THEATRE REVIEW: Qaphela Caesar

Jay Pather's Qaphela Caesar

Jay Pather's Qaphela Caesar

Published Oct 27, 2015

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Qaphela Caesar

Choreography: Jay Pather

CAST: Siwela Sonke Dance Theatre

Venue: State Theatre, Arena

UNTIL: Saturday

RATING: 3 stars (out of 5)

Pinto Ferreira

Upon entering the theatre, one is confronted with a provocative wave of utter beauty, juxtaposed with sinister discomposure. The tranquillity of the clinical white, pale-lit set is starkly contrasted with three austere pig-masked actors sitting in the auditorium, staring into the distance.

Their diabolical and ominous presence evokes an unsettling awareness of impending evil. It is like walking into an installation in the Tate Museum for Modern Art.

One almost doesn’t want the moment to be disturbed as it is a complete work of art in its own right.

Jay Pather then embellishes on the ambience with voice-overs of Shakespeare’s text combined with satirical projections of the Union Buildings, placing the political unrest of ancient Rome in a contemporary context.

That sets the tone for the themes of corruption, conspiracy and betrayal, vividly portrayed by the troupe of dancer-actors whose performances are mesmerisingly focused and sustained.

Pather effectively amalgamates performance art-ish images with contemporary dance, with the dance serving as the narrative and the images as the collective subconscious.

The dancers are spotlessly rehearsed and display technical prowess that does justice to the meticulously choreographed sequences.

Lorin Sookool gives a remarkable performance as Calpurnia.

It is, however, Wilhelm Disbergen’s set and lights design that steals the show. His impeccable multi-media constructions are not only aesthetically invigorating, they serve as an integral part of the development of the work, contributing to the social commentary and the enthralling subtext.

Is there a place for this kind of avant-garde theatre in South Africa? Judging from this production, most certainly.

At this particular performance more than half of the audience consisted of school children. It was clear that they were captivated by something most of them never knew existed.

The content is relevant, the medium is invitingly thought-provoking and the performances superb.

Should our progressive artists, who create on the cutting edge of artistic expression, not receive unwavering support in their quest to be the collective spokespeople that they ought to be?

This production speaks volumes.

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