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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The Mysteries
Sadler's Wells
3 - 8 March 2003
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.
Maya Lester
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