Fest Fringe Day 6 roundup
Enyobeni is our Fringe pick right now.
Enyobeni: Now we’re talking.
We are taken into the many homes of KuGompo, witnessing the lives of young, vibrant, mischievous, and daring students who have just finished their exams. The pinging phone becomes both a transition device and a symbolic representation of how deeply the youth are tethered to social media. A “Pens Down Party” is promoted online, and every teen is scheming their way to the groove; no matter the lies they tell to get there.
Each home is distinct, reflecting the diverse family structures that exist in a community marked by poverty, crime, and alcohol. Beer crates are transformed into theatrical devices, and the cast revels in their performance. Their joy is contagious, spilling into the audience.
When tragedy strikes, the play confronts us with the sobering truth: the systems surrounding these young people funnel them toward alcohol abuse, making it all too easy to lure them into a shebeen with free, spiked drinks. Dololo parents!
This performance pays tribute to the stolen lives of the children who died at Enyobeni, but more importantly, it exposes the deep wound of neglect our country has inflicted on its future generations. But this group gives me hope.
2 July at 8pm; 3 July at 2pm; 4 July at 10am
Isibane is a beautifully crafted music performance that showcases the remarkable chemistry of a talented solo songstress, Powerful, expressive vocals blend effortlessly with soulful piano playing, creating an intimate and emotionally resonant experience. Their original compositions are heartfelt, with lyrics that carry strong, meaningful messages that connect with the audience.
While the performance is engaging throughout, the musical writing would benefit from greater harmonic variety. Many of the songs follow similar chord progressions and remain in comparable keys, resulting in a degree of musical sameness across the programme. Introducing more variation in the harmonic language would add greater contrast and elevate the emotional journey of the show.
2 July at 4pm, and 3 July at 2pm
Kwanele: We follow Brenda, a 16-year-old who is grieving her mother, trapped with a controlling father, and brutalized by an abusive partner, Sipho, who is a policeman. This is never interrogated. What unfolds is not drama — it’s abusive porn. At one point, she’s forced to swallow a SIM card because of his insecurities.
For ten relentless minutes, we watch her kicked, beaten, and verbally assaulted. When she reports the crime, the very system meant to protect her shields the officer instead. Every character surrounding her is a man. Imagine!
This play fetishizes violence until it becomes the only theatrical device left. Scene after scene, the focus is on men abusing Brenda, not on interrogating the structures that enable them.
3 July at 12pm and 8pm; 4 July at 2pm
Duncan Village Massacre: An enthusiastic cast whose passion and talent are evident throughout the performance, revealing considerable potential. The story is engaging, and the vision behind the production is clear, but the execution requires further development. The actors would benefit from focused voice training, as excessive improvisation and ad-libbing often slow the pace and distract from the central narrative. While the performers possess genuine ability, the production would greatly benefit from experienced facilitators and stronger directorial guidance to shape the material, tighten the storytelling, and channel the cast’s energy into a more disciplined and impactful performance.
Catch the last show today, 2 July, at 2pm
The Rise Of Nkosi Jongumsobomvu Maqoma: An epic and beautifully presented production with strong ensemble work, excellent musicality, and powerful stage energy. Some issues with set design but it is a captivating performance.
2 July at 4.30pm, and 4 July at 2pm