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