those performers carrying important dialogue.

 

The actors also need to “find the light” – in terms of placing themselves or lifting their faces to the available light otherwise facial expressions and moods are lost.

 

Mine Boy runs at Stable Theatre with performances for the public tonight (June 21) at 19h00, tomorrow (June 22) at 15h00 and June 24 at 19h00.

 

Performances for schools take place on June 23 at 10h00 and 12h00 and June 24 at 10h00. Tickets R50 (R35pp for schools).

 

All bookings are through Stable Theatre on 031 309 2513 (office hours) and tickets will also be available at the door. – Caroline Smart

 

Performances at the Elizabeth Sneddon Theatre will run from September 26 to October 5. This production of Mine Boy is made possible through generous support from: KZN-DAC, City of Ethekwini, UKZN and Santam.

 

Tafi Hanes and Nqobile Mthemba pic by Val Adamson

BLACKOUT: Review of HAVE WE BEEN HEARD?

BLACKOUT: Review of HAVE WE BEEN HEARD?: Review of Have we been heard? Lethulwazi Zinosa Productions presents   Have we been heard?  written and directed by the veteran actor Bhe...

Review of HAVE WE BEEN HEARD?

Review of Have we been heard?

Lethulwazi Zinosa Productions presents Have we been heard?  written and directed by the veteran actor Bheki Mkhwane. Have we been heard? is the show awaited patiently by Durban audience, it is the highlight of this weekend. I myself was interestingly beholding my enthusiasm and curiosity. Its been a while since i witness such excitement amongst ordinary people,theater lovers and artist even politicians.

The play traces back the political ideas and conflicts that ruled the lives of communities in the township in the 1980s.The set is made up shacks and a town hall used as a church, the setting sets you back to a township lifestyle, the stage opens up with a dance piece, leading to young school girls playing in their school uniform, the tone of this scene is playful and light prepares you for a disastrous outcome. We are introduced to a drunkard guy played enormously by Hamilton Dlamini he ends up dead early in the scene this emphasizes the cruelty of the struggle in apartheid regime of that time.  

Have we been heard? had only one night performance in ICC ARENA, the cast is made up of well known faces in the industry (Thembi Mtshali-Jones, Hamilton Dlamini, Bhekani Shabalala,Fikile Mlomo and Celeste Ntuli.) The show is accompanied by a live band with musicians like Lu Dlamini,Khanyo Maphumulo and thirty-five beautiful synchronized dancers who profuse unabated detail and energetic dance choreography .

Although  it was Wiseman Mncube who played Lunga a notorious influential comrade leader and Musawenkosi Ntuli who played Zwelihle a heartfelt, peace driven comrade leader they complimented each other and both oozed brilliance and delivered a breath taking performance they relived and took me to a journey of apoplectic and enigma. Bhekani Shabalala's mannerism on stage is on point, his comic timing salutes the talent he has, it was such a release of laughter and joy to watch him.

Having said that the pitfall of this show was the choice of vanue, ICC is not acoustically designed for a theater piece therefore it did not  enhance the greatness of the show. The sound was not audible when dialogue was delivered only when they sang it was loud even to loud.

Hence overall i personally enjoyed it, i sang along and was mesmerized by Durban talent, i hope to see Have we been heard? tour and share our story all around the country.

Review by Philisiwe Twijnstra

 

BLACKOUT: Swallowed.

BLACKOUT: Swallowed.: Review of Swallowed A collaboration between Zimbabwe and South Africa presents a  thought provoking workshopped piece  directed by Roel ...

Swallowed.

Review of Swallowed

A collaboration between Zimbabwe and South Africa presents a  thought provoking workshopped piece  directed by Roel Twijnstra and Daniel Maphosa inspired by  an idea instigated by Jerry Pooe.Swallowed is a made up of five actors(Bongumusa, Shabalala,Musawenkosi Shabalala,Nhlakanipho Maphulo,Ted Mangawa and Tafadso Hananda.)

Swallowed is a play about greed, power and land ownership. It is looks like its influence by Antonin Artaud's theatre of cruelty yet with lot of humour and light comedy watching this piece makes you shatter in your own primal honesty. It starts off with five actors standing skilfully focused in a focal point to the audience. They are working as miners and the rocks suggest that.

 The story unfolds a relationship of two friends which one of them is engulfed by greed and power when he pockets the diamond they found for himself . He becomes swallowed, and forgets his friends. He becomes successful and rich while his friends still struggle. At  the end they capture Goso played beautifully by (Musawenkosi Shabalala,) they cut him open because they think he has swallowed the diamond, they take out his insides in a grotesque scene using real cow intestines, kidneys and liver yet still they don't find the diamond.It was (Ted Mawanga) that delivered an engaging performance with slightness of humour.

This piece is still work in progress which its impressive work shows potential and there is room for growth. The actors had only a week to put this together having said that actors could pay more attention to taking time and not rush.Swallowed is suitable for a mature audience. I must say Iam excited for this play.

Review by Philisiwe Twijnstra 

from left to right:Tafadso Hananda,Bongumusa Shabalala,Ted Mangawa and Nhlakanipho Maphumulo

Photo by Roel Twijnstra

A minute with Zethu Dlomo

IN THEATRE OR FILM WHO IS YOUR MOTHER AND FATHER?

 I don't have a theatre/film 'mother' or 'father'. I feel that doing that would inhibit me in one way or another. It is great to work with different people of different ages and different experiences because you learn more. Caging yourself to one or two particular actors or practitioners will make you focus on just the experience they have. There's a big world out there, and many actors and drama practitioners and teachers to work with and learn from, and create beautiful work with.

WERE YOU TRAINED? WHERE?

Yes I was. I started my drama training in high school. I went to National School of Arts from grade 9 to Matric. And then continued on to study at Wits University where I completed my BA(Dramatic Arts) honours degree.

DO YOU REMEMBER THE HOUR YOU DECIDED TO BE AN ACTRESS?

Not the hour lol! But I discovered my passion in 1999 when I joined the drama club in primary school. I was in grade 5. And I enjoyed it, it seemed so natural to me, and when I found out that it can be a career, I knew exactly what I wanted to be.

TELL ME ABOUT YOUR EMBARRASSING MOMENT?

Hahaha! I don't remember embarrassing moments. I crtl-alt-delete them from my memory. Lol!

WHAT DO AUDITIONS MEAN TO YOU? AND HOW DO YOU PREPARE?

Auditions are try-outs. They not my favourite thing but they are necessary in the industry. The mistake many actors make regarding auditions is that they want to show the casting director what they think the casting director wants to see. That messes with your confidence because you end up second guessing yourself, increasing the nerves and blunder you audition. Instead give thought to your character, show them what you understand and what you think the character should be. This decreases nerves & u have more confidence in your performance. Being nervous doesn't help the situation, but nerves can be channelled into the right energy.

ANY DIFFICULTIES YOU FACED IN THIS INDUSTRY?

The greatest difficulty is when one goes on for months without work. Besides the fact that money would be an issue, it is the fact that you're not working, not being creative, not playing that drives you mad. But then again you don't have to be jobless as an actor, as long as you are a creative thinker you can create your own work.

WHAT IS YOUR FAVORITE CHARACTER YOU EVER PORTRAYED?

Every character is special in its own right. Every story is unique and to be respected individually. I've had fun with character because they are different. I've had fun even playing an extra. Each character creates a unique experience, so I can't say I've had one favourite character.

FILM OR THEATRE?

These are two very different mediums, and are both strong in their own place. There are things that film can do which theatre can't and vice versa. So I say both.

WHAT WOULD YOU SAY TO YOUNG PERFORMERS?

If you got the true passion for performing, then don't be afraid or discouraged to get an education in it. Get training. You can spot the difference between a trained and an untrained actor. Be open to learning and receiving constructive criticism. And know the difference between constructive and destructive criticism because that could be the difference between nurturing and destroying your dreams.

WHAT DO YOU HATE ABOUT YOUR WORK?

I don't hate anything about my work, coz I love what I do. Yes there are things that I don't like, like working 12 hour days everyday for 6-8 weeks, you get exhausted when working too hard. Or I don't like those moments when creative juices dry up & exhaustion takes over, not a fun space to be in. But even those moments are in their own right necessary, because work gets done. And when performing & doing what you love, you feel it, but don't really feel it. You feel me? ha ha ha.

IS IT A CAREER OR A HOBBY?
It is definitely not a hobby. This is my career.

A minute with Jolanda Spoel

In theatre who is your mother and father?

I have two fathers and one mother, David Greaves sadly he died of Malaria in Ghana, he was an English director from England, he mostly with young people, he believed in young talent. John Leerdam is also my father in theatre he gave me my first opportunity, he gave me a job which it was a big responsibility given to me he had so much trust in me, back  then in Holland black female directors were rarely scarce like in South Africa.

Where is John Leerdam now?

Now  he is in politics yet he gave me a hand to start off. Nita Lim is my mother in theatre she is a choreographer she was the partner in arts of David Greaves in a company called "Artisjok Nultwintig" we made a lot the shows together, she has worked in a show as a choreographer with Roel Twijnstra in a show called "No Kidding"

When did you develop your theatre identity?

Talent Development  is a popular word now, when I was young there was no such thing as talent development old, 16-17 years ago that word didn't really exist. I feel and know that my work has brought the idea of 'give chance and opportunity' to young people without a degree in the arts to another level. We created theatre for young audience and by youngsters, it  was in some cases made up of both amateur and professional talents.

Why did you go for the combination of amateur and professional?

There was a gap between amateur and professional in the industry, amateurs were not considered mainstream and they were not taken seriously I believe they can bring a lot to the table. I do not believe so much in high culture versus low culture. I believe in shaking things up a little, other than that I also took the colour-blind approach to castings my plays in terms of cultural diversity.

Shortly describe how your identity grew?

Iam  known for 'talent development, colour blind casting . I look also look at society things that happen around me and im socially involve.

Who did you train and influence?

80% of young cultural diverse people in theatre met me somewhere, its a rewarding feeling when someone says im their mother in theatre sometimes we are more or less the same age so they would say im their older sister in theatre, its the young people that remind me why I do this in the first place.

What was your embarrassing moment?

(laughs) wow !mmm... I have a lot, oh yeah it was during a show I co-directed with Roel Twijnstra when one point an actor dislocated his shoulder on stage, another actor slit his chin and blood was dripping everywhere it was horrible, two days later Nicole who was our PR manager who was sick that weekend didn't hear anything about what happened on the show , she decides  to send a reminder  mail  to the theatre  critic  and ask for the review, the critic review says well I thought I was not going to write it but if you insist I will. And so she did...  lets just say we had better reviews. Nicole comes to work and says I did some work while I was at home I sent an email to the reviewer to remind her for the review and her reply was weird. And I was like oh no Nicole didn't you what happened Saturday, the critic was doing us a favour by not writing one ...that was embarrassing!

What was your favourite character you created?

Characters from real  life or were alive I want to tell their story with an artistic twist.
Maya Bradaric: a teenage girl murdered by her friends. The show and her portrayal  put a smile to his friends and parents faces. The actress  who portrayed Maya was an amateur but felt and gave great justice.

Regilio Tuur: a successful boxer  with anger management problems beat his girlfriend twice almost became the Dutch version of Mike Tyson. Regilio Tuur loved the piece which at first I feared he didn't {he said I managed to portray thing the way he did,}. It was magnificently  portrayed by Raymi Sambo


Any final words?

Talent is good, lets treasure it and embrace it.