MOLORA. To 7 June.
Kingston/Newcastle-upon-Tyne.
MOLORA
by Yael Farber.
Rose Theatre To 24 May.
Tue-Sat 7.30pm.
Audio-described 24 May.
Post-show discussion 22 May.
then Northern Stage (Stage I).
3-7 June 2008.
7.30pm.
Runs 1hr 45min No interval.
TICKETS: 0871 230 1552.
www.rosetheatrekingston.org (Kingston)
0191 230 5151.
www.northernstage.co.uk (Newcastle-upon-Tyne).
Review: Timothy Ramsden 20 May.
Moral complexity ancient and modern.
This South African play visits the Rose courtesy of Oxford Playhouse, via the Barbican Pit, lauded in reviews, yet opening to rows with far too many empty seats. Even more empty when several people in the audience arose and sang, turning out to be Chorus members.
It’s to be hoped the message gets round and that people in this area rich in theatregoers will snap up the tickets for Molora’s brief run. Though its business is grim, the Xhosa songs the Chorus women (plus token male, who later bangs the drum) chorically create is remarkable both in its sounds and in the power its melodies create as the bodies sway in their seats or dance round the stage.
This was probably more impressive at the Pit, better fitted for inclusive, circular patterns than the larger, presentational Rose (a clear Elizabethan descendant, as its name suggests). Never mind. Grey in look and tough in subject, this is a strong, humane piece.
Farber’s relocated the central play of Aeschylus’ Oresteia trilogy to post-apartheid South Africa. Separated by a central sanded grave (on which Agamemnon’s corpse is shockingly thrown), at the stage’s sides Dorothy Ann Gould’s White mother and Jabulile Tshabalala’s Black daughter give evidence to South Africa’s Truth and Reconciliation Commission.
But Electra seeks revenge through her returning brother Orestes. The Oresteia journeys from the dark barbarity of revenge to enlightened civilisation; re-enactment in a country emerging from apartheid renews its force.
There’s a fine contrast in the opening statements. Klytemnestra’s English, her microphone amplifying its own stand as it’s dragged along the table, is offset by the microphone picking-up Electra’s African language’s non-verbal sounds. Later there’s the display of the mother’s days of power, forcing information from Electra with a cruelty reflected in Orestes’ murderous purpose as he sets out to kill their mother’s new lover. Yet this is offset by the graceful energy of movement which expresses his murderous purpose.
Finally, Klytemnestra warns Electra she’s in danger of taking on her mother’s cruelty and hate. It’s a vital point, but the play ends with the hope it can be avoided.
Klytemnestra: Dorothy Ann Gould.
Elektra: Jabulile Tshabalala.
Orestes: Sandile Matsheni.
Chorus/Singers/Musicians: Tsolwana B Mpayipheli, Tandiwe Lungisa, Nokhaya Mvotyo, Nofenishala Mvotyo, Nopasile Mvotyo, Nosomething Ntese, Nogcinile Yekani.
Director: Yael Farber.
2008-05-22 12:01:12