Dare there be another Sunday...

Theatre
Production: Next Sunday
Date: 14 - 27 May
Guest: Fungai Tichawangana

I'm not sure what I was expecting. To be honest with you, the experienced arts journalist in me, who's been covering theatre among other things for years was thinking, "let's give this a chance", rather than, "this is going to be exciting". A little shallow and arrogant in hindsight, I must say.

I went to the opening of Next Sunday at the Market Theatre hoping for something new or unknown to review for the blog. I also went because I had a guest. Someone who I knew, without a doubt would enjoy a fresh piece of South African Theatre. So on this laid back Friday evening, my guest Fungai Tichawangana and I were off to the most popular theatre spot in Jozi.

So here I was, with a "shem" going through my mind as we waited for the lights and action to take centre stage.
"Shem" because this piece is by a bunch of young, upcoming and 'unknown' actors. It is also the work of a playwright and a director who I've never heard of before. So, I admit that I was feeling rather nervous for them. And although this very piece is the winner of last year's Zwakala Community Theatre Festival, I was still on my foolish "shem" mindset.

When the lights finally came on, when the "inexperienced" actors finally took to the stage, when the story began - I had no choice but to open up my mind, as soon as that was covered - it took all of ten minutes to get me sobbing. Literally, I was in tears.
I hope that just about clarifies what a sad story it is. It's a story that uses fear, love, hate and a broken family to paint the ghetto. Or maybe I should say - this story uses the backdrop of a township to let us into the lives of a torn family consumed by love, self hate and fear. I don't know which one is more accurate. For anyone who grew-up in a township - the accounts or anecdotes in the play might hit you a lot harder than the story-line itself.

It's a simple story. An elderly widower(Big-Boy), lives with his disobidient, alchoholic and unruly daughter(Matlakala) and his grand-daughter(Zazi). Between father and daughter - the fights are many, mainly driven by the daughter's failures, many of which are due to her own pains. See, Matlakala or Tlaki happens to be an only child. The pressure of a father who pegs all his dreams and wished on one child is the biggest pile of weight on Tlaki's shoulders. As if that is not enough, Tlaki is the product of two clashing personalities. Her father speaks of her late mother like there was never love between them. Calls her anything from slut, through drunkard right up to useless - in Matlakala's presence. He also tells Matlakala that she's everything like her mother. Added to that, Matlaka was discarded by her baby-daddy. After promises of marriage and a happy life together - her man disappeared on her as soon as their child is born. It's very hard to relate her pain or behaviour to any of these things and that is because she does a really good job of disrespecting her father. At some point they are in a screaming match, so painful it is to watch - especially when she calls him 'Big Boy', right in his face.

At this point of their lives - Zazi is seven years old going on eight. She is her grandfather's piece of hope and everything he lives for. As any mother does, Matlakala loves her daughter but constantly fails to prove that she cares for her, especially in her father's eyes.
As the story goes - grand-father teaches grand-daughter about ancestors, lost loved ones and why we look to them for answers if not guidance. Something he lives to regret.

The title's significance is in Zazi's upcoming birthday. Everyone seems to be looking forward to it. Even her long lost father appears from nowhere and shows up at Big Boy's house insisting on seeing her "for next Sunday is her birthday" he reasons.

Nothing is highlighted in the play more than the love Zazi and Big-Boy share. Even as her mother takes her away from him - Zazi is keen on being with her grandfather. It is after much pain, violation, confusion and being failed by her mother - when she finally re-unites with her grandfather, thing is - she's no longer alive when they finally do. See, Zazi remembered - just as her grandfather taught her, that we look up to the dead for protection and guidance.

The use of music in this play is brilliantly placed within the production to highlight emotions and to break scenes.
Lead actor Sizile Khumalo's (Big Boy) performance has to be the highlight of the play. At no point does he loose his track or sight of the old man's spirit or personality. So up to standard, it's refreshing.

As we walk away from the Barney Simon theatre, I ask my guest how he found the play and if the language worked for him. I ask because the play is mainly in isiZulu as we understand it in many of SA's townships. He tells me that he enjoyed the play, got the gist of the story and was moved by the idea of Zazi coming full circle re: death.

Next Sunday is the epitome of excellent theatre. The execution is immaculate, the acting is so on point, the script - the most interesting one I've ever come accross.
Never, in my entire life have I been so touched by a production like this. At the end of the play, I wanted do so many things at once. Clap, stand, cheer, cry, hug the cast - I was so moved.
My only regret is telling you about this piece after it's run. I wish you get to see this one - somewhere, somehow.

Please go to http://markettheatre.co.za/shows/watch/next-sunday for a brief background on the play.

Blasts from his first time...

Music
Recording: Concord, Live in Joburg
Date: (of release) November 2011

On the afternoon of Friday 11 May, I managed to get my hands on a copy of Concord Nkabinde's newly released DVD titled, Concord- "Live in Joburg, South Africa". As soon as I had it, I knew what I'd be up to on Sunday evening. I don't know what it is about Sunday evenings and good music. They just seem to go well together. No interruptions, no rush, no noise, no drama - just peace and good music.

So, the humble Nkabinde comes to the mic, greets and welcomes his audience after a brief introduction from his MC Buyile Mdladla. In his brief intro, the radio and TV personality refers to Nkabinde as one of the best bass guitarist in the country - surely anyone who knows Nkabinde's work agrees.
The amazing thing though about this particular reference to Nkabinde as one of the best in his industry/trade and country, especially at this particular moment is that this is not only Concords 1st live DVD recording, this is his first concert ever as CONCORD NKABINDE.
For the first time in his career, he is leading a band and performing (with other musicians) his own material and material by other artists personally selected by himself. Unusual yes, I stand to be corrected but no South African artist has ever made that ballsy move before. I mean the trend of recording live DVDs here at home is one that is fairly new. Artists are in their numbers recording live DVDs, mostly to celebrate something, like significant amounts of time spent in the industry, or the realisation of a huge following or to mark the success of an album or to even grow their following. But all the DVD recordings coming out of the music industry here at home seem to be making a point of growth, success or achievement.
Not this one. This was in a way - Concord Nkabinde's hello and may I add, that it was a proper one too.

Recorded in 2005 at The Bassline in Newtown, the concert is a true reflection of Nkabinde's personality, dedication to his craft, love for music and understanding of his fans. It turns out - the venue was so packed that some guest had to be turned away on that night. Let me remind you again - this was Concord Nkabinde's first concert ever. How many jazz musicians can say that about their first concert?
After years of supporting other musician on stages accross the world, his time had come.

The concert starts on a fitting mellow note. With the support of the keyboard Nkabinde plays his beloved bass and sings to his followers. He then starts building elements into the performance. Some expected, some fresh, some farmiliar but one a total blast. About 3 songs into the concert - he invites a beat-boxer who goes by the name Blast to join him on stage. The two make musical magic, surely a fascinating 1st for the audience. Their response says it all.
It is at this point of the DVD that the interviews that are part of the recording start becoming significantly poignant. From Nkabinde speaking about his music and intentions with the recording to special guests like rapper HHP and arts journalist (at the time) Michelle Constant through legendary pianist Themba Mkhize right down to radio hosts Nicky B and KG Moeketsi sharing their views on Concord the man and the musician. The interviews give the recording (as a production)a sense of balance, an attention maintaining touch.

Cracking a few jokes here and there, Nkabinde goes on to play classics and hits with guitarist and friend Louis Mhlanga. He then brings in the rest of the band to tighten the production before he seals it.
The camerawork too deserves kudos - totally colourful.

In one of the upsounds that compliment the concert - Nkabinde goes on to share a tale about how industry players urged him not to record the first concert but to wait a little longer, at least a few years or gigs before he records the DVD.
If stubborn is the word to be used to describe his reaction to those simple pieces of advice - I forgive him for it, actually - I thank him for it.

Sometimes - especially in decorated industries like the music industry we take for granted the hunger to do better than your best that can only come with doing something for the very first time. Concord Nkabinde did not in 2005. He defied the norms and went against the flow. That recording is 6 years old, and if I didn't know any better - I'd think he recorded it at the height of his career. The live DVD is OUTSTANDING.

My name is Tumi Sedumedi. I love the arts.

Concord- "Live in Joburg, South Africa" is available at Look&Listen stores.

For more on Concord Nkabinde and his work visit www.concordcreativity.com

Our attention in her CUSTODY

Literature
Book: Custody by Manju Kapur
Date: (of inteview with author)11 March


It’s not often that is one is completely engrossed in a piece of fiction that creates perceptions of being delicately weaved into our fabric of reality. So much so that one’s reading time takes on a life of its own and creates a realism that leaves you with visual questions – I wonder what the place and the people actually look like?

Custody by Manjur Kapur is an offering that embraces and subtly insists that the reality that she has created actually exists although the reader is overtly aware that this novel is classified under the genre - fiction. Characters with strong personalities, so strong that, in fact - one is forced between two powerful human emotions. Love and hate. And as you understand more of the drama, you even find yourself choosing sides.
Kapur sets the scenes and describes the places with such vivid authenticity that you wish by some mind-spell you could be transported to her India.

In her world, the puppets are as important as the stage that has been created and without the detail that is so elegantly presented like a surgeon’s scalpel in an operating theater the story line would fail miserably – she creates personas with balanced flaws and loveable nuances.

The backdrop of human drama that only relationships can create whether it’s the pursuit of love or the stark reality of love spurned, leaves you with a couple of moments. Manju Kapur has created a drama, a social tangle that will not be untangled until the last page is turned.
Set in the perceived middle class background of India with strong day to day dilemmas – we meet a couple who by everybody’s definition defines arranged marital perfection. Yet underneath the façade are infidelity, betrayal and ultimately redemption.

The author takes us effortlessly through the lives of the characters of Custody and makes you root even for those that orchestrate the hardship for their loved ones. Kapur is quick to point out herself that the work is fiction but some of the concepts like arranged marriage, divorce and modern India - have a tone of reality to it. Custody is set amidst the thriving economy of big beverage conglomerates, money and finding love, a constant theme even if it comes at the expense of an existing marriage.

The author asks bold questions through the four central characters Shagun, Ashok, Raman and Ishita and the journey for the reader is compelling. At what cost do you want to love? Could be one of the questions I came up with. As a man I found myself angry at Shagun as she treats Raman who I consider a hero with so much disdain and eventually severe contempt. I found myself rooting for Isha who after finding out that her near perfect marriage couldn’t survive the concept of no children in it. Brave - as she pieces back her life, her identity and ultimately her sexuality. In the end I could finally make peace with the Idea that although Ashok is a villain (in my eyes) and stole his employee’s wife, his love for Shagun is real and hoped that they would be happy forever.

I interviewed author Manjur Kapur and found a profoundly quiet spirit that understood her own power as an author and woman, humble to a fault - her latest offering is as honest as a fiction writer can get.

In a nutshell, this book will appeal to women but could appeal to men as well, if your open minded to read it, it could be a nice distraction. I am a man and I loved every moment reading this book.

I am Samm Marshall.

Splashes of Fire

Film
Production: Otelo Burning
Date: 18 April
Guest: Nina Sedumedi

The cinema is packed, so packed that guests are sitting on the stairway and some are even standing by the door. The anticipation has them doing this without any complaints, we are all happy to be here. We have all been patiently waiting to see Otelo Burning, the latest South African film set to hit the circuit in a few weeks time.

In the crowd - young journalists, TV presenters, actors, fashion designers and other industry players. Earlier on, I spotted musician Adam Glasser, who told me he'd seen Otelo Burning back in London about 6 months ago. Of course he can not give it away but he tells me that it touched his so much - he cried. He tries to tell me more but, I stop him.

A member of this event and the movie's publicity team, stands before us to welcome us, thank us for being there and let's us know that we were a carefully selected group, wait -- I don't think 'carefully' is the word she used, she must have said special or something to that effect. She then introduces the female lead and male lead. They too welcome us, thank us and then tell us how special the movie is to them - and then -- lights off, total silence and the play button is pushed.

From the minute the movie begins, and by that I mean - from the logos, opening sequence and intro - there's a sense of 'art' that comes across. The creative use of an old school photo album with captions for the opening sequence immediately catches some attention.

The movie is set in Lamontville, a KZN township. It uses the backdrop of political turmoil between the ANC, IFP and the ruling National Party during the apartheid era to tell the story of 5 youngsters who discover a lot of things.
Among the more significant things their respective but shared journeys bring them to - is love, freedom, responsibility and the power of intuition.

It's a little difficult writing this review. I really want you to go see this movie, so giving away the details may defeat that purpose, so what do I tell you without killing it for you???

One thing I found really poignant about this film is how they used actors we've seen before, some of them really seasoned thespians and small screen regulars but none of them are in your face or people you might be tired of seeing. I get the feeling the casting agent was really particular about getting this mixture right. The other special thing about the flick, semantically speaking is how very few of the actors are zulu speakers and yet they manage to sell this story without reminding us of their language backgrounds.

The movie also explores a theme that is usually unrelated to black stories here at home - water, swimming and surfing.
It uses those three basics to illustrate the marriage between freedom and struggling. It also -- in a way uses the same subjects to demonstrate the power of patience if the bravery to live in the moment also prevails.

The significance of the title lies in the saddest bit of the movie, the bit that demonstrates how true the expression "curiousity killed the cat" is. Only thing is, there aren't any cats in Otelo Burning.

The story easily walks its viewer from pain and violation, through shifted and unacknowledged responsibilities, right up to love and the real meaning of freedom.

During the movie, my guest experiences a moment of boredom - says to me "the movie seems to be losing its buzz". In less than 10 minutes, the flow comes right back and eyes are glued to the screen again. By the time the movie ends and we are begging for our way out of the cinema - courtesy of fully packed, Nina is telling me about the movie as if I was not sitting right next to her watching too.
It's the mystery that makes part of the story that has her talking about the film like I didn't figure it out too.

So as she explains what 'really' went down, I can't help smiling at the thought of how the landscape of home brewed films is growing.
Otelo Burning is a fresh story, a good film and a reflection of the apartheid era without students marching and getting shot - a first, at least for me.

This is my summary of Otelo Burning without stealing the experience from you.
I am Tumi Sedumedi and I love and live for the arts

Otelo Burning will be at cinemas, Nationwide from 11 May 2012

For more facts, details and background info on the movie, you can visit
wwww.oteloburning.com/

Resurrecting Albert

Theatre
Production: Woza Albert
Date: 17 April
Guest: Connie Sedumedi


Sweat drips from his beard -- he spits as he speaks -- his pot-belly is exposed -- in-fact, less than twenty minutes ago, he and his friend or partner-in-crime showed us their asses. Yep - they turned around, bent over and then pulled down their pants and slapped their own butt cheeks before pulling up their pants back on.

You may expect disgust or maybe even irritation to be the audience's reaction, but nope, the total opposite is the case.
As Mncedisi Shabangu and Hamilton Dlamini take on the intimate Laager Theatre stage at the Newtown based Market Theatre, there's very little anyone can do to dispute the fact that they have their audience wrapped around their little fingers.

I'm sitting in the crowd watching silently, touched by the brilliant work of art crafted right before my eyes. So good are these actors, I keep on wondering - whenever I can that is - 'why are they not rich?'.

The two seamlessly drift from one character to another, only with the assistance of light and costumes. They do it so well, I literally forget about every other character I've seen them play outside of this room.
This historical two-hander has landed in perfect hands, I keep thinking.

Woza Albert is a story about the coming of Jesus Christ to South Africa during the apartheid era.
Using every imaginable character that would have existed in those days - Shabangu and Dlamini tell textured and layered tales of a darker South Africa.
Using an invisible news crew to find out from most South African what their feelings and anticipations are regarding the coming of Morena to South Africa. The story goes from rural KZN, via Soweto street corners, through the famous Albert Street in Johannesburg's CBD to work places and prison wards. Morena is setswana for Christ, and this is the term used by all South Africans to refer to Jesus in the play. In more ways than one - the word carries the story. It is the thread that connects the simple desires people have, it is the point where beliefs are either confirmed or denied. And whether one believes in the coming of Morena or doesn't - everyone has an opinion about the coming.

The question of why the piece is titled WOZA ALBERT keeps on coming to mind - and I search for an answer, I wonder 'could it be related to the Albert Street scene'?

As the play progresses - a scene that is set on a hawkers street corner introduces a young boy who is taking care of his mother's business for the day. Soft and slow the boy speaks to an arrogant customer who keeps on questioning the meat he's selling. The boy keeps on fanning off interrupting flies when the famous TV crew arrives and asks him what he's going to ask 'Morena' for when he comes to SA? The poor boy, played by Dlamini, expresses how education is the one and only thing he dreams of getting, "sub A" he says and that sends the audience into mixed reactions, laughter, sadness and "shame". My guest - Connie Sedumedi, after laughing, looks at me in the eyes and a 'WOW' slips out of her mouth. There's no doubt that she's feeling the piece and the work of Shabangu and Dlamini.

Towards the end - Morena, who finally and unexpectedly makes an appearance, answers my BIG question. I still have no idea if he gets around to granting people their simple but desperate wishes. But, he does make zulu boy's wish come true - he brings all the fallen struggle heroes back to life, the first one he calls back to the land of the breathing is Chief Albert Luthuli.
"Woza Albert" Morena calls him to life and then goes on to the Ngoyis, Sobukwes and others.

There are scenes and bits that remind you of how exaggerated theatre can be. Like the train ride that sees the characters bouncing up and down in their make-shift benches mimicking the sound of a train engine. But then again - how does one display that kind of setting without props, sound effects and visual assistance?

From how the sweaty, spitty and heavy looking Shabangu carries his weight throughout the play with grace and talent to how the limp mastering Dlamini switches moods in the room with ease - this one is a must see.

As the audience gives a heartfelt standing ovation to the twosome - they give each other a hug......need I say more?

On our way out - my guest tells me of how moved she is by Mncedisi Shabangu, she calls him "a good actor", she goes on to remind me of how good Shabangu and Dlamini were and tells me how impressed she is by the fact that they never forget what character they were playing at any given moment.
She then goes on to relate a story about her father-in-law and his experience on Albert Street back in the days of Apartheid. A story that has both of us laughing

This is the story of Woza Albert through my eyes.
I am Tumi Sedumedi and I love and live for the arts.

The Market Theatre run recently came to an end.
Woza Albert will be on stage at the Bush Fire Arts Festival in Swaziland next month.

For more info, facts and a historical background on Woza Albert visit:
http://markettheatre.co.za/shows/watch/woza-albert