ORPHEUS IN AFRICA. Written and directed by David Kramer. Starring Aubrey Poo, Lynelle Kenned, Zolani Shangase, Jill Levenberg, Jessica Sole, Dean Balie and Sne Dladla. At the Fugard Theatre, Tuesdays to Fridays at 8pm, and Saturdays at 4pm and 8pm until February 23. STEYN DU TOIT reviews.
TOWARDS the end of last year I interviewed David Kramer about a new musical he was busy putting together. We sat in the Fugard’s foyer and he told me the remarkable story of African-American impresario Orpheus McAdoo, who, 125 years ago, embarked on a world tour with his Virginia Jubilee Singers.
Defiantly refusing to follow the popular trend of blackface minstrelry at the time, McAdoo and his group of university-educated singers, all formerly born into slavery, instead performed their negro spirituals in a dignified manner and through technical excellence.
Without resorting to “coonery”, audiences were now able to experience these songs for what they really were: Exquisite pieces of choral arrangements. And while the odds were naturally against the Virginia Jubilee Singers, during the eight years they spent on the road during that first tour, they never stopped inspiring audiences.
One of the things I remember vividly about my interview with Kramer is his passion and knowledge about McAdoo. After first coming across the impresario and singer during his research for 2005’s Ghoema, the relationship they've shared since now comes to bloom in one epic homecoming.
Also directed by Kramer, as the title suggests Orpheus in Africa predominantly revolves around the group’s first tour to South Africa. Kicking off in Cape Town and stopping over in Wellington, Knysna and Kimberly, their journey eventually ends with a Transvaal concert in front of President Paul Kruger.
In a 1986 seminar paper, titled A Feeling of Prejudice: Orpheus M. McAdoo and the Virginia Jubilee Singers in South Africa, 1890 - 1898, Veit Erlmann writes that not only was it “probably the first time in his life that Kruger set foot in a theatre”, but when the Jubilee Singers sang Nobody Knows the Trouble I Have Seen“tears ran down the rugged features of the President.”
By also accompanying the Virginia Jubilee Singers to the United Kingdom and Australia, Kramer places their experiences within a larger historical context for the viewer. Away from their music, through his thoroughly researched script we are given further insight into the social, political and cultural implications of their travels.
Saul Radomsky’s set design and Birrie le Roux’s striking costumes once again serve to provide a historically accurate, yet visually appealing undertone. So too does Juanita Ferreira’s era-themed scenic paintings, and Daniel Galloway and Benjamin du Plessis’s lighting. Expect lots of colour, visual references and even a bit of stage magic.
Similar to how he used digital projections in 2013’s Blood Brothers to alternate between District Six and Walmer Estate, Kramer once again circumvents the pitfalls of a small performance space by scrapping time-consuming set changes and clunky props.
Never distracting from the action on stage, or making the production feel too “modern”, with the blink of an eye the viewer can be transported to anywhere from the Hampton University in Virginia to the Kimberley gold rush or to a dodgy Ozzie bar.
Ultimately, however, it is the music and performances that will earn Orpheus in Africa its rightful place among our country’s greatest theatrical exports. Finding an ensemble equally skilled at acting, singing and maintaining several different accents in one go is no easy feat. Not only has Kramer managed to find a cohesive cast, but also one that is well-skilled beyond basic requirements.
Performed by off-stage musicians Stefan Lombard (piano, conductor) and Matt Foster (clarinet, piano), several well-known spirituals have been adapted by Kramer and musical director Charl-Johan Lingenfelder. They include Swing Low, Sweet Chariot, Didn’t My Lord Deliver Daniel? and even Sarie Marais.
As the lead Poo embodies all the qualities one believes the real Orpheus might have possessed. Playing his part with presence and pride, it is through his portrayal of McAdoo as capable of also committing human error that the role truly becomes his own.
One of 11 new songs written specifically for the production by Kramer, Poo's rendition of The Mirror at the end of the first act is an example of the kind of world-class singer that he is.
Among the other new pieces composed by Kramer are Can’t Believe, a rousing opening number that sets the tone for the rest of the show; Going Home to Africa, an anthem transporting the plot from Europe to Cape Town; as well as I’m Leaving, serving as a heartfelt requiem to the real McAdoo's early death at 42.
Equally commanding is Kenned as Orpheus’ eventual wife, Mattie Allen. Her character shows genuine growth, and watching her transform from a fresh-faced new member into the group's shining star makes for great viewing. Combined with a knockout voice, by the time Kenned owns the stage with Hush she'll thoroughly have lodged herself into your heart.
As difficult as it is to single out exceptional performances in an-already stellar supporting cast (under the vocal direction of Alistair Izobel) Levenberg as choir mistress Lucy Molten definitely deserves a special mention, as does Shangase (also Poo's understudy) as the bookish Eugene.
Responsible for most of the production’s more humorous moments, Balie and Dladla star in a host of quirky roles. It is their portrayal of traditional minstrel performers, however, that stand out most. While understandably funny and executed to great delight from the audience, through them the play leaves one with lingering afterthoughts over what exactly it is that you were just laughing at.
Ending on a high-energy note, Kramer waits until the perfect moment to have the stage explode in drumbeats, energy and optimism. Signaling the beginning of a new era, The Rhythm Train gives us a glimpse at the next stage in the evolution of the Virginia Jubilee Singers: Ragtime!
“History is written by the victors”, the popular aphorism goes. We live in Cape Town but we don't know where a lot of our historical landmarks come from. We celebrate annual cultural traditions, or sing popular songs, but we are unaware of their historical implications.
Whether he’s paying homage to District Six, exploring the roots of slave music or traveling to remote parts of Africa to discover unique styles of playing instruments, Kramer remains crucial in giving voice to those historically left by the wayside.
Enthusiastically exceptional, with 2015 slated to be a big year for local musicals, the rest of the “brand name” productions will have to really bring their a-game if they want to come close to the substance that Orpheus in Africa has to offer. Please do not miss it.
l Tickets: R110 – R220,
0861 915 8000.