REMEMBERING THE LUX. Written and directed by Alistair Izobel and Lara Foot, with Niesha Abrahams, Terry Fortune, Loukmaan Adams, Nur Abrahams, Terry Hector Smith, Giempie Vardien, Leslie Kleinsmith, and Kashiefa Blaauw. Bandleader Don-veno Prins. Choreography Grant van Ster. Set design Patrick Curtis. Costume design Marcel Meyer. Lighting design Paul Abrams. At the Baxter Theatre until January 9. TRACEY SAUNDERS reviews.
IT’S not often that an audience gives a spontaneous standing ovation during a performance, but that was what happened on the opening night of Remembering the Lux. It’s surprising that the audience sat down again, such is the energy and magical exuberance of the production. The musical trip down memory lane crafted by Alistair Izobel and Lara Foot is one of the theatrical highlights of the year and there will be a strong personal connection for several Capetonians.
For many The Luxurama was the place where they first experienced live performances by international performers. It was also the site of many a first date and first kiss, and witnessed the forging and cementing of friendships and relationships that have survived the years. A cultural oasis in suburbia, the iconic theatre, founded in 1964 by Ronnie and George Quibell hosted the likes of Connie Francis, Dusty Springfield, Tom Jones and Percy Sledge.
In the opening sequence Izobel lights up with memories as he recalls the highlights that were on the stage in the sea of petty and grand oppression people faced in their ordinary lives. “All our stories are made up of memories and what we remember is who we are.” In the two hours that follows he leads his stellar cast in showing us just what we are made of and who we are.
Remembering the Lux is a testament to what survives: the human spirit, music , theatre and the overwhelming desire to create and share in the moments of creation. There is no remembering a South Africa before 1994 without recalling the impact of Apartheid and it is astonishing that in the midst of the brutality of the 70s and the 80s the shows went on. The audiences and performers at The Lux paid no heed to race, creed or religion. Girls dressed in their confirmation dresses to watch Muslim choirs perform, and despite the Nationalist government declaring the theatre a “Coloureds Only” venue in 1965, audiences continued to mix freely.
It is a travesty that the iconic birthplace of so much Cape Town talent has been left to wrack and ruin. Yes, the show is sentimental but without being cheesy. It evokes nostalgia for more than just nostalgia’s sake, and holds an authenticity that delivers a resounding emotional punch.
Evoking memories to make you laugh and many that will make you cry you will experience the full spectrum of emotions.
Each performance is remarkable, but it is Niesha Abrahams who slips right into your heart and stays there. Known as South Africa’s Shirley Bassey, the spirited 70-year old does bear a resemblance to the Welsh Dame of Song, but it is her voice that is unique. She sings with an emotion rich enough to evoke envy in Adele and that raises her voice higher than the notes she reaches. Her performance is a reminder that there is an intrinsic star quality which time cannot diminish.
Kashiefa Blaauw is a relative newcomer to the stage, but don’t be surprised if she becomes a regular. What she lacks in experience she has in talent and she gives it her all. The fine quality of her voice is matched by her slick dance moves and there is a beautiful energy between the two female performers.
The emotional breaking point was reached when Nur Abrahams performed a rendition of Engelbert Humperdinck’s Il Mundo. I doubt there was a dry eye in the house as his medley of Humperdincks’ standards was accompanied by a backdrop of larger than life icons of the Cape Town music and theatre industry. Taliep Petersen and Zayn Adams were among the faces that could be seen.
Watching Loukmaan Adams it was impossible not to remember Ricardo of Ricardo and friends, who died last month, and his passionate and professional performance did the memory of his friend and colleague proud.
Foot’s ability to harness the innate strength and individual personality of each person is evident, as each character appears as more than a personae and is utterly recognizable. Terry Hector Smith is the quintessential uncle that everyone has. That one member of the family that remembers everything and is guaranteed to turn any occasion in to a party. He is more than just a historical link in the show although his early performances with The Golden City Dixies certainly grant him strong Luxurama credentials.
His personality shines through any scripted lines to reveal one of Cape Town’s treasures.
Trying valiantly to hold the role of the MC is Giempie Vardien. In the face of both a cast and an audience hell-bent on partying he has an almost impossible task, but he carries it off with colloquial banter and jokes so awful that they are funny.
Leslie Kleinsmith is the more restrained of the cast, but doesn’t hold back on unleashing his talent. A consummate crooner his warm contra-alto has endeared him to many audiences over the years.
Terry Fortune’s performance requires a review all of it’s own. He certainly stole the show and one hopes that this revival of his drag persona which intrigued in the 70s is not limited to this run.
The music is not limited to soulful ballads and even if you loathe audience participation it is impossible not to be swept up in the euphoria of Oh, what a Night, My Special Prayer and YMCA. Izobel has woven a musical tapestry of medley and memories that highlights the talent of South Africa and pays homage to a cultural history dear to many hearts. He has done it with heart and honesty that makes this more than just a tribute to a building, but a commemoration of people and the everlasting nature of the passion they shared.
Throughout the performance the band plays on and do they play.
There is something magical about a musical where the music is performed live and their energy doesn’t flag once for the more than two hours that they perform. Led by Donveno Prins the band are an integral part of the show and Prins himself performs a moving tribute to Winston Mankunku incorporating a backwards funeral shuffle which was one of my personal choreographic highlights. Grant van Ster’s choreography encompasses the classic moves of the day without being jaded and he has acknowledged the varying abilities of each cast member in his choreography. If the music doesn’t enchant you, then the dancing will. Meyer has created costumes which glitter and sparkle as vividly as the performers recall that old fashioned glamour, with an excess of shiny fabric and an abundance of sequins – “You can never overdress for The Lux”.
The set is simple and it is the people who are the props and the setting for the piece. Even in it’s simplicity Curtis’s attention to detail is evident down to the mosaic facade of the stairs that is revealed as the performers visit The Lux in the second half of the show. Archival footage from a bygone era are exquisitely faded in as a backdrop to the memories of the stars and as a recollection of the movies which were screened at the venue.
The celebratory atmosphere on the stage continues in the foyer of The Baxter which is transformed into a carnival at interval, replete with popcorn, candy floss, daaltjies and samoosas, sadly though not a “bompie” in sight.
This is a production that needs to be seen at least twice. The words of the closing song, This is not the last goodbye, you will always be a part of our lives rang true as I danced out of the theatre and into a world made immeasurably better.
Even if you don’t remember The Lux, you certainly won’t forget this for the longest time.
l Additional show on December 31 at 5pm, www.computicket.com