FAME. Two-act musical. Directed by Yvonne Copley and Mokoena Ramollo. Book: José Fernandez. Music: Steve Margoshes: Lyrics Jacques Levy. Conception: David de Silva. Musical Direction: Wesley Wolhuter. Sound/Lighting: Gary Fargher. Choreography: Alexa February. A Masque Theatre Production. At The Masque Theatre until 23 December.
SHEILA CHISHOLM reviews
Backed by a four-piece band and seven ensemble members, Fame’s ten principals start out as typical post-school teenagers – with typical teenager hang-ups. Played out through numerous short episodes, by graduation time two years later they’ve matured and bonded; trod paths to self-discovery and learnt to value their chosen craft’s intricacies.
Good characterisations
Welcome indeed is seeing how these “enthusiastic would-be stars”- both on and off stage – intellectually understand their roles – well enough to draw sincere characterisations.
Ten students, each from a different ethnic and social background, have a common focus – they aim to pass an audition to enter New York’s School of Performing Arts. That’s where they believe they’ll train to achieve fame and stardom. But first, redoubtable English language mistress Ms Sherman (Imke du Toit); sympathetic ballet mistress Miss Bell (Felicity Berold); drama instructor-cum-student psychologist Mr Myers (DeVoe Johnson); dry, classical music teacher Mr Scheinkopf (Nigel Sweet) all warn only hard work will get them where they want to be.
‘Dancin’ on the Sidewalk’
As the students begin their courses, they share their secrets and ambitions with I Want to Make Magic; There She Goes; Dancin’ on the Sidewalk and Fame. They are sexy, confident Carmen (Kerryn Silke); shy violinist Schlomo (Tim Truran); enthusiastic actress Serena (Anna Grieve); ambitious Shakespeare actor Nick (Jade Harris); promising ballet dancer Iris (Hannah Raw); streetwise, athletic Tyrone (Chad Baai); Mabel (Summer Geffen); acting student Joe (Hishaam Loofer); drummer Grace (Lea Blerk) and singer Goody King (Libo Ndwayana)
The Masque Theatre seats approximately 175 patrons. Fame concerns “in training” young people. So why in such a small theatre is it necessary to use voice mics? Why aren’t these (otherwise) charming young voices heard a la naturel? Or, if director Yvonne Copley and musical director Wesley Wolhuter insist on amplification why didn’t sound engineers balance decibels that highlighted rather than overrode Jacques Levy’s apt lyrics and blur Steve Margoshes well-known music.
Musicals tell a story through words and music. If neither are clear a great deal of effort is lost. And this cast worked really hard to give their “all”.
Alexa February fits into the up-and-coming choreographer bracket. Her contemporary routines took cognisance of the small available space for 17 dancers. In time she’ll learn to construct classical choreography which does the same and refrain from using traditional travelling steps. These left dancers looking cramped. Copley’s record as a director is enviable. Once she chases sound engineers to resolve poor sound quality, Fame will draw good houses.
What: Fame
Where: The Masque Theatre, Muizenberg Cape Town
When: Until 23 December, 2017
Book tickets: www.computicket.com, 0861 915 8000
WS
