Latest news with #AndrewBuckland
Daily Maverick
2 days ago
- Entertainment
- Daily Maverick
Andrew Buckland and the alchemy of laughter
Revived with a young cast, the playwright's latest production at the Baxter uses physical comedy to grapple with the many brutal, horrifying ways that food remains a source of power and control. National treasure, theatre legend, comedy giant. Call him what you may, but Andrew Buckland has spent his career making people feel. And think. Often the connections he creates between heart and mind are unanticipated, but what's guaranteed is that, along the way, you will laugh spontaneously, without recourse to cerebral processes, free of interference from self-censoring agents. 'Hopefully we can sit in a room together and give ourselves permission to laugh at ourselves,' he says. 'It seems like a really powerful thing, especially when we consider issues that are extremely dark.' He calls it 'the cleansing fire of laughter'. Feedback, his most recent directorial endeavour, is a new iteration of a play he wrote in the early 1990s, earning a national award for best playwright and an Edinburgh Festival Fringe First Award in 1995. In style, it expanded Buckland's somewhat idiosyncratic approach to playmaking which drew on his training in mime and physical theatre. It also leaned into a mode of comedy that grappled with poignant and pressing issues in ways that veered into absurdism, the grotesque and using visceral humour to make direct emotional connections with the audience. In The Ugly Noo Noo, for example, which had been a major hit several years earlier, he critiqued authoritarianism through the lens of a surreal encounter with a Parktown prawn. Buckland had previously used the stage to grapple with apartheid and its monsters, but Feedback was in development just as South Africa was on the cusp of democracy and he saw the need to refocus his work. 'There was a strong sense that the targets of political satire of the Seventies and Eighties were shifting and didn't have the same kind of relevance,' he says. 'I made an active, conscious shift to think more broadly and to consider what I saw as humanitarian rights – access to food, access to water.' He created The Water Juggler (1998), in which he took issue with the politics of water; a few years earlier, Feedback came out of an investigation of food politics, an idea initiated by overhearing a supermarket worker saying that cheeses were 'flying off the shelf'. While a literal image of flying cheeses no doubt sprang to mind, it prompted Buckland to reflect on the fact that, while some folks feast, millions starve. 'The kind of work I was doing at the time was very much set in a satirical, comic, cartoon, surreal world in which anything can happen,' he says. It occurred to him that, in that world, the notion of flying cheeses was not especially extraordinary. All he had to do was ask the 'obvious' theatrical questions as to the cheeses' motivation. In the case of flying cheese, the questions were clear: Why are they flying? Where are they flying to? And why do they wish to be there? The response that came to Buckland was that the primary goal of any foodstuff is to be eaten – preferably by someone who is hungry. From that emerged the idea of self-distribution – along with plenty more satirical weirdness. The play is by no means a documentary analysis of flying cheeses and their motivation, though. It uses a farcical murder mystery framework to explore the complex sociology of food. The core narrators are a pair of orphans who have survived a famine and have been saved by Mother Mirth, a character who has taught them how to feed themselves using methods such as permaculture. In the play, most food is controlled by a nefarious corporation, the Dearth Foodstuff Multinational, which is run by two eccentrically villainous villains straight from the world of cartoons. When Mother Mirth is murdered, the orphans team up with a pair of detectives – Deadly and Serious – who take the audience on a wild ride as they hunt down the bad guys. Within that seemingly familiar whodunnit story arc, the play examines serious ideas about the food industry and about how food is controlled. And, of course, how food is used as a mechanism of power. 'Throughout history, food has been weaponised and used as a weapon of war,' Buckland says. 'Constructed famines and imposed starvation have and are used as weapons of genocide. And it's happening in the world as we speak. Not only in Gaza – in any conflict zone, food and hunger are used as mechanisms of war.' Without preaching, using satire, physicality and absurdist storytelling, Feedback accesses a mode of communal laughter in order to grapple with issues that are not only part of everyday life (how we source our foods, for example, and the ethics of food generally), but have broad implications for humanity – and our capacity for cruelty. Buckland believes that comedy is a useful and potent way of facing issues most of us prefer not to confront. 'It's the vital role of the fool,' he says. 'It's the clown that Italian satirist Dario Fo described as a character born with a sword for a tongue, whose role is to ignite the powder kegs of laughter that help us grapple with darker aspects of who we are.' Originally created as a solo show for himself, and then rewritten as a two-hander, for Feedback's 2025 Baxter revival Buckland rearranged the script for four actors, while maintaining the core features of its original style. 'Its structure, subject matter and characters have essentially remained the same – it's all very much within that style of storytelling without props and without a set, instead using gesture and physicality to evoke landscapes, places and particular objects that the characters deal with.' Buckland believes this brand of physical performance stimulates the audience's imagination in such a way that they become 'active creative participants' in the storytelling. 'The audience's imagination is directly involved in creating what's not on stage – and what's not said. They don't just listen and observe from the outside in a removed, detached way. Each person in the audience sees their own image, follows their own version of the story, and is stimulated to evoke their own joy and pain and remembrance of their own experiences in life. So, it's a unique, creative conversation with the audience.' Buckland says the play in a sense becomes an act of co-creation in which the audience are engaged participants. 'There's a complicity, a glint in the eye of two people playing the same game. I love that you can invite the audience into the most surreal landscapes and they happily come with you and imagine it themselves.' It is not only an invitation into a bizarre, otherworldly reality, though, but a means of using physical comedy to access pre-verbal, instinctive, gut-level responses to what is happening on stage. It is a satirical mode that, by putting a different light on a thing, its ridiculousness becomes instantly laughable, and is felt viscerally rather than being processed cerebrally. 'So, hopefully the audience will be laughing at something before they've even considered whether it's funny or why it's funny,' says Buckland. He says, too, that while laughter seems to make it easier for audiences 'to go into that imaginative world' of the often bizarre and surreal worlds that exist in his plays, there is something else about laughter that is inescapable: its alchemical power. 'It had been my experience, particularly doing silent mime shows, that it was possible to do a whole hour or so of performance in complete silence – except for the laughter of the audience. For the entire show, that's the only thing you hear. And that was quite a mystical experience, I suppose. And it was addictive. Because there was a sense that people were laughing not only because it was funny, but because there was an identifiable level of truth in the performance.' He says it's a vital kind of laughter, because it reveals our inner truth. And important, too, in that it is laughter 'that does not focus one's attention away from issues, but allows us to laugh by going deeply into them and through them, towards hopefully being able to understand them, or at least consider them from another perspective'. This ability to show audiences a different perspective lies at the heart of Buckland's belief that theatre and storytelling are mechanisms for practising empathy. 'Feedback is part of a style of work that establishes in the audience an immediate connection with the subject matter,' he says. 'Because it's evoked not through an intellectual consideration of ideas, but through a visceral response. It's more personal and it's a far more effective way of enabling the audience to stand in the other person's shoes. Or to step outside of their own shoes.' For Buckland, this is urgent work. 'This seems crucial, absolutely vital for every single human being,' he says. 'Especially at a time when many people who have power seem to be devoid of any effective sense of empathy. It seems a really important aspect of humanity for us to learn, to develop, to grow, and to practise.' Vital, too, he says, is that we keep it real. 'I'm convinced they'll soon be making AI movies where you pretty much can't tell whether it's an actor or an AI-generated character. But there's something about live performance that AI can't replicate. What AI can't fabricate is people sitting in a room together, communicating live, face-to-face. Feedback really relies on people collecting in one space, without interference by screens or technology, and allowing ourselves to be with each other, allowing that to be a part of confronting ourselves. 'That seems very potent, very urgent. A lot might change; we might have crashes of this and that, huge social, political, economic, topographical, climate and every other kind of upheaval, but what won't change is our capacity and our need to tell stories to each other, and to hear stories, and to share stories. That seems at the core of what makes us who we are.' DM Written and directed by Andrew Buckland, Feedback features Lyle October, Awethu Hleli, Carlo Daniels and Nolufefe Ntshuntshe. It is playing at the Baxter Studio theatre in Cape Town until 30 August.
Time Out
3 days ago
- Entertainment
- Time Out
Out and About: Things to do this weekend
Get ready for an action-packed weekend across Cape Town! From 15 to 17 August, the city comes alive with a mix of music, theatre, art, wellness, and hands-on experiences. The weekend weather situation is still cool to chilly, with some chance of showers on Saturday, but slightly better conditions on Sunday. That being said, it can turn on a dime, so always layer up. Explore cultural festivals in the CBD, family-friendly activities along the West Coast, and high-energy fitness and music events in the Winelands. Dive into our curated guide and make the most of your weekend in and around Cape Town. Cape Town CBD Heat Festival A vibrant winter arts festival showcasing visual arts, live music (jazz & opera), theatre, stand-up comedy, and digital installations - all exploring the theme Other Worlding across central Cape Town. View this post on Instagram A post shared by Heat Winter Arts Festival (@heat_arts_festival) Everybody Loves Sundays Ease into Sunday with a curated mix of soulful vibes and smooth house rhythms. Enjoy deep house and uplifting beats while relaxing with drinks, good company, and spectacular views. This event is designed for a chilled Sunday wind-down and is strictly 18+. View this post on Instagram A post shared by Everybody Loves Sundays (@everybodylovessundays) Atlantic Seaboard Soul & R&B Fridays Kickstart your weekend with live Soul and R&B DJs, spectacular vibe at one of Cape Town's most popular destinations. Enjoy great music, delicious food and drinks, and a night out with friends in the heart of the Mother City. View this post on Instagram A post shared by Time Out Market Cape Town (@timeoutmarketcapetown) This Is Me! Date & Time: Saturday, 16 August 2025, 09:00 – 16:00 Venue: Hout Bay, Cape Town A full-day empowerment programme for women, focusing on mental health, entrepreneurship, physical wellbeing, and life-work balance. Join workshops and sessions designed to inspire, equip, and celebrate women in all aspects of their lives. Southern Suburbs Feedback (Murder-Mystery Theatre) Andrew Buckland's physical theatre piece is a quirky, poignant murder mystery blending dark humour and lyrical storytelling. View this post on Instagram A post shared by The Baxter (@baxtertheatre) Melomania A high-energy live music quiz experience! Three powerhouse vocalists perform hits across genres and decades while challenging the audience to identify songs, artists, and movie soundtracks. Hosted by Ash Searle, this interactive show is a fun test of music knowledge and a night of unforgettable entertainment. View this post on Instagram A post shared by The Kalk Bay Theatre (@thekalkbaytheatre) Cape Flats The Magic Flute – Cape Town Opera Cape Town Opera's new vibrant, multilingual adaptation of Mozart's The Magic Flute blends live operatic performance with puppetry for a playful, accessible introduction to opera that offers both cultural enrichment and pure entertainment. View this post on Instagram A post shared by Cape Town Opera (@capetownopera) Northern Suburbs Michael Flatley's Lord of the Dance Michael Flatley's legendary Lord of the Dance returns to Cape Town with its celebrated production A Lifetime of Standing Ovations - a spectacular showcase of precision Irish dance, dazzling choreography, and theatrical flair. Adding to the experience, GrandWest's Chef Keshan Rambarun will be running a special pop-up street food station to beat the pre-show dinner rush. View this post on Instagram A post shared by Sun International (@suninternationalza) It Rumbles Before It Rises Dates: Sat 16 August (10am–1pm) - until 26 September 2025 Venue: Hugo Modern Art, 25 Hofmeyr St, Welgemoed, Cape Town Ticket price & booking: | jeanne@ | 060 383 0815 Hugo Modern Art presents a bold all-women group exhibition drawing inspiration from the life cycle of a volcano and the myth of Persephone, the exhibition moves from quiet rumblings to full expression in fiery or tender form. All works are available for purchase. View this post on Instagram A post shared by Jeanne Hugo (@hugo_modern.art) West Coast Two Oceans Aquarium Trash Bash A hands-on shoreline cleanup led by the Two Oceans Aquarium, is held every third Saturday of the month. Perfect for families and eco-conscious locals keen to learn about marine conservation while making an impact. View this post on Instagram A post shared by Two Oceans Aquarium Foundation (@aquariumfoundation) Silent Nights, Dancing Lights Date & time: Saturday, 16 August 2025 | Sessions at 5pm & 6:30pm Venue: Melkbos Country Club, 1 Robben Road, Melkbosstrand Ticket price & booking: Adults R100, Kids under 12 R50 | Quicket (limited headphones available). Dance under the stars at the Melkbos Night Market with this immersive 3-channel silent disco. Choose from soulful house, decades hits from the 80s–00s, or kid-friendly party beats, all via wireless headphones. A cosy, family-friendly winter evening with glowing lights, great music, and market vibes. View this post on Instagram A post shared by Silent Disco by Silent Events SA est2014 (@silenteventssa) Cape Winelands Club Sweat Experience the ultimate workout set to a live DJ in a disco-inspired atmosphere. Enjoy high-energy moves, vibrant lights, and post-session coffee with friends. A sweaty, fun-filled fitness early-morning weekend party for all energy levels. View this post on Instagram A post shared by UNLOCKED FITNESS® (@unlocked_fitnessstudio) UV Resin Workshop @ Eikenhof Estate Learn the art of UV resin in a hands-on creative session at the scenic Eikenhof Estate. This popular workshop teaches techniques for crafting stunning resin pieces in a relaxed, supportive environment. View this post on Instagram A post shared by Cre8ive SA (@cre8ive_sa)
IOL News
05-08-2025
- Entertainment
- IOL News
From poetry, humour and healing: this week's must-see theatre in Cape Town
"Feedback" unpacks the themes of food security and access while highlighting greed and generosity. Image: Instagram Feedback Originally performed by Andrew Buckland, this production tells the story of two brothers, a detective, and a host of flying cheeses (including other food items) as they fight with the Grave Brothers. This play is a humorous murder mystery that unpacks the themes of food consciousness and globalisation. Where: Baxter Theatre Centre. When: Tomorrow until August 30. Show times differ depending on the day. I Want to Call You Daddy This play brings you a one-woman vibrant performance by the multi-talented Marcé Underwood, who re-tells the story of pain, resilience and explores single motherhood in post-apartheid South Africa. This touching performance blends poetry and storytelling to trace a mother's emotional path through significant moments, such as her daughter's first day of school, to the struggles of maintenance court. The play challenges white paternal absence and questions how historical trauma perpetuates cycles of abandonment. Where: The Artscapes Arena. When: Runs from today until Friday at 7pm. The Glass Menagerie A timeless masterpiece by Tennessee Williams, this new adaptation explores the delicate balance of love and loss. This play delves into a matriarch's desperate efforts to unite her fractured family. However, her efforts prevail as each member strives for independence. This captivating and heart-wrenching narrative deeply examines the sensitivity of human connection, profound longing and the inherent imperfections within family bonds. Where: Baxter Theatre Centre. When: Runs until August 7 at 7.30pm.
Time Out
02-07-2025
- Entertainment
- Time Out
UNRULY
Photograph: Retha Ferguson UNRULY , starring acclaimed performer Andrew Buckland and double bassist Chantal Willie-Petersen, returns to the Baxter Theatre for a limited season from 17 July to 2 August. This immersive storytelling performance – rooted in rigorous academic and creative research – delves into the uneasy coexistence of humans and urban baboons in the fictional town of Skemer Baai. When a revered baboon matriarch vanishes under mysterious circumstances, long-standing tensions erupt, revealing deeper truths about territory, survival, and belonging. Thu, 17 Jul 2025 Sat, 19 Jul 2025 Sat, 19 Jul 2025 Tue, 22 Jul 2025 Wed, 23 Jul 2025 Thu, 24 Jul 2025 Fri, 25 Jul 2025 Sat, 26 Jul 2025 Sat, 26 Jul 2025 Tue, 29 Jul 2025 Show more By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. 🙌 Awesome, you're subscribed! Thanks for subscribing! Look out for your first newsletter in your inbox soon! Discover Time Out original video
