(Pic by Bazil
Raubach)
Visual presentation offers a unique fusion of Japanese and South African
forms of theatre and art. (Review by Keith Millar)
P J Olivier Afrikaans High School is situated on the ridge above
Grahamstown and has striking views of the city. It is also the location of the
National Arts Festival venue dubbed PJ’s. This was the home of the Rhodes
University Drama Department’s production, Hanamichi.
Defined as Physical Theatre, Hanamichi
is a visual presentation which is a unique fusion of Japanese and South
African forms of theatre and art.
Based on the poem Thought Fox
by Ted Hughes it is about the poet himself and his efforts to write his next
great piece of literature. As he struggles with the composition he is, in his
imagination, constantly being distracted by a cheeky fox with which he
exchanges insults. This is a reference to the traditional Japanese form of
theatre, called Noa, which always
reflects an interplay between a chief actor (Shite), in this case the fox, and a subordinate (Waki), who is Hughes.
Hanamichi starts with a
pre-recorded voice dramatically reciting the poem Thought Fox. These are the last words that are heard as the story
is related through the physical and fluid movements of the actors as they move
about the stage.
The result is a playful and intricate visual display which is not
without humour.
The actors are accompanied by two musicians who sit on a bench in the
corner throughout and play a flute and a djembe drum. This represents a Hayashi which is a Japanese music group
used in theatre. One assumes that the djembe drum is used to add an African
influence.
Featuring the talents of Sandi Dlangalala, Ananda Paver and Kamogelo
Molobye, Hanamichi was directed by
Tristan Jacobs who also devised the work along with the cast. Design is by Gavin Krastin and Jesika Kilian.
Hanamichi was interesting in its own way. However, I
thought it was fairly self-indulgent and possibly relevant only to other drama
students. I am not sure that the average theatre goer would enjoy this production.
– Keith Millar
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