{"id":2390,"date":"2017-09-18T22:11:32","date_gmt":"2017-09-18T20:11:32","guid":{"rendered":"http:\/\/thecritter.co.za\/?p=2390"},"modified":"2017-09-18T22:11:32","modified_gmt":"2017-09-18T20:11:32","slug":"capetownfringe","status":"publish","type":"post","link":"https:\/\/thecritter.co.za\/?p=2390","title":{"rendered":"Cape Town Fringe ’17: The Critter’s festival guide"},"content":{"rendered":"

\"\"<\/a>We know you love our fringe guides.<\/p>\n

We love writing\u00a0them. So, for your ease and pleasure, here it is. We\u2019ve scrutinised the Cape Town Fringe Festival 2017<\/a> programme and whittled down their impressive offering to some (just some!) choices, with a sprinkling of \u2018advice\u2019 here and there.<\/p>\n

Choice is what the fringe producers supply this year. 44 theatre productions, 18 music shows, 16 comedies and 16 productions which fall under dance, visual and physical theatre, 5 family shows, and 3 magic and illusion shows\u2026 all spread out across 13 Cape Town venues<\/a>.<\/p>\n

Lekker.<\/p>\n

Sjoe.<\/p>\n

Where to start?! you ask. Well, have a little look-see at what we\u2019re eyeballing this year based on our previous watching of a performer\u2019s or director\u2019s or a company\u2019s work. And see if this humble selection tickles your performing-arts-viewing fancy.<\/p>\n

There\u2019s plenty of new stuff on this year \u2013 works we haven\u2019t seen at the National Arts Festival or elsewhere yet\u2026 so we\u2019re as excited as you to see what the fringe artists are conjuring up.<\/p>\n

Ready? Taking notes? Let\u2019s go! (For this fringe guide, we\u2019ll break it down by genre, to keep ourselves fresh, you know.)<\/p>\n

The ones with jokes, and (promises of) laughter:<\/strong><\/p>\n

The Book Detectives<\/strong><\/a>
\nThe Book Detectives<\/em> sees comedy duo Westley Cockrell and Stuart Cairns investigate a murder committed in Fairy Tale Land. It promises to be wacky and offbeat and possibly nonsensical, oh ja, and funny. \u2018cause it\u2019s a comedy.<\/p>\n

Critter Steve reviewed these two actor-comedians\u2019 other show The Plothole<\/em> (read here<\/a>) at this year\u2019s National Arts Festival (NAF), of which he said \u201cthey\u2019re actually quite funny. In a dry, ridiculous sort of way.\u201d So there you have it.<\/p>\n

Butlers and Bloopers<\/strong><\/a>
\nThe Butlers team are bringing their Butlers and Bloopers<\/em> instalment of the franchise, much to the delight of those seeking frivolous and fun entertainment. The Critter attended a past instalment,\u00a0Butlers and Broadway<\/em>, which had \u201csome of the worst stage deaths and character stereotypes I\u2019ve ever seen but even I found myself laughing\u201d (read review here<\/a>).<\/p>\n

The ones that are physical, with lots of moving:<\/strong><\/p>\n

Access Me<\/strong><\/a>
\nTwo years ago I saw Unmute Dance Company at the National Arts Festival in Unmute<\/em> (review here<\/a>). That piece dealt primarily with what the company says they\u2019re about: inspiring inclusion of people with disabilities within society, through the arts. Unmute<\/em> was impressive, but I felt then, a more convincing performative connection to the acrobatic movement was needed.\u00a0Access Me<\/em> is about \u2018accessibility or the lack thereof\u2019 drawn from the performers\u2019 personal stories. Which should create that previously lacking connection. Either way, audiences are in for a challenging work.<\/p>\n

Doda<\/strong><\/a>
\nMusa Hlatshwayo presented Doda<\/em> as part of a double bill, Kubili (2)<\/em> at this year\u2019s NAF (where it won a Standard Bank Merit Award. I liked the relationship between the first part which centred on women and part two (Doda<\/em>) which focused on masculinity (review here<\/a>) so it\u2019ll be interesting to see how Doda<\/em> works as a standalone piece. Also, Hlatshwayo and Sbonelo \u2018China\u2019 Mchunu are excellent dancers and performers.<\/p>\n

Let\u2019s Eat Hair<\/strong><\/a>
\nLast year Vukallective gave us Era<\/em> which we were mostly keen on. I said, \u201cConsidering their brave choices in Era<\/em>, and their clear working to create a distinctive voice, Vukallective will be an interesting group of young artists to watch\u201d (read more here<\/a>). So yeah, let\u2019s watch what they\u2019re offering in the nausea-inducing oddly-titled Let\u2019s Eat Hair<\/em>.<\/p>\n

One Big Blink<\/strong><\/a>
\nWith a ‘fragile performance collage’ Nomcebisi Moyikwa is back at the CT Fringe in a collaborative work with Mlondiwethu Dubazane. Dubazane performed in Moyikwa\u2019s work Waltz<\/em>, which took The Critter \u201con a genuine journey with people whose humanness is revealed and felt. Waltz<\/em> asks us to be accepting; asks us to open up to possibilities. A future where sexual and cultural and political and religious differences elicit no negative reaction. A dream? Sure. But why not?\u201d (read here<\/a>). We also get to see Moyikwa\u2019s sensational moving in One Big Blink<\/em>, which is reason enough to see it.<\/p>\n

Phefumla \/ To Breathe<\/strong><\/a>
\nPhefumla \/ To Breathe<\/em> uses the cast\u2019s personal stories to create a work dealing with gang culture. This work is from the same director (Thando Doni) and cast that gave us Ubuze Bam<\/em> at the NAF 2016. The Critter reviewed: \u201c[The\u00a0actors] supply a morality lesson of a different kind: actual truth. It\u2019s worth taking the time to hear what these marginalised voices have to say \u2013 they\u2019re not trying to say crime isn\u2019t the individual\u2019s responsibility and they\u2019re not shifting the blame. What they do is shift the conversation and understanding around crime, being criminal, retribution and reconciliation and rehabilitation.\u201d (review here<\/a>).<\/p>\n

Rock to the Core<\/strong><\/a>
\nMamela Nyamza writes and directs. Her work is complex and it\u2019s intense. Read what we\u2019ve said before on Wena Mamela<\/em> here<\/a> (when I first encountered this extraordinary artist) and on last year\u2019s De-Apart-hate<\/em> here<\/a>. Undoubtedly, this work will be provocative and hardcore.
\np.s. Chuma Sopotela performs (see The Holy Plan B<\/em>\u00a0further below).<\/p>\n

The ones with story lines (usually), and lots of talking:<\/strong><\/p>\n

The Alchemy of Words<\/strong><\/a>
\nDryfsand\u2019s new work is an interdisciplinary \u2013 puppetry, film, music, and sand art \u2013 immersive work inspired by the diverse imagery of Arthur Rimbaud\u2019s poetry. We\u2019ve reviewed their work Kontinuum<\/em> here<\/a> which was a \u201c\u2026rare and beautiful find \u2026 Atmospheric, surreal and evocative\u2026\u201d. We are keen to see The Alchemy of Words<\/em>, oh yes.<\/p>\n

The Blue Period of Milton van der Spuy<\/strong><\/a>
\nThe Critter is a fan of Greig Coetzee\u2019s plays. Yep, here<\/a> on Blood Orange<\/em>, here<\/a> and here<\/a> on Johnny Boskak is Feeling Funny<\/em>. And again here<\/a> on Termite! Tall Tales for Big People<\/em> which Peter Mitchell directed. Critter Steve said he \u201cputs these two fantastically energetic actors through their considerable paces to deliver a rollicking piece of theatre that is a lag for all\u201d. Mitchell directs The Blue Period of Milton van der Spuy<\/em> so we\u2019re sure to have a good one here, we reckon.<\/p>\n

The Champion<\/strong><\/a>
\nNo doubt The Champion<\/em> has grown and developed over the last few years, from when I first saw it at the Cape Town Fringe in 2014. Back then I said \u201cThe power is in the story \u2026 Khayalethu Anthony has written a poignant, painstaking work, presenting unique perspectives on certain topics: the role of the mother, retribution, breadline poverty. Debate will surely be stirred.\u201d (review here<\/a>).\u00a0Khayalethu Anthony starred in Holy Contract<\/em> at last year\u2019s CT Fringe, and although Steve wasn\u2019t convinced by the overall production he said \u201cgreat performances by the cast\u201d. (review here<\/a>).<\/p>\n

The Edge of the Light<\/strong><\/a>
\nThe Edge of the Light<\/em>\u00a0is a story of loss and perception and family relationships. We have raved about director Wynne Bredenkamp\u2019s work before here<\/a>\u00a0and about Andrew Laubscher\u2019s performance here<\/a>. The cast is completed by Sarah Potter, Margot Wood and Emma Kotze, so we’re betting this stellar team will deliver something special.<\/p>\n

The Holy Plan B<\/strong><\/a>
\nThe Holy Plan B<\/em> sounds fascinating: \u201ca demonic church turns holy\u201d. It\u2019s co-directed by Thandolwethu Mzembe and Chuma Sopotela. Sopotela performed in Oomasisulu<\/em> at the 2016 NAF and Critter Mike wrote, \u201cIndalo Stofile and Chuma Sopotela give lithe, punchy performances working like avatars, they are a vibrant foil to the dignified, encompassing presence of Mtshali-Jones\u201d (review here<\/a>).\u00a0Oh yes, and she happened to be in the much-lauded, exceptional Karoo Moose, for which she won Best Actress when it first hit SA stages a decade ago.\u00a0So, if her performances are anything to go by, expect powerful and lithe, punchy, vibrant touches in The Holy Plan B<\/em>.<\/p>\n

Steke<\/strong><\/a>
\nAlthough we haven\u2019t reviewed the piece yet, Critter Steve covered the Art Incubator\u2019s Trade Fair, held at the Market Theatre in June. Steke<\/em> competed, and actresses Boitumelo Mohutsioa and Saree van Coppenhagen won in the Best Female Performer category. Read what Steve said John Kani had to say about the groups at the fair, here<\/a>.<\/p>\n

Now, here\u2019s our \u2018Should Be Good\u2019 selection. We haven\u2019t reviewed these shows, but either have it on good authority they\u2019re good or their blurb promises good things.<\/p>\n