ORPHEUS McADOO. Director: David Kramer. Musical Director: Kevin Kraak. Musical Arrangements/Orchestrations: Dawid Boverhoff. Movement Director: Fiona du Plooy. Cast: Conroy Scott, Brittany Smith, Alexis Petersen, Natalie Robbie, Jody Abrahams and Dean Balie. Photo credits: Mark Wessels. Artscape Theatre.
BEVERLEY BROMMERT reviews
David Kramer’s 2024 reworking of Orpheus in Africa (2015), renamed simply Orpheus McAdoo, achieves that elusive ideal of a production that is both entertaining and instructive.
This engaging musical documentary, staged in collaboration with Cape Town Opera, chronicles the transition from old to new in musical style as the ponderous 19th century makes way for the 20th century’s exuberance and energy. Negro spirituals, minstrel music, and ballads synthesize with the heady, syncopated rhythms of jazz…
Against this background a young black American impresario named Orpheus McAdoo musters a choral ensemble, the Jubilee Singers, whose repertoire is rooted in the traditional music of their native Deep South. In the wake of financial difficulties on a less-than-successful tour of Europe in 1890, the company sails to Cape Town in the hopes of a warmer reception, responding to an invitation from the wife of Lord Henry Loch, the Cape Colony’s High Commissioner.
A triumph ensues for the Jubilee Singers, an ill-judged foray is made into opera by McAdoo’s young wife Mattie, and as the fortunes and confidence of the company wane, it becomes apparent that a change of direction is needed. Which crystallises with the arrival of two eccentric minstrels whose musicianship inspires McAdoo to reinvent his repertoire, his style and his company on the cusp of a new century.
Based on fact
Based on historical fact, Kramer’s new work is thought-provoking as it circles thorny issues such as racism, slavery, plagiarism and injustice without making them central to the action; they are simply evoked as part of the world as experienced by the African-American impresario and his singers.
McAdoo’s African origins are concretised in a drum, a gift he received from students at Lovedale College while on tour in South Africa, and its rhythms serve to reaffirm his identity while echoing the rhythms of black jazz waiting in the wings before captivating the early twentieth century.
The narrative is replete with opportunities for vocal performance, both solo and ensemble, so the participation of Cape Town Opera’s principal singers adds appreciably to the appeal of the production.
Conroy Scott as the eponymous lead is authoritative as ever, his resonant baritone effortlessly dominating the theatre. Chemistry between him and soprano Brittany Smith (Mattie) is convincingly generated as she brings warmth, spirit and vulnerability to her persona. All with the vocal proficiency which audiences have come to expect from her.
Acoustics in Artscape’s Theatre are less conducive to operatic performance than those of the Opera House, so there are moments of stridency not usually encountered in either singer’s delivery.
This makes sweetness of rendition from Alexis Petersen all the more impressive when, as the Jubilee Singers’ brittle, bespectacled choir mistress, she has a bravura solo (My Final Bow) at the end of Act Two.
Triumph of collaboration
There is something pleasingly symmetrical in the appearances of Egbert and Ernest (Jody Abrahams and Dean Balie respectively) at the start and close of the show, since these two entertainers are key players in the transformation of McAdoo’s music. Full of manic energy, the nimble-footed duo dance, sing and play their way through the action, transforming themselves from blackface stereotypes into self-respecting exponents of musical performance.
Versatile Natalie Robbie is equally at home as the high-born Lady Loch and the vulgar, warm-hearted Rose, tavern wench, doing justice to both cameo roles.
Noted for the calibre of its chorus, CTO lives up to its reputation as the Jubilee Singers take centre stage with soul-stirring songs like Swing Low Sweet Chariot, Deliver Daniel and Far from Home.
Presentation in a spectacle such as this is almost as important as performance, and Orpheus McAdoo is handsomely served by the multilayered set of Julian Davids, atmospheric lighting from Faheem Bardien, and superb costumes courtesy of Maritha Visagie and Birrie le Roux.
Finally, Kevin Kraak’s direction, Dawid Boverhoff’s arrangements, and the energetic quartet of musicians playing in semi-concealment at the side of the stage, deserve full marks for their enhancement of the ventures, adventures and misadventures, of Orpheus McAdoo.
Another triumph of collaboration.
What: Orpheus McAdoo
Where and when: Artscape from 18 October to 3 November 2024
Tickets: Artscape Dial-A-Seat on 021 421 7695 and Webtickets
WS