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Daily Maverick
17 hours ago
- Entertainment
- Daily Maverick
The Barber of Seville is an operatic funny business
For Cape Town Opera's latest production, leaning into physical comedy has proven liberating. It's that narcotic moment of creative bliss, that point at which all the elements of a production magically coalesce, producing something far greater than the sum of its parts. Getting there, though, seldom comes without side-effects. For theatre director Sylvaine Strike it's been three weeks of voluminous ear worms. She'd experienced a similar phenomenon while working on the musical Spring Awakening, but Strike says that directing her first opera has produced in her head an after-hours aftermath of unrelenting music and top-volume voices unlike anything she's encountered before. 'It's been relentless,' she says. 'I tried driving home in silence – because that's what I need after a full day of rehearsals. But it didn't stop in the car. It didn't stop in the shower. It did not stop when I climbed into bed. I had severe insomnia from it. I heard the music and singing constantly.' Not that listening to it first-hand, in the rehearsal room, has in any way been unpleasant. Far from it: 'It's glorious to be in the presence of those voices,' Strike says. It's when it's stuck in your head that it's unforgiving. The opera is The Barber of Seville, Italian composer Gioachino Rossini's comic masterpiece, and the ear worms are as much down to the addictive beauty and hypnotic power of the music Strike has been hearing all day, every day for three weeks, as it is a consequence of her obsessive dedication to the work. It's been a mighty task. Aside from shaping the opera she has been consumed by the challenge of fashioning the singers from two casts into formidable physical comedians. Part of the encouragement was to shift the focus outwards. 'I asked the singers to make each moment about the other person in the scene,' says Strike. 'Whether it's the rich and handsome count you're falling in love with or the young woman you want but can't have because you're an old fart, I said make it about that person… Once they took the licence to not focus on themselves, they started to play.' The other encouragement was to not take themselves too seriously. To have fun and embrace the comedy. Once this freedom had been unlocked, a momentous transformation happened. I witnessed the results of the singers leaning into this newfound playfulness during their final day in the rehearsal room, a week before opening at the Theatre on the Bay on 5 August. Rehearsing that afternoon was the so-called Red Cast: the dashingly handsome Innocent Masuku (the London-based South African tenor who made a name for himself by reaching the finals of Britain's Got Talent last year) in the role of Count Almaviva; local superstar soprano Brittany Smith as an utterly enchanting Rosina; ebullient baritone Thando Zwane as Figaro, the titular barber who is in fact a hustler who'll do anything for money; and a hilariously self-aware Conroy Scott as the aforementioned old fart, Dr Bartolo, who schemes of marrying the much, much younger Rosina. Each of them was sublime – as was the rest of the cast of colourful characters, and the all-male chorus, who at one point spontaneously began dancing, one of the many natural expressions by the performers in response to the music that Strike decided to keep in the show, 'because it's their truth in that moment'. It was the Cape Town Opera company like never before: having the time of their lives, not only singing their hearts out, but expressing the opera's hilarity with their entire bodies. It was enthralling to say the least, everyone consumed by the magic of the music, the madcap comedy fully embodied. Watching them play, having fun as they sang and leaned into the ridiculousness of the comedy, I completely forgot that I don't understand Italian. The story came alive, crisp and clear and compelling. 'I just told them to own it,' says Strike. 'Own the joy! Own the hilarity! For God's sake, it's a farce!' Own it they do. While the story's way more convoluted than your average opera and can cause confusion because of its strange twists and turns and Almaviva's various disguises, Strike has made it so visually vivid that even a Rossini virgin will follow the action without knowing a word of Italian. 'I was obsessive about sculpting every moment in order to make the meaning clear,' she says. Strike, who trained at the Lecoq School in Paris and has practised physical theatre for decades, draws on a rich tradition of embodied comedy that goes back to Commedia dell'arte and draws on a range of movement techniques, even tai chi. 'It's a lot to ask of them,' Strike says. 'Comedy is terribly, terribly hard. And they're singing at the same time, so there's the technique required to deliver the vocals while performing the comedy.' Her approach is to give the performers agency. 'I'm not a director who tells you what to do,' she says. Instead, it's been up to each singer to find the physicality of their character. Strike says the process has been incredibly liberating, giving the singers new tools with which to connect to their character's truth. 'It's not cerebral in any way,' she says. 'Just take the thinking away and sing with the entire body.' Apart from giving the singers licence to play, Strike has also added a meta layer to the performance by bringing accompanying pianist Jan Hugo, who is also the show's musical director, into the opera. His role? Rossini himself, composing in real time. 'We're not going to pretend that there isn't a piano accompanying them, because I think that's disrespectful to the pianist,' Strike says. 'And I love the idea that Rossini is there with us, creating the opera as it unfolds.' It is not only respectful, but has created an opportunity for comic interaction between Rossini and the singers who are performing his opera. It's especially fun in those moments when the performers get a chance to express their exasperation at the extreme demands Rossini placed on the singers. And it's true, Rossini's schtick was writing extremely demanding songs. It's a bel canto opera, meaning that it's very expressive and literally packed with 'beautiful singing', with a lot of trilling up and down the scales, arias that build and build at pace as though they exist to showcase the extreme potential of the human voice. It's music designed to show off the agility, speed and prowess of the singers who are required to perform some hardcore vocal gymnastics. Some of the songs feel like a comedic, galloping race to a finish line that refuses to appear. Never mind the absolute loveliness of the melodies. The opera's opening night in Rome in 1816 was a disaster, although not because of the material. It's believed that a rival composer who had created another opera based on the same play had hired hecklers to boo the premiere performance. When Rossini stepped out to conduct the orchestra, his outfit apparently attracted laughter, and then not only did a black cat at some point pad across a stage full of superstitious opera singers, but one of them fell on his face and broke his nose. The show continued but there was blood everywhere. Despite the unmitigated fiasco of opening night, it's become perhaps the most-produced and best-loved comic operas yet made, and its music, undoubtedly well ahead of its time, has influenced and infiltrated popular culture in myriad ways (from Bugs Bunny's Rabbit of Seville to an episode of The Simpsons, several of the songs are widely recognisable). Rossini's genius is irrefutable, and he wrote operas like a machine, composed two a year for 19 consecutive years and retired by the age of 40. He was just 24 when he dashed off The Barber of Seville – in under three weeks, according to most musicologists. 'It's just ridiculous,' Strike says of the pressure Rossini must have felt to meet his commission deadline in time for the singers to learn their parts and pull the show together. The composer was known in his day as Señor Crescendo, attributable to the manner in which his music would repeatedly build and then come down. 'It must have been like pop music to audiences when they first heard it,' Strike says. 'It's witchy music. It's wrong. The cadences are out. It's pushing the boundaries. Utterly revolutionary for its time.' Watching the rehearsal, witnessing the hilarity and properly comprehending the music for the first time, what struck me was how 'mathematical' Rossini's compositions are. In his madcap imagination, he must have calculated the comedy so precisely in order to make it work as an effect of the music which so cleverly and clearly conveys the mounting madness of the farcical plot. 'It is mathematical,' Strike says. 'He wrote comedic moments into the music. It's like Beckett, so timing-based. You sort of hear Buster Keaton, Charlie Chaplin, Laurel and Hardy, that chase-scene music of silent-era movies… He was inventing a kind of music for comedy that would eventually become definitive.' Strike believes the music fits the 'complicated puzzle' that is at the heart of the comedy. 'It's complex and intricate and it's the nature of farce, which involves confusion and disguises and the mistaken identities and the pursuit of something.' And, apart from a comedic sensibility that was avant-garde for the time, Rossini seemed to also have a taste for parody. There are instances in The Barber of Seville where he appears to laugh at the institution of opera itself to some extent, poking fun at the form while simultaneously expanding its possibilities, revelling in the potential to play and experiment and push the boundaries. 'There are these moments when Rossini simply decided there was going to be 'more', and then some more again,' Strike says. 'And so some of the songs are florid and embellished and they go on and on, really testing the singers. 'That's why in this production we have comedic moments in which we see the singer's frustration because an aria just never ends. It's a dig at the reverential way people saw opera – and still do today. Rossini was evidently having a laugh while milking it in the most extraordinary, genius way, because the compositions are so fine and beautiful. And because he could. As though he was saying, 'Screw you all, it's not actually all that serious. We can have a laugh at the opera.'' And Rossini is laughing to this day. No doubt rolling in his grave as those ear worms persist 200 years after conjuring them into existence. DM
USA Today
24-07-2025
- Entertainment
- USA Today
'Sorry, Baby': How Eva Victor turned 'very personal' trauma into a must-see comedy
Eva Victor fell in love with acting in a high-school production of the musical 'Spring Awakening.' 'I was the tallest Wendla in the history of the world,' deadpans Victor, 31, whose lanky 5-foot-11 frame is a frequent punchline in her comedy. 'I was like, 'This is my life.' It was very formative for me. I could do the whole 'Mama Who Bore Me (Reprise)' for you right now.' The former theater kid is now a first-time filmmaker, winning a best screenplay prize at Sundance Film Festival for the beautifully tender and wryly observed 'Sorry, Baby' (in theaters nationwide July 25). The movie follows a newly tenured English professor named Agnes (Victor) as she discovers that her best friend, Lydie (Naomi Ackie), is pregnant. But while Lydie and their grad-school classmates are checking off major life milestones, Agnes is still emotionally stunted after being raped years earlier by a thesis adviser, Decker (Louis Cancelmi). Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox 'It's a very personal story and I took great joy in it being narrative fiction,' says Victor, who uses they/she pronouns. 'Naomi said this thing that really stuck with me, about how trauma becomes like a stone in a river. You don't get to choose that it's put there, and a lot of the pain is trying to get rid of the stone. But that's actually not possible – it's really about figuring out how to move and grow around it.' 'Sorry, Baby' is disarmingly funny despite the serious subject matter, as Agnes finds comfort in her sheepish neighbor, Gavin (Lucas Hedges), and butts up against the clinical ways that people in power speak to her about assault. Victor, who gained prominence with their viral comedy videos during the pandemic, drew from a wide swath of cinematic influences, ranging from 'Juno' to 'Fargo' to 'Singin' in the Rain.' Victor recently chatted with USA TODAY about the film: Edited and condensed for clarity. Question: There's a moment that really moved me, when Agnes says, "I don't see myself getting older or having kids. I don't see myself at all." What does that line mean to you? Eva Victor: Agnes had this youthful lust for life and her career and her creative expression, and among the many things that were taken from her through this experience, one of them is that dreaming ability. I imagine a world where Agnes is able to dream again, but she is robbed of imagining the future and forced to confront the daily tasks of the world that were once easy and are now extremely hard to get through. I think when she says, 'I can't see myself,' she's speaking to, 'My mind is empty when I imagine what could happen next. People around me are able to see things, but right now, I can't.' So that line means a lot to me, too. Agnes and Lydie often tell each other, "Please don't die." It's a seemingly grim yet relatably heartfelt sentiment – where did that come from? I had a playwriting teacher in college that said this thing I think about all the time, which is that saying 'I love you' is wonderful, but how do these characters say 'I love you?" What is the way that they're able to communicate that in their own private language? On 'Grey's Anatomy,' Cristina and Meredith say, 'You're my person,' and in this movie, I feel like that might be Agnes and Lydie's version of it. There are many quiet scenes of characters supporting Agnes, whether it's through a long hug or a sandwich. Did you ever have to resist the urge to make it "more Hollywood?" There's a part where Agnes gets lighter fluid from Gavin, and I remember writing, 'Oh, she goes to Decker's office and tries to light it on fire.' But the next day, I looked at it and was like, 'That's not what she wants.' Instead, she goes home and she's like, 'I almost did something crazy.' In moments that I wanted to indulge in more movie energy, I tried to remember what this person would actually do. Also, I wanted the world to have people in it who aren't very good at reading the room, like the doctor and the HR women. When Agnes goes to jury duty, there are a bunch of prying questions that feel very scary and make her retreat back into her hole. So I wanted it to be what felt true to me: this combination of people who are lifesaving and holding this person, and then people who are not able to see her pain. How did your experiences making videos for social media, and writing for the satire site Reductress, inform your work on this movie? The muscle of putting something into the world when no one's asking for it from you is embarrassing and necessary. I never had the experience of someone coming in like, 'You should play this!' I've always been making stuff in order to make stuff happen, so the scrappiness was helpful, like, 'Just keep working!' Also, those videos got me in the habit of watching myself and quickly making decisions about whether it was a good take for me or whether I wanted to do it again. That relationship with myself was already figured out by the time I got to set. Have you started to think about what's next? I'm going to cuddle with my cat. I've been doing so much traveling and I really have missed him. It's so funny, when I was writing 'Sorry, Baby,' the only thing I wanted was to share it with the world and open all the floodgates of my feelings. Now that that's happening, I think going back to a private space is going to be just the perfect remedy I need and we'll see what comes.
The Citizen
18-06-2025
- Entertainment
- The Citizen
‘A brand-new chapter': Minnie Dlamini joins Gagasi FM
Dlamini replaces Thandi Mhlongo, who co-hosted the drive show with Sphe and Naves. Television presenter and businesswoman Minnie Dlamini has officially joined the SABC Durban-based radio station, Gagasi FM. The 34-year-old media personality is the new co-host of the weekday drive show, The Gagasi Fastlane, which airs weekdays from 3pm to 6pm. Minnie made her Gagasi FM debut on Tuesday, joining the popular duo Sphectacula and DJ Naves, affectionately known as The Kings of the Weekend. Announcing her new venture, Minnie shared a heartfelt video featuring her son on the beach, along with glimpses of her home. 'Some places never stop calling you back. Where the waves hold your memories and the wind whispers what's next… my heart lies at Gagasini, and that's where I return. Durban, I am home for a brand-new chapter,' she says in the voice-over. ALSO READ: 'I will continue to pursue legal recourse': Minnie Dlamini breaks silence after MacG's apology Minnie replaces Thandi Mhlongo Minnie joins the station following the departure of Thandi 'Zisto' Mhlongo, who previously co-hosted The Gagasi Fastlane with Sphe and Naves. Zisto resigned in March this year after eight years with the station. In a lengthy social media statement, Zisto explained that she chose not to renew her contract as she has joined another station, East Coast Radio. 'I am truly grateful for the incredible journey I have had with Gagasi FM over the past eight years. From starting out as a young broadcaster on the weekend breakfast show to co-hosting the afternoon drive for the past three seasons, it has been a fulfilling experience. 'While this decision was not easy, I believe I have made my contribution to this amazing brand, and I have also grown immensely as a person. At this stage of my life, considering my personal and professional aspirations, I feel it is the right time to move on,' she added. NOW READ: 'Spring Awakening' musical wins big at 20th Naledi Theatre Awards
The Citizen
17-06-2025
- Entertainment
- The Citizen
‘Spring Awakening' musical wins big at 20th Naledi Theatre Awards
'Spring Awakening', a Lamta production, enjoyed a successful run in both Johannesburg and Cape Town in 2024. Some of the cast members of Spring Awakening, which won big at the Naledi Theatre Awards. Picture: lamtacademy/Instagram There was probably no better way to celebrate young people's vibrancy at the 20th edition of the Naledi Theatre Awards than having a youth-driven musical, Spring Awakening, being the night's biggest winner. Spring Awakening, which had a successful run in 2024, won 10 awards at the Naledi Theatre Awards, hosted at the State Theatre in Pretoria on Monday, which coincided with Youth Day. 'It is hugely satisfying to all of us at the Naledis that we are seeing such young talent, interest and audiences' growth, ensuring the longevity of theatre for the next generation,' said CEO of the awards, Lihan Pretorius. ALSO READ: Caleb Swanepoel's courage steals the show at Naledi Awards Spring Awakening's night Spring Awakening is a Luitingh Alexander Musical Theatre Academy (Lamta) production that had a successful run in Johannesburg and Cape Town in 2024. The musical delves into the lives of a group of adolescent students discovering their sexual identities and desires as they rebel against the prevailing burdensome and restrictive societal norms. This reimagined production expertly brings the gripping and emotional story to life, exploring complex themes such as self-discovery, repression, and the power of rebellion. Guest artists re-joining the Lamta company will include the brilliant Francis Chouler and Natalie Robbie in multiple roles. Sylvaine Strike directs the musical. It received awards for Best Production for a Musical or Opera and Best Choreography/Movement Direction in a Play or Musical Theatre Production, and cast member Jonathan Conrad received the Breakthrough Performance Award. 'This award is for everyone who has ever felt out of place,' said an emotional Conrad in his acceptance speech. Before the production's return to the stage last year, Lamta co-founder Anton Luitingh urged young people to see the musical because it speaks to them. '…because of the way that Spring Awakening resonates with its profound relevance to young individuals and their parents and guardians today, highlighting the symbiosis between the two generations.' Other winners of the night included Gregory Maqoma's Vuyani Dance Company, which won the CEO's Award for its innovative contributions to theatre, and Aladdin Jr. (People's Theatre), which won the award for Best Production for children and young audiences. NOW READ: 'A new chapter': Siphokazi celebrates independence after 16 years with former label
The Star
17-06-2025
- Entertainment
- The Star
Theatre's big night: A celebration of Naledi Awards
The red carpet shimmered with elegance and anticipation as the who's who of South African theatre gathered under the lights of the South African State Theatre for the much-awaited Naledi Theatre Awards. The theme for this year — "We Still See You" — echoed like a heartbeat through the grand auditorium, where celebration, memory, and artistry came together in unforgettable harmony. Hosted by the magnetic CEO Lihan Pretorius, alongside the charming co-host and award-winning actress Ntambo Rapatla, the evening was nothing short of spectacular. From the very first performance by the visionary Vuyani Dance Company, the stage came alive with thunderous applause, as guests dressed to the nines filled every corner of the theatre. This year's ceremony carried a profound emotional weight, paying tribute to theatre legends who have passed — Presley Chweneyagae, Athol Fugard, Connie Chiume, Dada Masilo, Sello Motloung, and more — reminding us that their lights still shine through every curtain call and encore. A pianist and vocal tribute brought tears to many, while the audience responded with standing ovations, singing and clapping in a collective embrace of memory. Founder Dawn Lindberg's legacy continues to soar, with Lihan Lindberg and the Naledi team elevating the awards to new heights. Among the esteemed adjudicators was the accomplished actress Gcebile Dlamini, whose presence reinforced the integrity and passion behind each decision. Noteworthy winners of the evening included: Raymond Skinner for Aladdin Jr. (People's Theatre, with ASSITEJ SA) – Best Performance for Young Audiences - Alex Sono for Yangthola – Best Performance in Independent/Fringe Theatre Taxi Wars – Best Independent/Fringe Production Neo Kele (Sister Act, Fourways High School) – Best Student Performance Godspell (Oakfields College) – Best Student Production Nicole Ferreira-Dill – Best Dance Performance in Sleeping Beauty: Thami Tshabalala & Pgume Sikhakhane – Best Choreography for No Air, Charlie and the Chocolate Factory (Joburg Ballet) – Best Dance Production Job: Kubatsi (The Suit) and Khutso Green (Ka Leitso La Moya) – Best Supporting Performances in a Play: Jonathan Conrad (Spring Awakening) – Breakthrough Performance, delivering a moving acceptance: 'This is for everyone who ever felt out of place.' The Lesedi Spirit of Courage Award brought the house to silence as it was awarded to Mark Hawkins, a resilient pioneer of classical ballet who, despite personal loss and physical amputation during COVID-19, continues to choreograph and teach inclusively. From the roaring laughter of Marianne Thamm (Round of Applause Reloaded) to the soul-stirring depth of Cara Roberts (The King of Broken Things), solo performers reminded us of theatre's power to hold an entire world within a single body. Spring Awakening swept numerous categories, including Best Ensemble in a Musical, Best Musical Direction – Amy Campbell Best Sound Design – Davis Classen Best Supporting Male in Musical – Francis Chouler Best Lead Male and Female in Musical – Dylan Janse van Rensburg and Carmen Pretorius Best Production of a Musical or Opera Lebitso La Moya (South African State Theatre) claimed Best Production of a Play, with Josias Dos Moleele and Charmaine Weir-Smith winning Best Lead Performances in a Play. The Best New South African Script/Adaptation went to Rosalind Butler for Expelled. Other highlights: Best Costume Design – Mariska Meyer (Beauty and the Beast) Best AV/Set Design – Andrew Timm & Enos Ramoroko Best Lighting Design – Michael Taylor-Broderick (The King of Broken Things) The Stand Mohlopi Award was presented to Luyanda Sidiya and Thoko Seganye for making waves in silence. The CEO's Innovation Award was given to Vuyani Dance Company, celebrating 25 years of world-class, socially conscious movement. A special moment arrived when the Lifetime Achievement Award was bestowed upon Dr. Sebongiseni Mkhize, honouring his unwavering leadership in the arts, heritage, and cultural sectors. With awe-inspiring musical acts, dancers, and even a smoke machine spectacle, the night even a smoke machine spectacle, the night was both a feast for the senses and a balm for the soul. In a heartfelt speech, Gregory Maqoma, founder of Vuyani Dance Company, passionately called on the South African government to continue supporting the arts. The full ceremony is available to stream on SAST TV, South Africa's only dedicated digital theatre platform — because the Naledi Awards, like theatre itself, are a gift that keeps on giving. In the words of many echoed on the night: Theatre is alive — and we still see you. Ngomane PhD Candidate | University of the WitwatersrandTheatre Practitioner | Researcher | Dramaturge
