Megan's Head

A place where Megan gets off her head.

Tag: Malcolm Purkey

Post GIPCA thinking

I will steal Juliet’s numbering system (stealing was a theme too) and put down some random post GIPCA Directors and Directing Playwrights thoughts here. You are welcome to add your own in the comments section. One of the best parts of the GIPCA forum is that it engages such lively debate; both on and off the floor.

1. It is totally different being a participant. Different, exiting, good, complicated.

2. I love the talking, but still, ultimately, I love watching performance more.

3. I love the range of work on offer and the many voices that make them.

4. I am amazed that there  is a genuine market for this sort of symposium. Who would have thought?

5. Jay Pather is amazing.

6. Malcolm Purkey, Mark Fleishman, Penny Youngelson, Mandla Mbothwe, Myer Taub, Brett Bailey, to name a few off the top of my head, are very clever.

7. I love that Tracey Saunders and Marina Griebenouw attend the whole thing.

8. I am surprised how frustrated I get when people’s questions are inarticulate or rambling, and then mine end up being that too.

9. I am shocked at how uncomfortable arrogance makes me.

10. I am shocked at how badly I need feedback.

12. I am intrigued about how different the male and female voices in theatre are.

13. I am amazed that the struggle, war, debate is the same.

14. I like GIPCA’s catering.

15. The event has an amazing organisational team, and Adrienne and Themba in particular rock.

16. The theatre world is not generous enough.

17. Actors, directors, writers and academics are very complicated.

18. I have a group of magnificent and supportive friends.

19. It is easier to perform if you know the words.

20. Improv is a huge love.

21. I admire Amy Jephta. She is always so clear.

22. Sunday mornings are not an easy time to perform.

23. Brett Bailey is king of design.

24. You can watch good theatre in any language and understand or be moved. Thando Doni’s Eutopia was fabulous.

25. Our world is different now that there is a GIPCA symposium accepted as a yearly reality.

26. Nicholas Spagnoletti is hilarious.

27. We all know each other, mostly.

28. I am torn between continuing writing this blog, and not writing it. Is it helpful, damaging, bullshit, useful? Let me know.

29. I made new friends and I am a fan of more.

30. I conclude that theatre is not for sissies. (I have no idea who it is actually for)

 

Directors and Directing impressions

When I was driving home last night I thought about the possibility that I would be the only person who would be writing (in this contradiction of a public and private space that is my blog) a deeply personal account of the extraordinary weekend of directors, directing, performance and conversation that Jay Pather and GIPCA made happen. I must confess to feeling a little overwhelmed. So much had happened, so much had been said, so much had been felt. So I have decided to put down my impressions; things I remember thinking and feeling, in the hope that it will capture some of what it was like to have been there.

In Anton Kreuger’s closing comments he spoke a list of things that he liked and connected with; ideas, thoughts, words. I loved his rambling, almost poetic sensibility and I am going to try and steal it here.

Things I loved, in no particular order. I loved Malcolm Purkey’s opening speech. He is a generous, loving theatre guy and that’s how he made me feel. I loved the fact that a two and a half day intensive experience with a relatively niche topic could be so completely well attended. I loved the gentle, ever present hand of organiser, conceptualiser and curator of the event Jay Pather, who followed every single moment. I loved the support people expressed for each other’s work; there is so little opportunity for that in real life. I loved Marianne Thamm; she is so brave, and clever, and clear. I loved our strange and passionate discussion at Kauai over lunch. I loved Nicola Hanekom’s reinterpretation of Boesman en Lena. That chick has balls the size of coconuts. I loved Chuma Sopotela in Aubrey Sekhabi’s version. I loved Zingi Mkefa’s whimsy and voice. I loved Amy Jephta’s well prepared note which was so much about the work and so little about the “I”, and I loved why and how she got pissed off. I loved Chris Weare’s interjections and observations that are all about his passion and clarity and cleverness. I loved how funny Janni Younge was; I had no idea! I loved Pusetso Thibedi’s production Capturing Sanity and his personal ease and charm. I loved hooking up with old friends and sharing in the stuff of theatre making. I loved the catering, the organisation, the team of production people that gave their work such gorgeous value. I especially loved how some of the participants, who were only in the limelight for a very short time, sat through the whole weekend. I loved Liz Mills, Jay Pather, Brent Meersman and Caroline Calburn who were excellent chairs.

Things I did not love; in no particular order. I was bored by how long it took most people to ask a question. I found it almost impossible to go from the beginning of what they were saying to the end with any idea of where they were going or why if you know what I mean and could you respond to that please? I was left unmoved by clever and affected cynicism in both participants and delegates. I just don’t get that choice. I was irritated with the hypocrisy of many directors and actors who never support each other’s work. I was cross with how many director people and actor people and theatre people still chain smoke. I was disgusted by what they did with their stompies. I was irritated by Mwenya Kabwe’s self-appointed watch dog status as external, black, gender specialist critic. I was blown away by Nicholas Ellenbogen’s dof ignorance that in a moment managed to cause such ructions. I was offended by the remark that was made and then repeated that there are no script writers or playwrights in South Africa. There are. I am one of them. We have no idea where to take our scripts once they are written, or what to do with them. I was a little emotional that Zabalaza and Thami Mbongo didn’t really acknowledge that Ikhwezi was started with a desire to do exactly what they are doing now, even though I deeply respect their new vision and energy. I was shocked that many participants came and then left after delivering their input.

There were a few things that I think were overlooked. In the discussion with critics, the much more successful role that the Afrikaans newspapers play in Cape Town in promoting and reviewing theatre was not mentioned. The role of theatre managements and their relationship to directors was not even considered, except by Neil Coppen in a death reference to The Playhouse. The question of patronage was not raised. In all the discussions about colour nobody mentioned that the entire company of The Mechanicals was white.

There was a rumour I picked up that UCT’s Drama department are going to turn the Little Theatre into two black boxes. My heart broke. Obviously, I am utterly convinced that this should not happen. What does everybody else think?

Over and above everything that I thought or continue to think about is what my role as a director is. I was invited to the weekend as that weird thing, ‘media’. I felt like a participant. I identified with directors, performers, writers and teachers. Overwhelmingly I felt like I was there as meganshead. These are interesting labels for me. What am I? I’m not sure there is a simple answer, nor that I even want to go to that analytical place. I work in the role of director. And when I do, I know what kind of director I want to be. I want to have the warmth that we agreed was vital. I want to have brilliant relationships with actors who trust me and who I trust. I want audiences to know how much they are taken into consideration by me when I make work for them. I want to be part of the magical theatre team. I want to feel safe and scared and thrilled and paranoid and hysterical and sleep deprived and concerned and angry. I want to feel.

And that’s what I did this last weekend. I felt. Everything.

 

The Girl in the Yellow Dress

Simon saw this in G’town and absolutely loved it. I went last night, remembering that I will probably get a chance to see most of what was on at the festival right here in Cape Town, if I haven’t seen it already! It is on at The Baxter, @The Flipside, where the main stage is turned around, with the audience on stage too, creating another small (and freezing) venue. The Girl in the Yellow Dress is written by Craig Higginson, directed by Malcolm Purkey, and is a collaboration between the Market Theatre in Johannesburg and two UK theatres. It is a two-hander performed by British actress Marianne Oldham and South African Nat Ramabulana.

Seeing this play was the first in a bit of a theatre drought for me and I was really desperate to enjoy it. My first impressions of the set were, ok, we’re going to watch a proper play now, and that’s exactly what it was; a five scene play, with blackouts denoting the passing of time chronologically, in a very realistic style. The story is about a young, beautiful girl in Paris who develops a relationship with a young black man to whom she is teaching English. It’s got a bit of sex, psychology, identity, racial issues, and it’s all tied up with the bits and pieces of English grammar; all that ‘past participle’ stuff.

There is no doubt that the two performers are super talented and gorgeous. The story is very clear as the two get to know each other better; with not much left to the imagination. I guess the whole point is that we know that they are lying from the outset but this makes the revealing of the information less of a surprise and more of a ‘get on with it’. I found it all rather pedestrian.

I loved the blackout music and slides. I loved some of the witty lines although most of the “English’ stuff was too dense and sailed over this audience’s head.

I was irritated with the costume and set changes, particularly the last one, where in the dark the plastic to cover the furniture was so loud! I found the flowers trite and predictable. I hated that Pierre had to perform his dramatic stuff standing on bits of torn paper as if it wasn’t there. Truth is, I was bored; my worst thing to be in a play.

When it was done I tried to remember a play that I had liked and I thought immediately of …miskien. Also about a relationship, lies, revealing the truth and the complications it brings, I found the execution of it so much more satisfying. Style, lights, set, direction, music, performances, nuances, the extended moments, all worked better for me to create a heightened sense of theatre. The Girl in the Yellow Dress had moments of drama school cheese about it; that feeling of a director/lecturer getting his students to ‘reveal’, to ‘open up’, to ‘go to that place’.

It comes with massive credentials. It was a hit of G’town and it is off to the Edinburgh fest, England and then Stockholm. But if this is one of the best of the fest, I guess I wouldn’t have had too fantastic a time.

Powered by WordPress & Theme by Anders Norén