Megan's Head

A place where Megan gets off her head.

Tag: Kim Kerfoot

Get cracking Kraken

For just under an hour this evening I badly wanted to be a 10 year old boy. I just knew how much better, realer and more amazing Get Kraken would have been. It is Jon Keevy’s new script for young audiences, directed by Kim Kerfoot and performed by the energetic and dynamic Jason Potgieter, Shawn Acker, Stefan Erasmus and Dylan Esbach, on for a short run at The Intimate.

It is the fast-paced adventure of a young boy and his fisherman grandfather and how they end up in the sea, then on a submarine, then in a spaceship in a whale, and then back on the surface of the water, with tons of craziness in between.

Jon has written a fun and funny script and Kim has directed the cast with vigour and cleverness. I loved it. I loved voices and great team work, the jumping around of scale and location, the great ‘puppet-hands’ that were fish, boats being tossed on huge waves, periscopes, watery depths, drowning bodies. I loved the crazy, clever story and I loved the little inside jokes. I loved the style of ‘making’ the characters and locations by saying the things that were there, or dressing them.

Find a kid and take them to see the show.

Statements After an Arrest Under the Immorality Act

In a church, with the audience facing the door, piles of books, boxes and library stuff, a weird partitioned off room, and a blanket on the floor. The light so dim you can just make it all out. And the talking and touching starts. Intimate, sometimes rambling, mostly beautiful and completely revealing. Until the nightmare begins.

Kim Kerfoot was awarded a young director’s bursary by The Theatre Arts Admin Collective (and GIPCA and Distell) and he chose this Fugard play with the impossibly long title to do. He directs Bo Petersen,├é┬áMalefane Mosuhli and Jeroen Kranenburg, with design by Guy de Lancey.

The version of this play is possibly as good as any version could be. The performances are great, the direction excellent, the design simple and effective. And, for me, this is Athol Fugard’s writing at its absolute best; where his characters are incarnations, most human people in untenable circumstances, who have to fight against, negotiate, try and often fail to understand a system that makes no sense of anything.

Written at the time that there actually was an Immorality Act (even the words, let alone the concept are mind boggling) the play is completely bizarre in its circumstance. It’s like watching a play about concentration camps. How was that humanly possible? How could it be? And ultimately, that is its extraordinary success. We know it was like that, and, against the odds, two people, for whatever reasons of their own, found each other in that craziness.

I have no idea why, but watching this performance made me think about the relationship between the script, the director and the cast. It is such an intricate, complicated and strange relationship, and not everybody is friends all the time. There is constant ‘push-me-pull-you’. There is constant negotiation, constant compromise. There is honouring, questioning, trusting, boundary pushing. It is an amazing thing. And Kim Kerfoot has done an amazing job.

 

 

The Things You Left Behind

It was a full and who’s who opening night at The Intimate last night for Jason Potgieter‘s The Things You Left Behind. (It’s only on until Saturday, so get there quick Slaapstad). I say Jason’s because he wrote it and stars in it, alongside Alicia McCormick and directed by Kim Kerfoot.

The Things You Left Behind are five monologues by five characters who all tell their perception of the same incident. In fact, there is a TheatreSports game called Point of View that is very similar. Jason plays three characters and Alicia two. The thing they see, or are marginally involved in is an accident, and the monologues deal with their responses, however cursory or detailed.

I have loved seeing Jason on stage ever since I first saw him being the demented shop assistant type somebody in Tamarin McGinley’s Off the Rails. Since then I’ve seen quite a bit of his stuff and I think he is fabulous. In this he really showcases his skill, charm and versatility. His white car guard is classic, original and very funny and his drag queen is delicious.

Alicia is not as successful for me, partly because it feels like she is miscast. She is gorgeous and cute and funny, but seemed far too young to be a mom with an 23 year old son (although I was charmed by her gentle conservatism) and too gorgeous and cute to pull of the heavy, butch, smoking, drinking medic. I’d like to see her doing other stuff that she would be better suited to and someone a whack older taking on these two monologues.

Kim Kerfoot has made nice, simple, clear choices with the direction of the piece. I am sure that as he gets into his groove of directing he will be more ruthless! I sometimes felt he was letting the actors indulge in ‘cute moments’!

The Things You Left Behind is a great introduction to Jason’s writing (there are some writing moment gems, especially in the car guard monologue) which I am sure will develop from here. I love this kind of theatre; accessible, well told stories. The Things I Left Behind is also a confirmation of Jason on stage. Love that actor.

It’s ZA News

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I’ve had a bit of time on my hands this week so I’ve watched almost all the episodes of ZA News and I have to say, I am loving it. Let’s face it, we have a lot to mock about. Naturally, Malema (or for my purposes Mal enema) gets a showing almost every day, along with our president, who I shall continue to call Zooma. My favourite characters are Madiba and Tutu, who do little footnote comments from the lounge, with Graca occasionally complaining about Tata’s language. Cutie sputie. Oh, and Mbeki “and so on” is delicious. And Div, the bokkie coach, who has something useless to say about everything! Poor Helen Zille though, she just isn’t funny, and somehow manages to suck out any fun there is!

Nik Rabinowitz does the classic voices and he is absolutely brilliant and hilarious. Particularly good are his Tutu and Div. Less successful for me is Helen Zille’s voice, by Nicola Jackman, but ag, she is quite hard to do.

The puppets are phenomenal and hilarious. I particularly love Tim Modise’s hands. They are so expressive. One of our TheatreSports players, Kim Kerfoot, is a puppeteer on the show!

ZA News still needs to grow, as I’m sure it will. I find most of the scenes a touch too long and drawn out, sometimes way after the gag. It’s a hard lesson, learning to be very short. I am also sure that it will start hitting lower and lower and eventually some of the blows will land below the belt. At the moment it’s still pretty tame, which is probably because Sou fefricans still struggle to totally laugh at themselves.

Bravo to Kulula for sponsoring the show. Their ad in the beginning, with the cardboard cut outs and the naf sound effects is my best.

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