EARLY YEARS THEATRE FESTIVAL. Directed by Jennie Reznek and Koleka Putuma with Jason Jacobs, Indalo Stofile, Nolufefe Ntshuntshe and Sivuyile Dunjwa. Design by Nicola Date and Frankie Nassimbeni at Magnet Theatre until Saturday. TRACEY SAUNDERS reviews
PARENTS familiar with the phenomenon of children often being more interested in the box that a gift comes in then the actual gift itself will find much to smile about at the Early Years Theatre Festival.
In Scoop, which begins the trio of performances each day, simple kitchen utensils become mesmerising props.
Ekhaya which follows at 11.30am makes innovative use of cardboard boxes and finally Knock will have you hoarding small pieces of wood to build up your own theatrical collection.
Scoop is the second piece of “theatre for babies” that Magnet has presented. In October, with support from the SA-UK Season, The Replay Theatre Company from Belfast performed TiNY and ran workshops with the young theatre makers to enable them to create their own work. The enchanting theatrical debut for babies made a lasting impression on audiences and theatre practitioners alike and the Magnet team has recreated that sense of wonder in Scoop.
The production has been created by the resident Early Years Theatre Company at Magnet and from the bespoke tent designed by Nicola Date to the miniature Shweshwe wild animals this production has a distinctive South Africa stamp. The play is performed to a small group of babies, each accompanied by a parent or caregiver.
No performance is alike and each of the four actors builds up an individual rapport with one of the babies.
Describing the effect that theatre has on babies this young is almost impossible. It is to babies what horse whispering is to equine therapy and without exception the babies that I have had the privilege to share the experience with have been absolutely captivated.
A combination of sounds at exactly the right pitch, tiny colour changing lights that whirl and twirl in mixing bowls and miniature wooden spoons that entice inquisitive hands are part and parcel of this tactile and visual adventure.
After the performance parents are encouraged to spend some time in the tent with their babies exploring the props and the multi-textured floor of the structure. The attention to detail in the set is continued in the beautifully adorned white overalls worn by the cast.
For children from the age of three, Ekhaya is a trilingual exploration of home, where it is and what it means. The set is constructed from large cardboard boxes and they are transformed during the play in to a house/ ‘n huis/ ekhaya.
The actors use rhythm and song to engage with the audience and it wasn’t long before the children were up on their feet performing the dance routine taught by the cast.
The simple narrative is more poetic than linear in nature and encourages children to imagine their own homes.
Knock is similarly lyrical and the absence of a traditional story may seem unusual for children’s theatre. Children, however, were enchanted and the abstract nature seemed to allow them to use their own imaginations more. Pieces of wood become musical instruments and the audience participate in creating the rhythm in a call and response which drew peals of laughter
The young cast of four perform in all three of the performances and their stamina is admirable. Stofile has a calm steady presence about her and holds the centre in the pieces. Jacobs has an agility and command of physical performance which is captivating.
In Scoop Dunjwa’s musical talents captured the attention of one baby in particular and his performances in Ekhaya and Knock are engaging and energetic.
I have become accustomed to Ntshuntshe and Dunjwa’s very expressive performances in serious theatre productions, so their levity and sheer charm were an unexpected surprise. Ntshuntshe enchanted the small babies and has similar rapport with young children.
Performing for children has several challenges and is not within every actor’s grasp. This young cast manage to perform for and with the children. Their ability to engage with them without being patronising is delightful to watch.
Following the performances of Knock and Ekhaya the audience are invited on to the stage to draw and play with the props making this a theatre outing for children that they certainly won’t forget in a hurry.
Introducing children to theatre at a young age has immeasurable benefits and thanks to a flagship grant from the National Arts Council of South Africa and contributions from the Goethe-Institut and the SA-UK Seasons 2014 & 2015 Magnet intend to provide more opportunities for young audiences to engage with live performances.
Even if you don’t have children the opportunity to experience wonder is recommended for adults in search of moments of pure bliss. If the performances don’t enchant you the absolute enjoyment of the children watching will.
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