Spotlight: South Africa’s first two shows steer clear of controversy

Nongogo

Written by Athol Fugard

Directed by James Ngcobo

Starring Masasa Mbangeni

Two and a half stars

The Meal

Choreographed and directed by Mamela Nyamza

Starring Mamela Nyamza, Dinah Eppel and Kirsty Ndawo

Two and a half stars

At the Berkeley Street Theatre in Toronto

Suddenly, South African performers seem to be everywhere, making waves, causing controversy.

There's comedian Trevor Noah – named as the new host The Daily Show, but facing a barrage of criticism for offensive (or just lousy) jokes he tweeted in the past about women and Jewish people. Then there's theatre-maker Brett Bailey whose "human zoo" installation Exhibit B was shut down in London this fall after protests – but is being considered for a future edition of Toronto's Luminato Festival.

Spotlight: South Africa, at Canadian Stage, was originally planned to mark the 25th anniversary of Nelson Mandela's liberation – but now it seems an opportunity to put these provocative performances and performers coming out of the country into a wider context.

Those seeking to be outraged, or even to have a lively post-show discussion over drinks, will not be satisfied by the spotlight's first two (of five) shows – which are uncontroversial in their politics and dated in form.

Nongogo, a play by anti-Apartheid playwright Athol Fugard that first premiered in 1959, is set in a township shebeen run by a former prostitute named Queeny.

Patrick, a travelling tablecloth salesman, walks into Queeny's unlicensed bar one day – and the two have an instant connection. She sees in him a clean-cut chance to escape a life serving drunks who know her old profession; he sees a chance to build a business with a woman with capital – and perhaps move beyond his own trauma. Together, they make plans – but Queeny's ex-pimp Sam intervenes and won't let either one forget the past.

Fugard went on to write classics such as Master Harold and the Boys and The Road to Mecca – recently seen at Soulpepper and on Broadway – but this early hope-walks-into-a-bar of his is derivative and predictable.

This production from Johannesburg's Market Theatre does feature colourful performances by a cast that is appealing in its authenticity, though. As local drunk Johnny and petty thief Blackie, Nat Ramabulana and Desmond Dube command the stage with expressionistic physical presences – while Masasa Mbangeni anchors the production with a dignified performance at its centre as Queeny. Director James Ngcobos' staging is clumsy – maybe it's still finding its feet after travelling across the globe, but what's the point of having a pot simmering on stage the whole time, if Nongogo never comes to a boil.

The Meal, a dance piece by Mamela Nyamza that can be seen in conjunction with Nongogo, is even more straight-forward a performance. Cape Town choreographer Nyamaza can be found writing "I must not have a big bum" over and over like a punished child as you enter the theatre – and the obvious point being made by the black dancer is, essentially, repeatedly reiterated for the rest of the hour-long show.

At the feet of a white woman (Dina Eppel), Nyamza is told a story (not translated for an English-speaking audience) while a long braid is affixed to her head and curled into a bun. Nyamza then instructed to dance a swan-style ballet, in a pink tutu, en pointe, with a restrained smile. Enter a younger black woman (Kirsty Ndawo) from stage left, who Nyamaza then instructs in the same dance. As she does so, however, the ballet moves turn into a more traditional African dance involves foot stamping and hip swivelling and shade throwing. It's often entertaining, and almost always obvious. All three women dance together at the end, however – a more optimistic ending than in Nongogo. Perhaps South Africa's past can be overcome. But what about South Africa's present?

Both shows continue to Sunday. Spotlight: South Africa continues to April 25 (canadianstage.com).

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