The burden of history is imprinted in every muscle, rushes through every vein, and charges every grain of cascading sea salt.

DANCE UMBRELLA 2012: Exit/Exist

PERFORMER and CHOREOGRAPHER: Gregory Vuyani Maqoma

DIRECTOR: James Ngcobo

VENUE: The Market Theatre

RATING: ****

The burden of history is imprinted in every muscle, rushes through every vein, and charges every grain of cascading sea salt.

After his acclaimed autobio-graphical Beautiful Me, Gregory Maqoma has set himself the task of reclaiming a part of his ancestral heritage, which is linked to that of the Xhosa nation and the country.

In Exit/Exist, the dancer-choreographer, director Ngcobo and their collaborators distil an epic narrative through choreographic exploration fused with calibrated movement, stylised action, written and sung text and projected image.

Each element slots into place: Simphiwe Dana’s songs transposed for a cappella; Guiliano Modarelli’s compositions; David Tlale’s cos- tume design; Mileta Postic’s video animation and Oliver Hauser’s set design.

A gunshot rings out followed by footsteps. A figure in a white suit, his back to the audience, appears at the edge of the stage. Text is pro- jected on the gauze introducing the history of Chief Jongum-sobomvu Maqoma (1798-1873).

Gregory Maqoma steps from side to side, his arms waving, searching, travelling into time. Gradually these traditional rhythms infect his body, breaking through the urban Western clothing and persona.

Four masked figures – the Complete quartet – appear. They become storytelling conspirators through their presence and vocal sorcery, galvanising Dana’s lyrics and melodies, which celebrate the Xhosa language and culture.

Maqoma journeys into treach- erous memory in sequences which become increasingly ritualistic. Dressed in a fringed cowhide creation, holding a cow horn, he moves to a pile of golden salt. His limbs and torso translate his thoughts through undulations, stamping and ritualistic shaking.

There’s nothing literal in this telling of how a people are dis- possessed of their land. Finally, stripped of the symbolic cowhide, the past merges with the present in Maqoma’s body.

The dancer transforms into a spiritual being who is pulled off on his cloak sailing to Robben Island, “the place of humiliation”.

“Where are the cattle?” asks the projected text, triggering the issue of land ownership. And another question: Who will tell of Maqoma? Answer: his descendant Gregory Maqoma and his fellow artists.

What’s happening at theatres in and around Cape Town this week.

lDid We Dance: Ukutshona ko Mendi (The Sinking of the Mendi) is at the Golden Arrow Studio at the Baxter Theatre from Thursday to March 10. Tickets are priced from R80 and are available at the box office or through Computicket at 0861 915 8000.

lMax Kaizen and Professor Adam Haupt are the guest speakers at Arterial Network: Intellectual Property Sessions which take place at the Theatre Arts Admin, corner Milton and Waverley streets, Observatory, tomorrow, from 7pm to 9pm.

lThe Cape Consort perform Monteverdi’s madrigals with voice and instruments at the Fugard Theatre on Sunday. Tickets are priced from R100 at Computicket and at the box office.

lThe Heydeburg Symphony Orchestra performs at the Dutch Reformed Church in Durbanville tomorrow.

lThe Cape Town International Ballet Competition featuring the likes of Dance for All’s Young InSPIRAtions group, is at the Artscape Opera House from February 27 to March 4. Tickets are priced from R65 at Computicket and the box office

lAnthony Akerman’s Somewhere on the Border comes to the Baxter Flipside stage at the Baxter Theatre from tomorrow until March 17. Tickets are priced from R100 at Computicket or 021 680 3962

lThe Afrikaans play, Baby, is at the Arena at Artscape Theatre from tomorrow until Saturday. Tickets are R40 at Computicket or 021 421 7695.

lThe Cape Philharmonic Orchestra, conducted by Richard Cock, presents an opera gala concert at the Opera House at Artscape Theatre on Saturday. Tickets range from R120 to R200 at Computicket or 021 421 7695.

lThe Butlers and Bunny Chows murder-mystery comedy is at the Artscape Theatre from tomorrow until Saturday. Tickets are priced from R59 at Computicket or 021 421 7695.

lRomania’s Syrinx Woodwind Trio perfrom at The Endler Concert Series in the Endler Hall on Saturday. Tickets are priced from R75. Call 021 808 2343 for more information.

lPeter Gilchrist presents The Divine Oscar, his one-man tribute to Oscar Wilde, every Sunday until May 13. Tickets are R150 at www.kbt.co.za

lThe hits of Buddy Holly, Eddie Cochran, Richie Valens, Elvis Presley and more are performed by James “Elvis Presley” Marais and Monique Cassells at Villa Pascal, 28 Van der Westhuizen St, Durbanville on Saturday at 7.30pm. Tickets are R100. Call 021 975 2566 or 082 569 4147.

lSee Absolucy, a cabaret featuring Lucy Tops, at Kalk Bay Theatre until March 3. Tickets are R95 at www.kbt.co.za

lVernon Barnard remembers Ricky Valens, Frank Sinatra and more in Those Were the Days at Villa Pascal, 28 Van der Westhuizen St, Durbanville, on Friday. R100 at 021 975 2566.

lThe Fugard Theatre Bioscope, in association with The Royal Opera House, The Royal Ballet Company and the Bolshoi Ballet, continues the World Opera and Ballet Season screenings at the Fugard Theatre on Saturday and Sunday afternoons. Call 021 461 4554 for info.

lBe at the summer season concerts featuring Funny Kaap, Marcus Wyatt and various other shows at Oude Libertas Amphitheatre , corner Libertas and Adam Tas sts in Stellenbosch from tomorrow to March 11. Ticket prices vary. Call 021 809 7380/7473.

lDirected by Kyla Thorburn, Honk!, the musical comedy by George Stiles and Andrew Drew, is at the Masque Theatre in Muizenberg from Thursday to Saturday. Call 021 788 1898.

lThe Cape Philharmonic Orchestra plays at The Old Mutual Summer Sunset Concert series at Kirstenbosch National Botanical Garden on Rhodes Avenue in Newlands on Sunday from 5pm. Tickets are R100 at 021 799 8783/8620.

lEnjoy snacks and tea while listening to live music at Villa Pascal, 28 Van der Westhuizen St, Durbanville, every Wednesday, from 9am to 1pm. R120 at 021 975 2566.

lThe Hollies’ 50th Anniversary World Tour is at The Grand Arena inside the GrandWest Casino, 1 Vanguard Drive, on FThursday. Tickets are priced from R160 at Computicket.

lJou Show met Emo en Wicus is at the GrandWest Market Hall inside the GrandWest Casino, 1 Vanguard Drive from February 27 to March 1. Tickets are R50 at Computicket.

lVernon Castle and Zane Adams perform in Local Legends in Song at Nassau Centre Groote Schuur High School on Friday. Tickets are R100 at 082 707 6187 or the door.

lAdrian Kohler and Basil Jones of the Handspring Puppet Company present Gipca’s first Great Texts/Big Questions lecture at Hiddingh Hall, University of Cape Town’s Hiddingh Campus on Orange Street on Thursday at 5.30pm. Free. Call 021 480 7156.

lMenopause: The Musical is at Theatre On The Bay in Camps Bay until Saturday. Stars Judy Ditchfield, Brenda Radloff, Kate Normington, Ntambo Rapatla. R120 to R240 at Computicket or see www.theatreonthebay.co.za

lCape Town City Ballet performs Solitaire and Graduation Ball (both 8.15pm) at Maynardville Open Air Theatre until today. Both R110 to R130 at 021 421 7695 or call Computicket.

lLive music every Wednesday, Friday and Saturday night at Jackson Hall, inside GrandWest Casino, 1 Vanguard Drive, from 9pm. Free. Call 021 505 7777.

lTheatreSports at Kalk Bay Theatre on Tuesdays at 8.30pm. R52.50 adults, R42.50 students. Beer and burger special is R50. Book at www.kbt.co.za

lFunny Bones stand-up comedy on Tuesdays at the Purple Turtle, CBD. 8pm. R30 at 021 424 0811.

lComedy On Monday Evenings (COME) at Ragazzi Club in the CBD. 9pm. R40. Book at 079 616 6333.

lComedy On Long, a weekly comedy night at Zula Bar on Long Street. Features various comics every Monday.

lComics at Work is on Sundays at Obz Café, Observatory. R20 at 021 448 5555.

lKurt Schoonraad’s Jou Ma Se Comedy Club is at the River Club, Observatory, on Thursdays at 8.30pm. Get tickets online at webtickets.co.za. Call 079 495 3989.

• E-mail your theatre-related listings to helen.herimbi@inl.co.za, with “Boardwalk” in the subject field by noon on Thursday for publication on Tuesday.

What’s happening at theatres in and around Durban this week.

THE BARNYARD THEATRE: Dancing In The Street criss-crosses the globe and visits exotic destinations such as the Rio Carnival, the Mardi Gras Carnival in New Orleans, the Cape Minstrel Carnival, St Patrick’s Day in Ireland, the Halloween Festival, the Soccer World Cup 2010 and a New Year’s Eve celebration at New York City’s Times Square. Expect tributes to Louis Armstrong, Elvis Presley, Gloria Estefan, Ricky Martin, Carlos Santana, Bob Marley and others. Ends March 11. Tickets: R135 from Wednesday to Saturday, with specials of R100 on Tuesday nights and the Sunday matinee. Call 031 566 3045, or e-mail gateway@barnyardtheatres.co.za

ELIZABETH SNEDDON THEATRE: KickstArt presents Marc Camoletti’s hilarious comedy farce Don’t Dress for Dinner until Sunday.

In a private game lodge near the Kruger Park, Bernie is hoping to entertain his celebrity mistress, Suzy, for the weekend. He has arranged for a chef to furnish gourmet delights, is in the process of packing off his wife, Jackie, to her mom’s for the weekend, and has invited along his best friend, Rob, as a suitable alibi. It’s foolproof. What can possibly go wrong?

The production stars Tim Wells, Bryan Hiles, Clare Mortimer, Jailoshini Naidoo, Janna Ramos-Violante and Nhlakanipho Manqele.

Performances are at 7.30pm from Tuesday to Saturday, at 2.30pm on Saturday and at 5pm on Sunday.

Tickets: R130, R100 for students, pensioners at Computicket. For block bookings and sold performances: Ailsa Windsor at 083 250 2690, or e-mail ailswn@mweb.co.za

THE PUMPKIN THEATRE: It Takes Two is a tribute featuring duets from the world of rock, country and pop. Starring Danny Fisher and his “angels” – Danielle and Joanne Fisher – and a live band, the show will run on Friday evenings and Sunday afternoons until March 18. Tickets: R140 for a meal and the show, or R80 for the show only. Call 032 946 2121.

IZULU THEATRE: Catch the touring comedy show, Beauty and the Charou: Double Trouble… of the Laughing Kind on Friday as Beauty Ramapelepele and the Karou Charou join forces on stage.

Ramapelepele is a 50-year-old nouveau-riche Houghton mother of two and describes herself as the perfect South African weapon: a black, bright, beautiful, bitchy woman at the top of her business and social game.

The charismatic Charou brings his brash, unapologetic style of comedy to the table, laced with expletives and trademark forays into the audience.

The show’s format will see both artists do stand-up sets before joining forces in a routine that will involve the audience. No under 13s.

Tickets: R120 (reserved), early bird limited tickets at R80 at Computicket. Call 083 660 1424.

RHUMBELOW THEATRE: Godfrey Johnson in The Jukebox Favourites. The show take place from Friday to Sunday. Expect songs by Leonard Cohen, Madonna, Depeche Mode, Tears For Fears, Tom Lehar, Billy Joel, among others. Tickets: R100. Bring food picnic baskets. Book at Computicket, or e-mail Roland roland@stansell.za.net

THE PLAYHOUSE: Think Theatre’s production of Shakespeare’s tragedy Othelloends March 12. Directed by Clare Mortimer, it offers a valuable aid for pupils it as a set work. Schools performances of Othello are held daily, Mondays to Fridays, at 9am and noon, with a public performance at 7pm on Thursday, February 29. Tickets cost R45 (R70 for the public performance). To book, call 083 251 9412.

THE ODEON: Aaron McIlroy is one of South Africa’s most popular entertainers with a string of stage blockbusters under his belt. He will perform Unplucked at The Odeon, in Chatsworth, at 7.30pm on Saturday. Expect some unforgettable reunions with Bruce Syringenson, Truscott Price, Joel Liebenburg, Nigel Bjorn van Rensburg, Veejay Moodley, Lavern Levine, Pepe Gonzales as McIlroy unleashes his ever-changing jamboree of mayhem on his audiences. Tickets: R80 from B Nagiahs outlets. Call 083 660 1424.

COMING UP

THE PLAYHOUSE: Neil Coppen’s Abnormal Loads runs from March 16 to 31. Previews are at 7.30pm on March 16, and at 2.30pm on March 17, with the opening night’s show at 7.30pm on March 17. Shows during the run are at 7.30pm on Tuesdays to Saturdays, with 2.30pm matinees on Saturdays and Sundays. There will not be evening shows on Sundays, or a show on March 21.

The production offers powerful socio-historical perspectives for pupils, and two morning schools performances will be held on March 22. Early booking is advised. at Computicket or call 031 369 9540. For school and group bookings, call Margie Coppen at 083 251 9412.

• E-mail all your theatre-related submissions to latoya.newman@inl. co.za; subject: Boardwalk, by noon on Thursday, with “Boardwalk” in the subject field.

What’s happening at theatres in and around Pretoria this week.

PRETORIA

South African Theatre, 320 Pretorius St: 012 392 4000:

Opera:

Rebecca Malope records her DVD and 33rd album. 8pm. Saturday. R100 at Computicket.

Rendezvous:

Jazz and African Music Nights at 8pm:

Friday: Barney Rachabane, Abbey Cindi.

Atterbury Theatre, cnr Daventry and Lynnwood rds, Lynnwood Bridge Centre, 012 471 1700/082 841 0783:

Tickets at Computicket or the door.

Kurt Darren. Today. 8pm. R120, R140.

Riders of the Storm, with Albert Frost, Valiant Swart, Mauritz Lots, Mel Botes and Piet Botha. Thursday. 8pm. R140, R200.

Viviere, Vita Wilkens. Saturday. 8pm. R100.

Bobby and Karlien van Jaarsveld. Monday. 8pm. R140, R160.

Verskrikkelik Snaaks! February 29. 8pm. R120, R140.

Steve Hofmeyr. March 1. 8pm. Bookings: Suzette de Beer at 084 602 4310.

The Barnyard Theatre, Menlyn Park Shopping Centre, cnr Atterbury and Lois aves, Menlyn Park, 012 368 1555:

Big Top Rock.

Brooklyn Theatre, Greenlyn Village Centre, cnr 13th and Thomas Edison sts, Menlo Park, 012 460 6033 or Computicket.

Musique Mosaique with One Earth Choir. Today at noon.

The Collection & the Lover, by Harold Pinter. Friday. 8pm. R110, R130.

Songs from Vienna. Tomorrow at 8pm.

Munich Harmonic Brass Band. Saturday at 8pm.

Ballet Gala – SABT. Saturday, February 29 and March 2 at 3 at 8pm.

Tshwane University of Technology: 012 318 5157:

Breytenbach Theatre, 137 Gerhard Moerdijk Street, Sunnyside. Bookings Breytie@tut.ac.za or call 012 440 4834.

Aasvoëls/Vultures. Today to Saturday at 7pm. Afrikaans and English versions will alternate with the Afrikaans version staged on opening night and the matinée on Saturday at 3pm. R30 at the theatre.

University of Pretoria: 012 420 3644:

Musaion:

Music for Therapy. Chamber music concert. Saturday. R75 adults, R55 pensioners and students.

Masker Theatre, 012 420 3644:

The Adventures of Pippi Longstocking ends Saturday. R30 children, students and learners, R35 adults. Bookings: Yvonne at 012 420 2558. (No under-fours).

Centurion Theatre, 123 Amcor Road, Lyttelton Manor: 012 664 7859/8710:

Shows start at 8pm, booking as above.

Solo. Stef Bos. Thursday. 8pm. R150.

Kopstukke with Liz Meiring, Andre Stolz. Friday and Saturday. 8pm. R100, R120.

Pandora se Doos, talk show in English with Delene van Dyk. February 29. 8pm. R120 (adults only).

Pierneef Theatre, cnr Pierneef and Mogg aves, Villieria: 012 329 0709:

Tickets at the door.

Dozi, Wenesday at 7pm.

Gert Loubser, Thursday at 7pm.

Babalela, for the kids, Saturday at 10am.

Die Grafsteensangers – Balke Toe!, Saturday at 3pm and 7pm.

Le-chelle. Monday at 7pm. R50 to R60.

Jan Blohm. February 29. 7pm. R85 to R95.

JOBURG

Joburg Theatre Complex, cnr Loveday and Hoofd sts: 011 877 6854: all bookings at 0861 670 670 or see www.joburgtheatre.com.

The Mandela Theatre:

American Anthems – The Spectacular Rock Musical. Today to March 11. R120 to R230.

Fringe (Tesson) Theatre: 011 877 6854:

Ilan Smith – Imagine. Magician and illusionist. Tomorrow to March 4. R160.

Boksburg Boma Theatre and Buffet Restaurant, 807 North Rand Rd, 011 918 4888

Elvis – The Ultimate Tribute to Elvis Presley and Friends. March 2 to April 29. R150 show and buffet.

Le Canard Restaurant, 163 Rivonia Rd, Morningside, Sandton, 011 884 4597:

Absinthe, rock collaboration between Cito and Paul E Flynn. Saturday, with four-course menu, liqueurs and French wines. R380, booking essential, as above.

Montecasino, cnr William Nicol Drive and Witkoppen Rd, Fourways:

011 511 1818.

Pieter Toerien Theatre:

The Mousetrap. R75 to R150 at Computicket.

Stand and Deliver, with Nik Rabinowitz. February 29 to March 11. R75 to R150 at Computicket. PG14.

Studio Theatre: 011 511 1818:

Andre the Hilarious Hypnotist. Ends March 11. R100 at Computicket.

Teatro:

The Phantom of the Opera. January 31 to April 22. R125 to R425 at Computicket.

Market Theatre, 56 Margaret Mcingana St, Joburg, 011 832 1641:

Shwele Bawo, A Grave Injustice. Ends March 18. Book at Computicket or theatre.

Dance Umbrella: Dancemetdieduiwels. Today to Thursday at 7.30pm. R30 to R100 at Computicket. No under-16s.

Dance Umbrella: Dirty Laundry. Saturday at 3pm, 8pm and Sunday, 3pm. R30 to R100 at Computicket.

Dance Umbrella: Faith. February 28, 29 and March 1 at 8.30pm. R30 to R100 at Computicket.

Dance Umbrella: Opera for Fools. March 3 at 3pm and 8.30pm, March 4 at 3pm. R30 to R100 at Computicket.

Laager Theatre:

Dance Umbrella: Daddy, I’ve seen this piece six times before, and I still don’t know why they’re hurting each other. Tomorrow to Friday at 9pm. R30 to R100 at Computicket.

Dance Umbrella: Double bill from Sifiso Kweyama and Moeketsi Koena. February 28 and 29 at 7pm. R30 toR100 at Computicket.

Dance Umbrella: Homodrye. February 29 and March 1 at 9pm. R30 to R100 at Computicket.

Carnival City Casino, Heidleberg Rd, Brakpan, 011 898 7575; 011 898 7000:

Big Top Arena:

The Hollies – 50th Anniversary Tour. 8pm, Saturday and Sunday. R160 to R460 at Computicket.

Dance Factory, 10 Henry Nxumalo St, Newtown, 011 492 1467/77:

Dance Umbrella: Gates of Hell, Uncle Stan’s Jane and John Doe, Imbokodo, Unknown. Today and tomorrow at 7pm. R30 to R100 at Computicket.

Dance Umbrella: Inter.Fear, Cellardoor, and Canvas. Friday and Saturday at 8pm. R30 to R100 at Computicket.

Dance Umbrella: Who is This?... beneath my Skin. February 27 and 28 at 8pm. R30 to R100 at Computicket.

Dance Umbrella: Out of this Body… For a Little While. March 1 and 2 at 7pm. R30 to R100 at Computicket.

Dance Umbrella: Death and the Maidens, with Dada Masilo. March 3 at 7pm, March 4 at 2pm. R30 to R100 at Computicket.

Emperors Palace, 64 Jones Rd, Kempton Park, 011 928 1297/1213:

Theatre of Marcellus:

Nataniël’s Black White Man Woman. Ends March 25. R140 to R335 at Computicket.

Odeon Showbar:

Retro Fever ends April 14. R60 at the door.

Foxwood Theatre, 13 Fifth St, Houghton, 011 486 0935:

Fine Comedy. First Friday of the month from March 2. R100. Doors open 8pm. Book at theatre.

The Dagenham Dialogues. British comedy. Saturdays March 3, 10, 17, 24 and 31 and April 7 at 8pm, Sundays March 4, 11, 18, 25 and April 1, 8 at noon. R140.

GoetheonMain, 245 Main St, Joburg CBD: Kaja Kopkow 011 442 3232:

Dance Umbrella: Chant. March 3 and 4 at 7pm. R30 to R100 at 011 492 2033.

Old Mutual Theatre on the Square, Sandton, 011 883 8606 and for bookings 083 377 4969: all bookings at Strictly Tickets or call the theatre.

Klass Struggle, comedy with Tracy Klass. Ends Saturday.

Overruled and How He Lied to Her Husband. February 28 to March 17.

Roodepoort City Theatre, 100 Christiaan de Wet Rd, Florida Park, Roodepoort, 011 674 1356:

Stef Bos. Friday at 8pm, Saturday at 8pm. R120 and R100 (groups of 10+) at Computicket.

Sci-Bono Discovery Centre, Miriam Makeba between Jeppe and President sts, Newtown, 011 639 8448:

Speak2aScientist: space weather may invade your space! Solar flares and radio communications! Electronic engineer Dr Pierre Cilliers of the Space Science Directorate of SA National Space Agency will speak. Thursday at 6.30pm for 7pm. RSVP to speaktoascientist @sci-bono.co.za or call Refilwe Pico at 011 539 8448.

Victory Theatre, 105 Louis Botha Ave, Houghton Estate, 011 728 9603:

Azikhwelwa. Ends March 11. R80 to R150 at Computicket.

Wits Theatre, cnr Jorrissen and Station sts, Braamfontein, 011 717 1376:

Dance Umbrella: One Night Stand, by PJ Sabbagha. Thursday and Friday at 7pm. No under 16s. R30 to R100 at Computicket.

Auditions

The SA State Theatre wants to audition actors, singers and dancers for a musical theatre production called Freedom. Based on SA’s transition from apartheid to democracy, it will have two phases, beginning with informal rehearsals in April, lasting until August. The second phase will start from September until the main performances in November/ December. Those auditioning must prepare a song and a monologue. They should be able to sing or dance. State Theatre, March 6 to 10 at 10am. Call Lindelwa Mahlabe at 012 392 4018.

lComputicket: 083 915 8000 or www.computicket.com

www.strictlytickets.com or 082 553 5903.

l For inclusion in Boardwalk fax us at 012 328 7166 or e-mail clare.braun@ inl.co.za by Wednesday.

Nelisiwe Xaba has upped the aesthetic ante in a country where child brides can be bought, virgins parade for kings and young women can be assaulted for wearing miniskirts.

It’s no secret that for the past six years Nelisiwe Xaba has been preoccupied with the exotic booty business.

The iconography generated by the manipulated black female dancing body, framed by a particular historical context, has been central to her Sarah Bartmann inspired double bill of They Look at Me and That’s All They Think (2006) and Sakhozi says ‘non’ to the Venus (2008).

In her new solo, this singularly adventurous dancer-choreographer has upped the aesthetic ante in a country where child brides can be bought by older men, virgins parade annually for the Zulu and Swazi king and young women can be assaulted, in a city like Joburg, for wearing miniskirts. This is no laughing matter, as proved by the eyes and expressions of the Swazi maidens in Sabelo Mlangeni’s photographs featured in the current Iimbali exhibition at the Stevenson Gallery in Braamfontein.

At the preview Dance Umbrella performance of Uncles & Angels (at The Goodman Space at Arts on Main) it was clear that Xaba, her collaborator Mocke J van Veuren and consulting director Toni Morkel, are redefining interactive screen dance.

This experimentation will no doubt mature technically and musically, but it does possess a startling authenticity and integrity which goes way beyond the novelty of 3D special effects.

It all begins with a projection on the large screen of a cellphone text conversation about going to the Reed Dance, or ditching it, to attend a march claiming the right to wear miniskirts. Xaba is doing the messaging hunched at the edge of the stage. Behind her, in line with the audience, are seated Van Veuren at his laptop (connected to the two cameras placed in front of the performance area) with Thami Manekehla, on sound, and Sibusiso Ndumndum operating the complex lighting.

The next image is a silhouette of a woman’s legs on demi-pointe, fleshed out when Xaba emerges in costume. The simplicity and vulnerability of this action underpins the ensuing revelations and multiplications which generate their own special brand of satiric humour.

That’s important because the intrinsic danger in this interactive wonderland (and the cultural practices) is that the individual gets lost in regimentation or scale of the spectacle. In her interaction with the characters of Prudence, Maria and Theresa, as well as the virginity testing matriarch, the performer unleashes several narratives enmeshed in a web of time (real and delayed) and space (real and digital). What is remarkable is that within all this seductive visual wizardry Nelisiwe Xaba takes control of the tourist gaze, taunts patriarchy and scrutinises contemporary social ritual.

The eclectic musical collage, which includes Barry White overlaid with African girls singing, Arthur and maskandi riffs (accompanying an imaginative animated Broadway staircase sequence), informs the choreography which astutely translates traditional movement, rhythms, steps and gyrations, as well as drum majorette stepping, into a stripped down vernacular which is duplicated and magnified. Cloning her own body was the starting point of this work which has spiralled into broader cultural and socio-political connotations. As usual Strangelove’s ingeniously textured costuming is part and parcel of these inventive artistic games. At one point the bottom half of a faux pink fur outfit (which doubles as a chastity belt) is worn as a drum majorette helmet.

The venue and co-producer for this Dance Umbrella commission is of special interest. What singles out Xaba from the rest of her dancing peers is that this year she is represented as an artist by the Goodman Gallery – quite a shift for a per-forming artist, albeit a radically conceptual one. Uncles & Angels is her first 2012 project.

In the post-preview discussion a member of the audience asked if the collaborators weren’t trivialising very sensitive issues. Gender warrior Xaba’s reply: “We want to demystify the topic. To hit it, kick it and kiss it.” Mission accomplished.

Durban actress Daisy Spencer steps out of the limelight and into the director’s chair to bring Athol Fugard’s classic Boesman and Lena to the local stage from next week.

Popular Durban actress Daisy Spencer steps out of the limelight and into the director’s chair to bring Athol Fugard’s classic Boesman and Lena to the stage from next week.

Spencer is passionate about the book and says she was keen to direct the play.

“Boesman and Lena has always been a personal favourite, so I jumped at the opportunity to stage it. “It is such an emotionally charged play, full of tension, humour, sorrow and optimism, all wrapped in one, which I strongly feel needs to be seen and felt first-hand.

“It does wonders in helping high school pupils better understand the plight of these poor wandering souls,” Spencer added, referring to the title characters.

Although it is being staged primarily as a study aid for high school pupils, there will also be public performances.

“Most casts are chosen according to the availability of actors,” Spencer said, “but this casting went beyond that. I needed to find actors I thought could handle the emotional burden that comes with playing roles like these, and who would not be scared to be pushed to a dark place to authenticate their portrayal of these characters.

“I saw Caitlin Kilburn play the female lead in Man of La Mancha. Her character was so strong and feisty, and yet so vulnerable at the same time. This leant in her favour to being cast as Lena, as she is tough and hard, yet soft and vulnerable at the same time.

“Rory Booth, who plays Boesman, is known as a comedic actor. I thought his role would be a good challenge for him. It will give him an opportunity to explore his dark side, as Boesman is just so cruel and sadistic. Hopefully, in the process, he will be seen as a worthy dramatic actor. It’s rewarding to challenge not only one’s self, but those with whom one works. Mthokosile Zulu, who plays Outa, is a wonderful, hard-working young actor who, although his character doesn’t say much, is doing an outstanding job.”

Spencer says she’s a “complete sucker” for stories of how people try to overcome their plight.

“Their hardships, struggle for freedom, need for companionship and meaningful communication, a search for identity, are some of the themes I love delving into and unpacking.

“Boesman and Lena deals with all these themes and to be given the chance to help bring these very sensitive issues to life is an absolute honour. The appeal was in the story.

“I would love to direct more and these productions are a good place to start, as I know the work, have studied it myself, and have a clear vision of how I would like to see it played out.”

Fugard’s classic story of two coloured people trapped in a struggle for freedom and dignity during apartheid will be staged at the Catalina Theatre, Wilson’s Wharf, from February 27 to March 16.

The events in the play take place during the course of a single evening, following Boesman and Lena as they make their way, carrying their possessions, across the mudflats of the Swartkops River near Port Elizabeth.

The pair have been uprooted, their home bulldozed by the white authorities to drive them and other coloureds and blacks in their segregated settlement further away from their white neighbours.

• The production is to be staged at 11am on weekdays for school groups, with public performances on Fridays and Saturdays at 8pm and Sunday at 6pm (two weekends only). Pupils pay R45, with one teacher to every 10 pupils admitted free. Public tickets are R75 (pensioners R60). Book at www.strictlytickets.com or call 031 305 6889.

The latest instalment of the popular Charous and Bruinous Comedy Show has a host of popular comedians lined up for the event which will be staged at the Bat Centre.

The latest instalment of the popular Charous and Bruinous Comedy Show has a host of popular comedians lined up for the event which is set to be staged this weekend at the Bat Centre.

This marks the third edition of the show, which, according to organiser Masood Boomgaard, was not planned.

“It sort of became an annual thing by accident. At the outset we couldn’t predict what the response would be like and then suddenly we had people asking ‘when’s the next show?’

“I think the idea is definitely for it to become a regular part of the Durban entertainment landscape.”

Boomgaard said all of the previous shows had sold out: “I think people were surprised by the talent of some of our relatively unknown artists and there was a sense that the show was value for money. Charous and Bruinous has a loyal following now. There has been talk of moving the show to a bigger venue, but part of why the show works is because of the homely feel of the Bat Centre,” he explained.

Charous and Bruinous 2012 features, among others, Koobeshan Naidoo of the Ding-a-ling crew, radio jock Neville Pillay and his alter ego Top Dan, the ever-popular Neil Green, Arnotte Payne and others.

The show promises to offer the comedians’ unique insights into living as an Indian or coloured in the Rainbow Nation, to tackle “charou” and “bruinou” stereotypes and narrate side-splitting tales from Durban communities such as Wentworth, Chatsworth, Phoenix, Sydenham and Newlands.

“Guys like Neville Pillay, Neil Green and myself were there from the start and have remained on the bill. Koobeshan Naidoo is one the new additions to the team this time around. I think we will always be looking to introduce new faces down the line. What’s most important is that our artists keep challenging themselves by writing new material all the time. Much of the show will be unheard material, which is good news for return audiences,” said Boomgaard.

From “bruinou” advice on surviving the recession to a guide to understanding lightning-fast “charou” talk to uncles who played soccer at Currie’s Fountain and more, Boomgaard says Charous and Bruinous is more than a comedy show, it’s a cultural adventure.

• The show takes place at the Bat Centre at Durban’s small craft harbour on February 24 at 8pm. Tickets are R100 through Computicket and Shoprite.

It used to be that black men left their families behind in the Eastern Cape to work in the Western Cape. Mandla Mbothwe is mildly amused that he’s doing it the other way around.

It used to be that black men left their families behind in the Eastern Cape to work in the Western Cape. Mandla Mbothwe is mildly amused that he’s doing it the other way around.

The 39-year-old theatre director joined the Steve Biko Centre (an initiative of the Steve Biko Foundation) as artistic director in February last year and has since been commuting between work in Ginsberg, King William’s Town, and home in Cape Town.

Mbothwe was aware that Lara Foot was writing what would become Did We Dance: Ukutshona ko Mendi (The Sinking of the Mendi) when he took the job. When she maintained that he direct it, he asked to include performers from the Eastern Cape, because it tied into the centre’s mandate.

The former UCT lecturer and researcher says one of the centre’s key principles is digging up stories, but whatever work is produced needs to include and be informed by the community.

Actors were cast from Joburg, Port Elizabeth and King William’s Town and research in the Eastern Cape gave them insight into what locals remembered about an integral but forgotten part of SA military history.

Most of the more than 600 SA soldiers trapped on the SS Mendi as it sank in British waters during World War I in 1917 were from the area, and it had a profound effect on the people who were left behind.

“This project forms part of reclaiming our stolen history, a way to allow the stories to breathe into our lives and allow younger people to interact with these stories.

“These stories may have been told in a different way elsewhere, but they have never filtered back to where they came from,” said Mbothwe.

He believes that the oral tradition of the Eastern Cape community, and many SA communities, is diminishing at a rapid pace, but can be replaced with a new theatrical tradition.

“Interaction within the community is communal, but one of the few ways we now get that kind of interaction is at funerals. The person who burst into praise, that’s an event, so, how do you turn that event into a performance?” mused Mbothwe.

“Our stories are being lost and sometimes we are the perpetrators. Our successes have made us ignore the most important things we can teach the world, we have managed to create millionaires, but not communities.”

He speaks fondly of his time at the Magnet Theatre, having worked his way up from intrigued audience member to actor and artistic director, working on acclaimed productions such as Ingcwaba lendoda lise cankwe ndlela –the grave of the man is next to the road and Bafana Republic 3 – Penalty Shootout and it’s these varied experiences that he is drawing on for Did We Dance.

He explained that for this production it was important to use elements that are prominent in the community, “so it’s not just the content but also the aesthetics that remind us of other things, for example, what is a song iconic to this community?

“But we have to acknowledge that we might not be accurate to what happened.

“For me, as the director, it’s important to be mindful of the fact that we don’t really know what took place. So, how do we begin to tell this story, with respect for the fact that we’re trying to remember?”

He is particularly driven by content, “not for entertainment, but to tell the story,” and says there are three basic elements that will intrigue people who come to watch the performance.

“There is transformation of the world of the stage – the audience is brought into another world through sound. The story is driven by music, dance and poetic language and dialogue is mostly in English.

“It engages all the sense of the audience, plus your imagination.

“What you get out of it is the importance of sharing your stories with others.”

• Ukutshona ko Mendi (The Sinking of the Mendi) plays at the Baxter Golden Arrow Studio from Thursday until March 10 at 7 nightly, with matinees on Sunday and March 10 at 2pm.

Sweet and short, Absolucy is a great showcase for Lucy Tops’s vocal ability.

ABSOLUCY

DIRECTOR: Alex Tops

CAST: Lucy Tops

VENUE: Kalk Bay Theatre

UNTIL: March 3

RATING: ***

Sweet and short, Absolucy is a great showcase for Lucy Tops’s vocal ability.

From the moment she starts singing I Wanna Hold Your Hand to the bottle of wine in her hand, it is her voice that holds your attention.

This is a little cabaret show, complete with costume changes on stage, a couple of different accents and a story to thread it all together. The show is couched as Lucy’s visit to an Alcoholic Anonymous group meeting that turns into a karaoke session because she is just more comfortable launching into song.

So, we then become privy to the sad little story of her addiction to booze, and singing, which appear to go hand in hand.

At times – such as when she launches into Nutbush City Limits – her voice is almost too big for the little Kalk Bay Theatre, she could do this show with no artificial augmentation and still manage just fine.

She works in everything from Lady Gaga (a slow version of Pokerface is now nothing new, since I saw the same thing in the same venue with Rose Red) to Abba’s Gimme Gimme Gimme.

There are some funny jokes and some heavy nostalgic giggling when she breaks out into her 1990s club moves.

Audience participation is key – it’s not like she needs a string volunteers, but it is the kind of production where spontaneous clapping to the beat is going to help your enjoyment of the show.

What saves it from being an extended karaoke session is that Tops has created a real character, by the end of the show you believe that this lonely alcoholic cabaret artist has shared an intimate part of her life with you, for all that you’ve been laughing at her experiences in Chinese gambling halls and other dodgy places where alcohol makes life go down so much smoother.

As Nataniël illustrates ways of bucking the system, it is exactly that safe place he evokes on stage as he tells wondrous stories of families with names such as Hagga, Wagga and Dagga.

Black White Man Woman - The show about everything in-between

SCRIPT, LYRICS, MUSIC, CONCEPT AND STAGING: Nataniël

SINGERS: Lindiwe Bungane, Nicolaas Swart

MUSICIANS and vocals: Charl du Plessis (keyboards) Juan Oosthuizen (guitar), Hugo Radyn (drums), Werner Spies (bass), Tonia Selley (percussion)

COSTUMES: Floris Louw

VENUE: Emperors Palace

UNTIL: March 31

RATING: ****

If you are not what, or who, you are thought to be, you are playing with fire. If you are not right for the place you’re in, you’d better find a place that’s right for you. In the event everything becomes too much for you, lie down, breathe deeply and find that safe place.

As this superb storyteller illustrates ways of bucking the system, it is exactly that safe place Nataniël evokes on stage as he tells wondrous stories of families with names such as Hagga, Wagga and Dagga, or Heleentjie, Hennetjie and Hannessie, all who, in spite of their circumstances, or simply defying what is accepted as normal, try to live a life unscathed. It is as if Nataniël has marched from his last show (Combat, recently screened in cinemas and now on DVD) into the next in a gentler mood as he shares his insight into the human race.

Let’s dedicate a song to those from North Korea, China, Italy, Uganda, all countries that suppress a people already in dire circumstances, he says. Who says a dress isn’t more acceptable than a casual shirt, shorts and comfortable shoes, he wants to know as he questions gender abuse. Then promptly shows off his legs in an eye-catching minidress.

While he addresses serious issues and fights for the rights of individuals who dare to be different, it is couched in his descriptive storytelling language, colourful and insightful, all the while creating fantastical pictures that are jubilantly joyous.

That’s his gift as an entertainer. From his hysterical storytelling to his gorgeously dramatic costumes, the imaginative storybook scenarios he paints with lights and lighting, the eclectic ensemble of fantastic musicians, the powerful singers and his world-infused songs, Lindiwe’s rendition of Golden Eye, the cheeky choreography, it’s an explosive culmination of extravagant, show-stopping moments that allow you to escape into a world of memories and magic.

While Nataniël’s stories will always wend their way into your soul, here it’s the music that forms the heart of the production and allows the master of pretty pictures to create images with sound, stories and song. It is as if he is paging through a book which is explained in the most delicate detail as he targets all the senses and rarely misses.

How can one not succumb?

With our hasty lives that seem to run out of control so often, this is a respite filled with mood-driven music and spectacular moviemaking, live and in pictures, and more than that, he has us chortling all the way as he reels us in.

Who could wish for anything more?