The Edge, formerly Cape Town Edge, is going full steam at the National Arts Festival this year; as well as on 2016 Standard Bank Young Artist Jade Bowers’ production of Black based on CA Davids’ novel The Blacks of Cape Town, which is premiering in Grahamstown.
Quality indie fringe features at The Edge
The Edge,a curated Fringe venue at NAF is offering audiences a quality, warm and welcoming theatre and front-of-house experience from until 9 July, 2017. The Edge has developed a reputation for bringing together a collection of award-winning shows returning with well-respected theatre-makers behind them. Now in its 11th year, members of the organising team are all award-winning independent theatre-makers in their own right. Their audience is discerning: “those who are interested in supporting independent theatre, work that challenges the status quo”, explains one of the organisers Tara Notcutt, as she suggests that patrons can even plan to spend an entire day experiencing all that The Edge has to offer.
A national ‘touring’ circuit for independent work seems to be starting to form with regular collaborations between Alexander Upstairs in Cape Town and POPart in Joburg, with artists like Jemma Kahn consistently performing to sold out houses in both venues. “This year”, explains playwright Wynne Bredenkamp, who is also part of organising team: “we wanted to include a wider scope of great South African productions at The Edge, without limiting the bill to just in Cape Town, and we’re really excited about the different dynamic that brings”.
Returning shows this year include the following Standard Bank Ovation Award winning productions: You Suck (and Other Inescapable Truths), the poignant Sillage, the pertinent Undermined and the irreverent We Didn’t Come to Hell for the Croissants. Illusionist Stuart Lightbody returns with a new show, and three new shows complete the offering: Louis Viljoen (of Dangled fame) has penned Oh Baby, I’m a Wild One, Cattle Drive is produced by Theatre for Africa; and Jenine Collocott directs James Cairns in a gamble between The Devil and Billy Markham.
“Collective efforts and sharing are important for the ongoing survival of independent theatre and independent artists, which is at the core of what we want to support through The Edge” explains Philip Rademeyer, “and of course, all the better an experience on offer for our audiences!”
The theatre line-up
You Suck (and Other Inescapable Truths) – daily at 10am. This poignant show documents the misadventures of a Grade 9 girl, Pretina de Jager, as she tries to become part of her school’s A group.
The Devil and Billy Markham – daily at 11.30am. The remarkable James Cairns recounts an epic tale of Faustian proportions as Billy Markham decides to gamble with the devil.
Sillage – daily at 1.10pm. This hard-hitting story about a mother and daughter who get to know each other by packing up their family home.
Undermined – daily at 3pm. Using comic book and African storytelling, this production is told against the backdrop of urban Jozi and the mines. It tells the true tale of Madlebe, a man with a gift.
Memorable Moments with Stuart Lightbody – daily at 4.30pm. Illusionist, Stuart Lightbody shares some of his favourite pieces from his last seven one-man shows (and a couple of brand new ideas).
Oh Baby, I’m a Wild One – daily at 6.30pm. A teacher arrives home from her sister’s wedding. She has a story to tell…
Cattle Drive – daily at 8pm. This deals with the great cattle drives through the bush of Botswana, which were a coming of age for young men – performed using movement, dance and storytelling.
We Didn’t Come to Hell for the Croissants – daily at 10pm. Jemma Kahn and her sidekick tell 7 stories based on the 7 deadly sins, using a traditional Japanese form of storytelling, Kamishibai
Award-winning team presents ‘Black’
Jade Bowers (2016 Standard Bank Young Artist, Naledi Theatre Awards Best Director for Scorched) and Ameera Patel (Naledi Theatre Awards Best Actress in a Supporting Role for Scorched) also joined forces to present Black.
Gold Standard Bank Ovation Award-winning writer/director Penny Youngleson has written a stage adaptation which balances the poetry and pain of discovery, of unpacking history and the drama of family politics. It sees Patel tackling her first one-hander, with musical accompaniment by Daniel Geddes. Bowers adds: “At this important moment in our country’s history, how do we as South Africans – with our multitude of cultures and lived experiences – look at our past to understand our present and future.”
For Patel, it has brought up a lot of questions around the baggage that we carry with us, “that should maybe just be left in the past”. Bowers explains: “Many have been the productions that made us aware of the ‘white’ experience, of the ‘black’ experience; the latter often in the service of the wider cause of political emancipation. In the process an awareness of our much-vaunted diversity has suffered as apartheid’s nefarious simplicity divided people into white and non-white, blind to differences of class, religious affiliation and a labyrinth of other nuances that make people cultural beings. Black is authentically South African theatre and an important reminder that democracy is about celebrating our unique diversity.”
Black premiered at NAF and now moves to Johannesburg’s 969 Festival (26 – 29 Jul) and at PopArt (3 – 6 Aug).
Info: https://edgenaf.wixsite.com/theedgenaf
Social media: Facebook The Edge NAF, Twitter @TheEdgeNAF, Instagram @TheEdgeNAF
WS
