Engaging blend of the didactic and amusing
KWAMANZI. Directed by Nicholas Ellenbogen. With Nhlanhla Mkhwanazi, Belle Ngcobo, Andria Kok, Voyo Katsha, Mother Karabo. At the Rosebank Theatre, until April 19. Beverley Brommert reviews
LA FONTAINE, that wise and wily fabulist of 17th century France, identified instructive entertainment as the key to success in animal stories – and nearly four centuries later Nicholas Ellenbogen has implemented this mix of the didactic and the amusing to excellent effect in Kwamanzi.
The action is centred around a watering hole in the bushveld, a magnet for animals of every size, shape and stripe. They visit the spot serially to slake their thirst, each with a distinctive behavioural pattern, sometimes in peaceful coexistence with others, more often in confrontational mode, especially once drought shrinks the precious water source (something that is painfully topical in the Western Cape at present).
In a compact venue with limited technical resources, it requires great inventiveness to stage this drama, and much has been achieved with little, on the whole with great success. Stylisation is the route sensibly chosen, with costumes reduced to minimal black leotards, leggings and vests, and tongue-in-cheek suggestions of, for instance, the waterhole – a versatile sheet of clear plastic.
Lighting is not always successful (naked bulbs glare in the eyes of the audience with disturbing intensity), although there are flashes of inspiration: the rising sun suggested by a red disc slowly lifted from a pit backstage is a case in point.
Ultra-simplicity of presentation works to the actors’ advantage, since their portrayal of diverse beasts has little to distract the eye from the calibre of performance, which is impressive.
Dominating the show is Mkhwanazi, masterly in his grasp of animal behaviour: among his several triumphs the vervet monkey and the warthog stand out for their impish charm in the case of the former, and authority in the latter.
Composite representations are cleverly devised, notably the giraffe, elephant and ostrich.
The spirit of Africa is conveyed through accompanying music and sound effects courtesy of Katsha, who after prefacing the show with sonorous blasts on a horn maintains a steady background rhythm to underpin the action.
As soon as man makes an appearance in this animal world, matters deteriorate. Bushmen hunt and poachers murder; an elephant collapses, another victim of human greed… the message does not have to be spelled out that wildlife is precious and should be respected, and Ellenbogen does not labour the point.
That is why this unpretentious and engaging show is so compelling. And entertaining.