Tierney Fellow Exhibition Lebohang Kganye
Ke Lefa Laka A solo exhibition by Tierney Fellow Lebohang Kganye Opening: 7 August 2013 8 August – 11 September Walkabout: 24 August, 10h30 The Photo Workshop Gallery The Tierney Fellowship at the Market Photo Workshop in partnership with the Tierney Family Foundation was awarded to alumni Lebohang Kganye for 2012/2013. The goal of this project is to award an aspiring photographer the opportunity to develop their career and skills through this unique mentorship programme. The Tierney Fellowship creates an ideal space for a photographer to develop such a body of work. Ke lefa laka is Kganye’s first solo exhibition and features work from a year’s research into her family history using family photographs, testimonies from family members as well as personal narratives. She has been mentored by Nontobeko Ntombela and Mary Sibande. For more information, please contact: Molemo Moiloa Market Photo Workshop Tel: +27 (0)11 834 1444 e-mail: molemom@marketphotoworkshop.co.za www.marketphotoworkshop.co.za The Market Photo Workshop is a division of The Market Theatre Foundation. Represent will be there, hope we see you there in honor of Lebohang’s amazing...
Represent Recommends: Blood Orange
Blood Orange is the story of a boy’s journey toward manhood. Blacklaw weaves all the usual trials and rites of passage that go with growing up; with the realities of our childhood in the apartheid era. Our protagonist is able to tell his story against this backdrop of conflict, thus commenting on and often making light of the darkness of our past. The story is bitter-sweet, much like the fruit from which it takes its name. The partnership of Grieg Coetzee and Craig Morris is remarkable. Each of these very skilled theatre practitioners are storytellers, one verbal and one physical. This results in a performance that is multi-faceted and thick with detail. Craig Morris changes character with ease, and throughout the narrative we are introduced to many characters, yet each is distinct in accent, posture and characterisation. With Craig, only one performer is needed as opposed to a cast of hundreds. His physicalisation creates such imagery, just when you think his vocabulary of facial expressions have dried up – along comes another wonderfully vivid character. One that we can recognise… we know someone like that! As if that weren’t enough, there are these startling moments when we are reminded of Craig’s astounding dance abilities as he portrays feelings though his movement. He is only aided by the use of shadows and 4 tyres – ingeniously utilised. The piece is memory inducing and thought provoking and a testimony to the old adage ‘A spoonful of sugar helps the medicine go down’. An hour and a half on stage, alone and he holds us in the palm of his hands and on his every word for, every minute. GO AND SEE BLOOD ORANGE!!! BLOOD ORANGE An adaptation of Troy Blacklaws’ novel of the same name The Market Theatre and Untouchable Productions presents 22 January – 17 February 2008 (Tues – Sat 20h15; Sun 15h15) BUY TWO TICKETS FOR THE PRICE OF ONE Available from Wed, 23 January – Wed, 30 January 2008 (ex. Tues, 29 Jan) Tickets must be purchased from the Market Theatre Box Office. Call 011 832 1641. Performed by Craig Morris Directed by Greig Coetzee Debra...
Represent Review: Who’s afraid of Virginia Woolf?
Catch Janice Honeymoon’s “Who’s afraid of Virginia Woolf?” at the Market Theatre in Newtown till the end of September, our citizen journalist John went to check it out for Represent, he gives it the thumbs up: “The piece is solid and intense delivering everything you need, laughter, suspense and shock.” Thanks John – here’s his take: I’v long sat with baited breath to see this play – those old enough will recollect the 1966 film with Elizabeth Taylor and Richard Burton. This was my first time to see the entire play and I was not disappointed. It’s over two hours long and esssentially features an elderly couple tearing into each other, leaving huge gaping emotional scars – it reminded me of War of the Roses. The piece is full of chuckles and funny bits caused by the elderly couple playing on each other’s emotions and performing in front of a much younger couple and using them as pawns in their mind games. At times the action became quite physical when the older woman, played by Fiona Ramsay, started screaming and choking her husband , played by Sean Taylor. The two older actors deliver stellar performances – I could still hear Fiona Ramsay squeal like a banshee in my dreams that night. Everyone had American accents and some of the subject matter was very American, making it hard to understand some of the funny bits which got totally lost on the audience at times. The younger couple, played by Nicholas Pauling and Erica Wessels gets caught in the middle of this screaming war – they deal with it quite differently than I would have imagined. Erica Wessels caused quite a bit of laughter with her girly-squeaky voice breaking some of the more tense moments in the play. By the way, the play’s title – “Who’s afraid of Virginia Woolf?” – gets mentioned in the play, but we never found out where it came from . The piece is solid and intense delivering everything you need, laughter, suspense and shock. It’s length – over 2 hours, and 2 intermissions – was the only negative element. This is definitely only for adults though. Strong acting – weird situations – and a little of all of us the recognize – go and watch it ! Tuesdays – Saturdays @ 20h00 Sundays @ 15h00 Ticket prices: Tues – R40; Wed & Thurs – R80; Fri & Sat – R130; Sun – R80...
Represent Review: Blackbird
Wow, sounds like we have a realtime replacement for our addiction to the 24 series. Thanks to Representah John for the review, in summary: “This one is for the hard core theatre goers – leave Granny at home!” If you have the mettle for a violent and graphic theatre show, get to Blackbird at the Market Theatre. Blackbird Market Theatre – Laager Theatre 13 July – 19 August 2007 Blackbird is a thought provoking and explosive play from acclaimed Scottish playwright David Harrower. Fifteen years ago, Ray and Una had a relationship, which devastated their lives and the lives of the people around them. Since then Ray has moved on. He has a new life, a new identity. He didn’t think he could be found. Una has thought of little else but finding him and on discovering where Ray is, sets out to find him with shattering consequences. What evolves is a compelling but uncomfortable drama that encapsulates the unresolved, misshapen, emotional mess that might accompany any suddenly interrupted relationship, legal or otherwise. REPRESENT REVIEW: We visited the Market theatre on Wednesday evening to witness a play by the acclaimed Scottish playwright David Harrower. The cast was British and I was really looking forward to seeing “Blackbird”. I didn’t know what to expect so I sat back and watched in anticipation. The stage was littered with trash and half eaten burgers. It looked like a canteen slash pigsty. People were looking through the sand blasted windows of the set creating a weird feeling every time I noticed them. The lights dimmed and the two main characters appeared. A man, late fifties, and a woman in her late twenties. Both had strong British accents. For fifteen minutes we were totally baffled. We could feel the tension on stage but were at a loss as to what was going on. The man was visibly shaken. The younger woman was constantly attacking him verbally. Then the bombshell dropped. I’m not going to spoil the plot for you, but suffice to say it was one of the most unexpected twists I’ve ever experienced on a stage. This play is definitely not for the timid or faint of heart. It is an hour and fifteen minutes of a continuous emotional rollercoaster ride. The language was graphic and some of the physical fight sequences were very disturbing – though some members of the audience had a chuckle. Maybe they are used to more violence than me… The ending is sad and tragic – but I expected as much after realizing the plot. There are no winners in this story. This is not a typical night...
Represent Review: Athol Fugard’s Victory
Thanks to JohnO for his take on Fugard’s latest play at the Market Theatre – he says it’s a must see but not for the faint-hearted! : Wow ! The only thing saving us from freezing to death after the latest cold spell was the tension and drama on the stage of the Laager theatre at the Market. A packed house of cold feet and wide eyes got to see Athol Fugard’s latest effort Victory. And what an effort it was ! I was initially drawn to the piece because of Cobus Rossouw – one of my acting idols from yesteryear but what I got to experience was nothing short of breathtaking. The cast consists of Cobus Rossouw whom everyone may remember from the 70’s and 80’s during which he invariably played a villain or strict father in every second movie or television series. Those lucky enough to have seen “Die groen factor”, will realize that you do not get any better Cobus than that. His performance in Victory was good – although after not seeing him for so many years, I immediately noticed that the years have been tallying up. The rest of the cast was made up of two relative newcomers – Ameera Patel and Wayne van Rooyen. These two stole the show and delivered a performance that can only be described as brilliant and disturbing. Where have these two young actors been hiding? Although the piece tackles a very serious topic – poverty and racism- Fugard still managed to inject some laughs into the evening. The ensemble delivered the laughs and when the tension and absolute terror came, they delivered the goods, pushing the audience to the edge of their seats. I have never experienced the realism and absolute desolate frustration that Wayne van Rooyen delivered. At times he was foaming at the mouth, literally! There were a few scenes where he slapped Cosbus Rossouw’s character around which was positively shocking leaving the whole audience gasping for air. To get back to the technical side – the direction was excellent. The set was simple but suited the piece perfectly. The lighting and music were done brilliantly, communicating the mood – not leaving you confused as to what’s going on. To close – this play is not for the faint hearted. I went into it expecting the usual black vs. white story – which it is not. The piece starts of with a bang, introducing the characters, changes into what your mind can only fathom as a tragedy and then ends on a sad and very disturbing note. No fluffy animals and sing along songs here –...
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