By Marie Straub
A projection of devastation and the hooded figures that stand ominously, heads bowed, before it as they mourn and warn of a violin echo through the theatre provides a perfect opening to the latest piece from Gregory Maqoma –
Four Seasons – an exploration of the constant hammering we are giving our planet and the inevitable consequences, climate change being high on that list. It starts with a determined force, a punch to the gut if you will, a wake-up call filled with urgency and the imminent nature of death. Compelling in its sheer violence and poetry, all at once, underlined by the phenomenal skill and impeccable timing of the cast, it is the overall artistry of this piece that will grab you.
The piece is not all doom, gloom and dark hoods though, as the cast drift into attire I can best describe as cloudy, their dark robes shed, a weight left behind. The performers blow this way and that, androgynous in their shape-shifting outfits with their bald heads (all but one are completely shaven), as their movement vacillates from dark to light and back again without you knowing for sure how you got from one to the other.
The second half begins with a more autumnal feel and has a lighter bent than the first – their costumes, as if leaves – the dancers bring to stage a beauty at once fragile, seductive, fun and hot. The fine line between the celebration of our planet, and the many threats that she faces, is captured more viscerally than I have seen achieved before.
The energy, vitality, passion and investment in performance is of a level that one does not see often enough – these dancers (Charlston van Rooyen, Gladwell Rakoma, Shawn Mothupi, Keaoleboga Seodigeng, Phuthi Mojela, Phumlani Nyanga, Thabo Kobeli, Nosiphiwo Samente and Thulani Chauke) leave their souls and their sweat on that stage. Witnessing that is a rare privilege and a beauty.
The detail, from the lighting, to the costumes, to the exquisite combination of the live music, provided by Isaac Molelekoa (violin), Billy Monama (lead guitar), Mandlenkosi Nhlapo (drums) and Balindele Kubayi (bass guitar), with the dance provides an experienced (remove) that is as organic as it is polished. Bar a few at the end, this show uses projections really well, considering projections can too often hinder rather than help.
There is more skill, technique and artistry on show in five minutes of this piece than in all two hours of the dancing imported from Ireland on show at a certain other theatre. Judge Edwin Cameron, patron of Vuyani Dance Theatre, spoke at the beginning of the night of how important it is that South African artists be valued and able to earn a living at home. Sad will be the day when our talented artists are admired and supported more abroad than they are here. It must quite a pretty packet to bring an Irish dancing troupe to our shores to perform for two weeks. Considering they don’t hold a candle to this lot, I can’t understand why anyone bothers. As it stands,
Four Seasons is on for just three nights from 6 to 8 May, at The Dance Factory in Newtown. Also, as it happens, it’s about half the price of the Irish stuff. Don’t miss it.