DISTRICT SIX - KANALA. Directed by David Kramer. Musical director Alistair Izobell, with Loukmaan Adams, Carlo Daniels, Sne Dladla, Andrea Frankson, Natasha Hess, Bianca Le Grange, Edith Plaatjies and Cleo Raatus. Band: Lorenzo Blignaut, Anthon Mannel, Donveno Prins, Dylan Roman, Angelo Syster, Craig van Willingh. Choreography Shelley Adriaanzen. At The Fugard Theatre until April 17. TRACEY SAUNDERS reviews
FIFTY years after District Six was declared a “whites-only” area on February 11 another declaration rung through the locale as the sounds of District Six – Kanala were heard from The Fugard Theatre on the edge of District Six.
History recorded in books and files in archives is not always that accessible, but the notes of a song, or the lines of poem often render events, places and people of long ago in a way that is unforgettable. David Kramer expressed a wish to “pay homage to the place and to the people who once lived” in District Six, and with Kanala he has once again succeeded.
His first collaboration with Taliep Petersen was District Six – The Musical, which opened at the Baxter Theatre in 1987, a year after the 20th anniversary of the declaration. The production was an unqualified success and while the land still lay barren the show provided past residents and their families a way of remembering their past.
District Six – Kanala will be appreciated by a different generation. Many of those original residents are no longer with us, but the stories they shared with their children and grandchildren live on. It is the sharing of memories that Kramer uses as the device to remember the stories and the music as a young woman (Andrea Frankson) pages through her grandmother’s photograph album. As she does so Saul Radomsky’s cannily designed set, which includes a curved structure that alternately hides and reveals the extraordinary band is the backdrop for photographs of the district.
The opening and closing photographs show a desolate and empty landscape which is soon resurrected by photographs of the original district, courtesy of Jansje Wissema, Paul Alberts and Cloete Breytenbach. The large-scale depictions of life on the street and the theatres of the time are larger than life and loom over the stage, providing a constant presence and reminder of the impetus for Kramer’s tribute.
The lead roles are performed by Loukmaan Adams and Bianca Le Grange. Each plays multiple roles and Adams brings a distinctive charm to each of the characters he performs. It is as a Muslim choirmaster though that he brought the house down with a deft blend of humour and musical antics. Le Grange is cast as the grandmother, Evelyn Williams in her youth, and we see the District and its many entertainment options through her eyes. She joins Natasha Hess and Edith Plaatjies to from a striking rendition of the Andrews Sisters’ hits.
Sne Dladla displays a comic sensibility that has already earned him a Fleur du Cap award and seen him nominated again for his role in Kramer’s 2015 production Orpheus in Africa. Each character that he brings to the stage will have you in stitches, even the rather suspect old man who hankers after the censor’s job. If you think he is just on the stage for his comic ability though his Mario Lanza impersonation will leave you gobsmacked.
Cleo Raatus, in his first professional production since graduating from UCT last year is remarkably versatile and has a voice which I am sure will be heard often. As the snappy photographer who captures memories and hearts and again as one of the notorious sexy boys he combines a phenomenal voice with equally deft dance moves. Carlo Daniels brings the same energy that he showed in Kat and the Kings and perhaps a remembrance of that character to his many roles in this tribute, which he performs with exuberance.
As with Kramer’s previous productions although there are two leading roles every cast member is given an opportunity to shine. Plaatjies continues to surprise and since her role in Blood Brothers has grown in leaps and bounds. Her performances are poignant and heartfelt and she has a quiet stage presence which is charming and captivating. Hess is sassy and has perfect command of the musical style of the 60s. The entire cast without exception are versatile and quite superb in their roles, whether they are fishermen, vegetable hawkers, cinema users or minstrels, they give polished performances throughout.
Izobell has come full circle from his first professional stage appearance in the original District Six musical and his musical direction is impeccable. He has recreated the sound and the spirit of a bygone era but with a contemporary twist that had audience members jumping in their seats. From the rousing Ken Jy? to the quietly reflective and sombre The Eleventh of February, he has captured every possible emotion.
The band, under the leadership of Prins, is a highlight of the show. At times they are deservedly given centre-stage and while they never overwhelm the vocals, are an integral part of the production.
Once again Birrie le Roux’s costumes are beautiful. The monochromatic colours mirror the black and white photography of the set. As the vibrancy increases so to do the colours of the dresses which hark back to another era.
Kanala is a slick production; the performances, the set, the music all achieve a standard that The Fugard has become renowned for. There is an absence of sentimentality and while this won’t pull on your heartstrings in the same way as the original District Six it is a fitting tribute to a place that has come to symbolise the tragedy that was the Group Areas Act. There is no one continuous narrative, but vignettes convey memories, rather than a linear story.
As the performance draws to a close with the haunting sounds of Seven Steps of Stone, you leave the theatre knowing that District Six may be gone, but it will never be forgotten.
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