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Author
Mark Dornford-May
Author
Charles Hazlewood
Producer
Spier Festival
Company
Director
Mark Dornford-May
Musical director
Charles Hazelwood
Performers
Siyabulela Bede
Lungelwa Blou
Nolunthando Boqwana
Bongani Bubu
The
Queen's
Theatre Production
Directed
by
Mark
Dornford-Yates
Music
Charles
Hazlewood
Choreography
Joel Mthethwa
Designed
by
Mark
Dornford-Yates
and
Dan Watkins
Deus/Jesus
Vumile
Nomanyama
Lucifer
Andries Mbali
Noah/Annas
Sibusiso
"Otto" Ziqubu
Abraham/Judas
Steven Hicks
Virgin Mary
Pauline
Malefane
Elizabeth'angel
Pauline Du Plessis
Noah's wife/Mary
Magdalene/angel Ruby
Mthethwa
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Sadler's
Wells
3
- 8 March 2003 |
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This fascinating
interpretation of the Mystery Plays
– the stories of the Bible –
is unlike any other. Performed in
Zulu, Afrikaans, English and Xhosa,
each performer speaks in his or her
native language. Contrary to what
one might expect this does not matter
at all but adds to the richness of
the production. The music, a combination
of ancient and modern, is taken from
those same four sources. This means
it is predominantly vocal, the few
instruments used are simple drums
or pipes, more often bits of scrapyard
metal. The performers who are not
immediately involved in a scene sit
around the edge of the stage playing
or singing and occasionally adding
spectacular sound effects –
the snake hissing, birds flying overhead,
the crack of a whip.
This is more opera than dance. The
voices are incredible – from
deepest bass to gentle soprano they
create an atmosphere that is one minute
exuberant and joyous and the next
poignantly moving. The duet between
Mary and Elizabeth is particularly
beautiful. And the jokey rendition
of 'You are my Sunshine' and the quiet
humming of 'Silent Night' great fun.
There are a few gaps in the story
but, even as one who is not exceedingly
well-versed in the Bible, it did not
bother me in the slightest. All the
important elements are there in abundance.
There are some wonderful performances,
many in multiple roles, the entire
cast being cross-talented. Vumile
Nomanyama is an impressive Deus and
Jesus, reminiscent of Robert Powell
in Jesus of Nazareth only by virtue
of the fact that he doesn't blink
– but that was a film. It gives
him an eerie presence and power enhanced
by his natural charisma. Sibusio 'Otto'
Ziqubu is a hilarious Noah teasing
his stubborn wife; the simpering Joseph
(Andre Strijdom) transforms into a
powerful Pilate; and one has to feel
sorry for poor Andries Mbali a rather
reluctant Lucifer, splendiferous,
after he has burned in Hell, in wrinkled
red leather.
The use of props and scenery is very
inventive, there are nice little touches
and stunning visual effects. As Jesus
and his disciples gather for the last
supper a huge sheet turns into a perfect
table stretched from one end of the
stage to another; when God punishes
the fallen angel real flames shoot
up to the sky and Lucifer is thrown
into them (or so it seems); when Peter
denies Christ and the cock crows it
is Lucifer who is crowing. Most moving
of all is the moment after Jesus's
death on the cross. Centre stage,
the cross supported by ropes held
by four men, Jesus's body falls forward
and as he is untied and taken down,
the heavens open and rain falls on
his back glistening in the golden
light.
With gloriously coloured costumes
and a great variety of body shapes
the set is alive from the second you
enter the theatre until the final
curtain. You are swept up in their
enthusiasm and taken on a journey
that you are reluctant to finish.
What a refreshing escape from the
real world.
Francine
Brody
A Wilton's Music
Hall Production
The
Queen's Theatre
26 February
- 18 May 2002
This jubilant,
funny, moving, ecstatic explosion
of song, dance and theatre –
performed in a melodious mixture of
Xhosa, Zulu, Afrikaans and English
– reprises the Mystery plays
which told Bible stories to illiterate
believers in medieval times. The exhilaratingly
energetic South African company starts
with Genesis and ends with the Resurrection
– leaving an immense gap between
Abraham's near-sacrifice of Isaac
and the Virgin Birth. God assumes
the athletically dignified form of
Vumile Nomanyama, whose majestic presence
is opposed by a convincing and witty
Lucifer, played by Andries Mbali.
After his success in Eden with a steatopygously
naked Eve, Lucifer is reduced to prowling
the stage in almost-impotent but amusing
malevolence. But then, the Mystery
cycles predate Milton, Lucifer's most
sympathetic poet.
"Otto" Ziqubu's
Noah is hilarious, as is the recalcitrant
Mrs Noah, played by Ruby Mthethwa.
There is masses of comic ability in
the company throughout, but what is
most extraordinary about the production
is the sheer volume of talent displayed
in the arts both of voice and dance.
Singing of great sweetness and power,
and dancing of the beautifully instinctive
kind familiar in South African tradition,
make one long to hear and see more
of both – and the evening proves
far too short for the sheer pleasure
given. The most touching moment of
song occurs when Pauline Malefane's
Virgin Mary and Pauline Du Plessis's
Elizabeth sing together about impending
birth; the most ecstatic ensemble
singing and dancing comes as the climaxes
to both halves of the performance.
In all, it is wonderful stuff.
One supposes
that the original Mystery cycles had
serious intent, and perhaps this rendition
of them does too, for those inclined.
For those not inclined, it is evident
that the myths and legends of the
Judaeo-Christian tradition are sometimes
compelling, and often entertaining,
purely as narrative; which in part
explains their hold over people who
either did not have, or do not know,
other (and sometimes better and less
tendentious) narratives elsewhere
in world literature. In this production
the mythic quality of the tales is
given full rein, and the result is
great theatre, and great fun.
AC Grayling |
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