Die Dag toe Guppie Sweef

‘n Meertalige narrespel aangebied in Afrikaans en isiXhosa. Guppie bevind homself in André se kou. Die Republiek van die Kapok Boer Vereniging. Die RKBV het ontstaan na ‘n aardbeweing ‘n skeur getrek het rondom ‘n lappie aarde wat twaalf plase, ‘n kerk en ‘n foefieslide adventure park insluit. André oortuig die gemeenskap dat die mense van buite ‘anders’ is, en dat hulle moet bly op die eiland. Maar op ‘n dag maak ‘n nuwe maatjie, Nkululeko, kontak met Guppie. Die produksie sal die jongspan laat skaterlag, terwyl die produksie vrae vra wat die grootmense sal laat nadink oor ons huidige polêre samelewing. 

“Dude! Wa’s My Phone?” is designed for high school students from Grade 10 to Grade 12 who are enrolled in Dramatic Arts. This age group is our main target audience, given the themes’ relatability, the cultural insights it offers, and its ability to captivate and educate a demographic highly connected to the challenges and opportunities associated with digital technology.

The play provides valuable insights and raises awareness about the consequences of smartphone addiction. Our interactive story creates an environment where young audiences are more receptive to messages encouraging a healthier balance between online and offline life.

“Dude! Wa’s My Phone?” utilizes humour, drama, and relatable situations to engage learners in a contemplative exploration of the role of technology in our lives. It delves into its impact on relationships, social consciousness, and the intricacies and absurdities that arise in the digital age. The production addresses the contemporary issue of smartphone addiction, examining the following themes:

 

  • Addiction and Dependence on Technology

  • Friendship and Connection

  • The Intersection of Comedy and Tragedy

  • Identity and Sense of Self

  • Spark Dialogue and Reflection

Mphilo is a country teenage, who is born as a blessing in the eyes of the family because she has albinism. Her grandmother believes that she can cure the disease her older daughter has and that Mphilo’s body parts can make the family rich. Mpilo and her mother, Nozizwe, journey to confront the myths that allow young girls to be exploited, harassed and abused by authority figures in our communities. United they can reach beyond the wall of society’s myths. Nozizwe meets up with other women from different backgrounds and through Mphilo’s journey, they are able to better articulate their own struggles. Dlamini brings her strong directorial and aesthetic signature to the work, which does not employ the use of set, but rather uses the performers’ movement and bodies to give shape to the drama.

 

Jade Bowers (2016 Standard Bank Young Artist, Naledi Theatre Awards Best Director for Scorched) and Ameera Patel (Naledi Theatre Awards Best Actress in a Supporting Role for Scorched) join forces to present ‘Black’. Based on CA Davids’ 2014 novel ‘The Blacks of Cape Town’, Gold Standard Bank Ovation Award-winning writer/director Penny Youngleson has written an adaptation for stage which intricately balances the poetry and pain of discovery, of unpacking history and the drama of family politics. Accomplished actress Patel tackles her first one-hander, under the directorial hand of Bowers, and with musical composition and accompaniment by Daniel Geddes.

While based abroad, historian Zara Black (Patel) learns via an officious but vague letter from the South African government, that documents once sealed and implicating her father in an act (which, while not clearly defined, was committed against the anti-apartheid movement decades earlier) will soon be released to the public. The resultant unearthing of her own past begins with Isaiah Black – the grandfather that ‘started it all’ when he stole a handful of diamonds from one of the world’s largest diamond mines in Kimberley. This act, however, is overshadowed by what the family considers his far greater crime – concealing his (mixed) race to escape the harsh realities of the mines before abandoning his mother and ultimately changing his name. His choice of surname is not without irony; because having been classified as mixed, he had passed as white, but had given rise to a line of coloured children and grandchildren. His granddaughter Zara finds herself alone and displaced in New Jersey, caught up in the excitement of an American election of a new and historic president, while trying to make sense of South Africa of the past and present: constructing a history for herself and her family from fragmented recollections and family lore.

WHAT THE WATER GAVE ME

By Rehane Abrahams

Directed by Jade Bowers

:: Cast ::

Cherae Halley

 

This powerful piece of authentically South African theatre is an elemental exploration, which digs up gestures and stories that have been buried in the darkness of Cape Town’s history. Flowing from lush stories of ancient majicks to gritty tales of urban terror, the play traces the stories of four characters, with a storyteller who weaves their worlds together. Through the resources of imagination, the characters are able to transfigure their existing realities. Awarded a SILVER Standard Bank OVATION at the National Arts Festival 2014 this production has been called “as beautiful as it is compelling” and “a performance worth seeing.”

 

 

:: JADE BOWERS is a theatre director, production, set, sound and lighting designer, and also Theatrical Rights Administrator for DALRO. Named one of AfriPOP’s Top Five Female Theatre Makers in South Africa, last year she was also nominated for a Naledi Theatre Award. For more info find Jade Bowers Design and Management on Facebook and follow @jadeherself.

 

:: CHERAE HALLEY

Cheraé Halley was born in the Eastern Cape, East London and moved to Johannesburg where she completed both honours and masters in Dramatic Arts at the University of the Witwatersrand.  She completed three years of South African Sign Language studies as an extra course. Having studied Applied Theatre and Performance Studies, Cheraé has a burning desire to create theatre with both Deaf and hearing people with particular interest in HIV/AIDS and using drama as process to educate and dialogue on the matter.  In 2010 Cheraé was awarded the Drama For Life scholarship through which she completed her award winning, practice lead research MA research.

In 2012, having a passion for the stage, Cheraé performed in the recently published controversial play The Merry Wives of Zuma written and directed by Pieter-Dirk Uys.Cheraé is a member of the DFL Playback Theatre company in South Africa, and has completed both core training and advanced training courses in Playback Theatre.

Cheraé currently is the project officer for the HIV/AIDS Deaf awareness project at GALAGALA (Gay and Lesbian memory in Action) which travels across Deaf schools in Johannesburg using educational theatre in addressing HIV/AIDS.  She facilitates Applied Theatre workshops for the University of Johannesburg Art Centre and since 2013,Cheraé has been coordinating and lecturing the Applied Theatre Studies IIIA course, (now including IIIB) at Wits University under the Division of Drama For Life.

Play Structure

The piece will incorporate singing, dancing, acting and physical theatre. Its aim is to be edgy and very provocative in order to capture the pupil’s attention for the duration of the piece.

At the end of the piece the students will be given an opportunity to discuss some of the issues that they witnessed during the piece with a skilled facilitator.

Does anyone have any idea what the impact of the pandemic of HIV and AIDS is having on our children and their family life? How does one approach this sensitive subject? Did you know that a live theatre show like, Tand’ Impilo can open up a safe space to discuss the subject and this forum can save lives?

JTC has created 2 versions of this production i.e storytelling and street theatre. With a cast of 7 the latter version is a visual street theatre piece and uses daring stilt characterizations, animal masks, original music and Nama language. The storytelling version has 3 characters who portray hilarious frogs who lead the animals to discover their own talents and to stand up to the bully. The storytellers continuously link the folktale to the language, the culture & history of the Khoikhoi as well as to their personal experiences. Insights into the behaviour of humans and wild animals are revealed. Both versions make use of English, Afrikaans & Nama (Khoikhoi language).

When Lion Had Wings is 40 minutes in duration with the storytelling version most suitable for Grades 4-7 whereas the street theatre version is fun for the whole family.

When Lion Had Wings, was developed during the course of 2016 and made its debut at the Cape Town Fringe Festival and was subsequently performed at the Muizenberg Festival as part of Project Ripple; the Cape Town Embrace event in celebration of Universal Children’s Day; at Streetopia and at the Vrygrond Festival.  During February 2017  the street theatre version was performed as part of JTC’s Our Beaches Our Stories project which brought public art performances to public recreational spaces i.e. Monwabisi, Strandfontein and Muizenberg Pavilions, promoting natural and cultural heritage. The storytelling version toured local primary schools during November of 2016, was performed at the Masque Theatre early December and toured the Northern Cape at the start of March 2017.