National Arts Festival: Day 4 Fringe roundup
The pilgrimage has been made, The Critter has arrived. Makhanda is cold but the bodies are warm. We’re probably not going to provide traditional long reviews, but will provide a roundup of shows seen during the day, such as this one. Yea gods, there are among us those who can sing.
Midnight in Pyjamas: Some incredible voices in this University of Zululand production. The student who launched into the first couple of verses of the Love Theme from Baz Luhrmann’s Romeo and Juliet raised goosebumps. No sound desk, no mic, yet she sounded better than Des’ree. A voice to launch ships, she has.
The show’s overall concept, in which a theatre company is imprisoned by the state’s Byzantine arts funding requirements, could not be more pertinent given the joke that is our current arts minister and the shambles of the funding institutions over which he presides. They could, and should, go further though, and lean into satire rather than flirting with it.
The Rehearsal Room in the lower levels of the monument is well used, filled with what seems to be the entire drama department’s graduating cohort, resulting in some delicate choreography. They were let down on the finer points of acting, though: enunciation, pacing, timing, and emotion. Also, the snippets of mime were excruciatingly bad. These are things commitment and enthusiasm cannot overcome. Nonetheless, these students present a rousing work that makes any lover of the arts want to stand up and protest alongside them.
Still showing on 30 June at 8.30pm; and 1 July at 4pm.
Nina – The High Priestess of Soul: The piano playing was clean, controlled, and technically impressive — creating a strong musical foundation for the enormous emotional, historical, and musical significance of Nina Simone’s story.
However, having recently watched Brenda and I (which had its last performance this morning), I found myself underwhelmed by the overall performance. The storytelling lacked depth and emotional connection, and the vocal delivery often felt flat. There were moments when the emotion seemed forced, with some unnecessary whining rather than genuine vulnerability.
Showing on 30 June at 8.30pm; 1 July at 2pm; and 2 July at 4pm.
Pantsula: This is a story of a pantsula finding and meeting the love of his life. While this is the central narrative, the storytelling is not always convincingly communicated, and at times one almost forgets that it is, in fact, a love story. This may be due to the production’s multiple layered themes and subtle messages, including the dialogue around what constitutes a “real” pantsula, and the distinction between old-school pantsula culture and its contemporary expression. The set effectively captures the atmosphere of a typical kasi street, reflecting the everyday chaos and vibrancy of township life.
Showing 30 June at 2pm;1 July at 8pm; and 2 July at 2pm.
My Long Lost Father follows the journey of a young man searching for his father, with the hope of also discovering a family. His father’s rural relatives doubt his origins and question his intentions, but through a dream dreamt by his younger sister, he finds himself compelled to prove his true identity.
The work makes beautiful use of the Xhosa language, enriched with music and dance. What struck me most was the use of Isidubada (a coded dialectic of isiXhosa ) employed theatrically to evoke the life of a Xhosa village. The script plays delightfully with language, and I found myself thoroughly enjoying its inventiveness.
At times, the performance leans toward melodrama, but this stems from its heightened text and idiomatic language. The young cast demonstrates talent, and I left feeling entertained, and impressed.
One show left on 30 June at 2pm.
Panik Mechanik: There were only two of us in the seats, yet this stand-up comedian carried the room with the charm and confidence of a true professional. I feared the experience might be awkward or cringe-worthy, but instead I found myself genuinely laughing.
The moments that resonated most were when he spoke truthfully and sincerely about his hardships. I could relate to his struggles, and he skilfully uncovered humour within his own tragedies. His material felt authentic, and his interaction with us two audience members was nothing short of remarkable.
On again on 1 July at 11.30.
All Protocol Observed: Conceptually good satire on politics, power, and corruption, including a commendable performance by one of the large cast as an AI robot ensuring protocol is indeed observed. There are great costuming and clowning choices, and one member of the cast who releases a voice that would make Pretty Yende take note. But puzzling musical choices and shambolic choreography made the show feel like an unsuccessful first dress rehearsal, which was a real pity.
Showing on 30 June at 8.30pm; 1 July at 6.30pm; and 2 July at 10am.