ORPHEUS IN AFRICA. Written and directed by David Kramer, with Aubrey Poo, Lynelle Kenned, Jill Levenberg, Sanda Shandu, Jessica Cole, Gideon Lombard, Edith Plaatjies, Bianca Flanders, Natasha Hess, Dean Balie, Sne Dladla, Robin Pieters, Graham Bourne, Jarrad Ricketts, Adrian Galley, Katlego Moncho and Jimmie Earl Perry. Musical director Charl-Johan Lingenfelder. Set design Saul Radomsky. Costume Design Birrie Le Roux. Conductor Stefan Lombard. Clarinet Matt Foster. At The Fugard Theatre until January 9. TRACEY SAUNDERS reviews
WHILE a second serving is usually indicative of an appreciation of the initial serving this version of Orpheus in Africa exceeds the initial version in depth and delivery and is an example of the benefit of allowing any work a decent period for incubation and revision. The initial production was good, but this one is splendid.
In February of this year David Kramer presented the premier of his latest musical, Orpheus in Africa. The astonishing story of Orpheus McAdoo and his troupe of Jubilee singers had me rummaging in the archives when I first heard of it, and the more I discovered about this fascinating man the more intrigued I became.
Kramer came across him when researching his musical Ghoema, and thankfully his intrigue led to this, his seventh musical exploring identity and history in South Africa through a musical lens.
McAdoo was born in to slavery in North Carolina in 1858. His parents encouraged him in his educational endeavours and he graduated from the Hampton Institute, a university for freed slaves, in 1876. His decision to follow a musical career led to the formation of the Virginia Jubilee and Concert Company. They toured Europe in the spring of 1890 with their repertoire of African American spirituals known as jubilees, and then came to South Africa, beginning their tour in Cape Town.
Kramer has included many of the original jubilees in the programme, including S wing Low Sweet Chariot and Roll Jordan Roll. The musical follows the personal journey and musical evolution of the man and his company during the tours.
Apart from several original songs there is a rendition of Sweet Ellie Rhee and the well known Afrikaans song which it inspired, Sarie Marais. It is moments like these which reference the multi-faceted origins of expressions of local culture that make Kramer's musicals such rich experiences.
The initial production was a wonderful addition to the South African musical canon, but the storyline went astray at points and the characters individual personalities were sometimes sacrificed to the broader political and social narrative. This version has benefited from Kramer's edits.
The additional songs and paring down of the script have created an authenticity in the characters that make their impulses and compulsions more believable. McAdoo's exceptional achievements and his stubborn determination to succeed at all cost are grounded in a commitment to the racial upliftment politics developed in the USA after the Civil War.
His entrepreneurial spirit and willingness to adapt would not be amiss as examples of fine business acumen in any MBA programme. The faint thread of self doubt woven into his character add to the authenticity of his morning coat of grandeur, worn with pride, and make his success even more gratifying. His humanity is more evident and he is not merely a proxy for the aspiration of freed slaves, but a character with whom one feels a rapport and great admiration.
Kramer has illustrated his search for self actualisation and his adherence to the tenets of upward mobility by simply allowing him to be. He is his own advocate for the advancement of freed slaves.
I am sure every superlative has already been used to describe Aubrey Poo’s performance. He is superb in the role of Orpheus McAdoo and his commanding presence is matched only by his voice, which engulfs the theatre with its fine timbre. One gets the sense that he was born to this role and Kramer has played to his every strength.
Lynelle Kenned’s performance is exquisite and absolutely effortless. She sings every note with joyful ease, and in her role as Mattie Allen, the naive young school teacher she exudes a charm that captivates the audience and McAdoo.
In addition to the principal roles Kramer has allowed each individual to shine. Levenberg as Lucy Moten, the choir mistress does her level best to keep the company members on the straight and narrow. Her disillusionment with Africa and the way that black Africans are treated is expressed with a deep sense of sadness and her solo is one of the most memorable moments of the show. Sanda Shandu is magnificent as raging Richard Collins and Edith Plaatjies’ rendition of the Battle Hymn of the Republic is spine tingling. Gideon Lombard's versatility is once again astonishing as he switches seamlessly between the roles of a French painter, an Afrikaans poet and an Australian rogue. Jessica Sole is also called upon to play several parts, but it is as Lady Loch that she comes in to her own. Bianca Flanders is charming and brings a light hearted quality to the choir.
Graham Bourne’s voice is given free reign in his solo which showcases the full range of his vocal talent. One of the highlights is undoubtedly the antics of the minstrels Ernest Logan and Egbert Washburn, played by Dean Balie and Sne Dladla. Their renditions of Sweet Potato Mountains and Ain't Hot Enough for Me are hysterical and I can imagine the duo in a spin -off show of their own. They subvert the practice of blackface entertainers with a sardonic humour that is hilarious and thoughtful
Adrian Galley can be proud of the sterling role he has played as the accent coach. During interval a group of students from the USA were poring over the progamme. I established they were trying to differentiate between the American and South African performers, as they were unable to do so from their on stage performances. It is one thing to reproduce an accent, but to maintain it for the duration of the performance is a testament to the professionalism of this cast.
The costumes are rich and sumptuous, reflective of the time and the striving for recognition by McAdoo and his company. Some of the designs, particularly those worn by Lady Loch, are absolutely breathtaking. The limited expanse of the stage is amplified by the canny design of backdrops which make use of enlarged photos. Video projections are increasingly used in The Fugard productions to create a sense of place that one would not have believed possible of a venue this size. Radomsky’s attention to detail in set design and prop selection adds to the high production value. Each crystal glass, each item of luggage has been chosen with historical accuracy without detracting from the visual lushness of the set.
Space does not allow for the many accolades which are due to Charl-Johan Lingenfilder. Suffice to say that his place in the annals of South African musical design history are assured.
If you saw the first production of Orpheus in Africa you will be thrilled with the changes and addition to the new version. For first time audiences this is the musical discovery of the year. Even if you are not overly fond of musicals the intriguing story of McAdoo, the phenomenal cast and memorable music will capture your heart. I encourage you to follow the advice of Egbert Washburn, “Don't be shy, get your tickets.”
l Tickets: R110 to R200. Book: www.computicket.com