Going Grahamstown: Old hat, new mittons!

Today marked our first performance of As Night Falls at the  National Arts Festival in Grahamstown. Tomorrow marks our first performance of  Chasing, and two days ago we performed at Smithfield for the Platteland Preview. The day before that too.


This is the fourth year I`m performing in Grahamstown, and even though some things are old hat, each brings something new, but this year marks many firsts. This year is the first time that I am performing in two shows at Festival (Or Fest, as the locals and regulars call it), it is also the first time that our director is not here, the first time that we performed on our way down to Grahamstown, the first time we didn`t sleep over in Colesburg. The first time we had preview performances in Pretoria as well, and the first time we had to raise funds to buy costumes and props and have money for our S and T.

But, it is also the first time our first performance had an audience of over 80, and when you are relatively unknown and performing on the Fringe and audience bigger than our cast of 8 is something to be proud of. Especially considering how or technical rehearsals went. Our technical rehearsal for As Night Falls was scheduled for 23:30 to 01:00 last night to this morning. Upon arrival at the theatre the LED lights (which provide much needed colour and atmosphere for a dance show) were not working. Someone was sent to replace the cable. The lights also decided to replot themselves half through the process, and our cast and technical people struggled on until our lighting states were planned, lit and recorded into the lighting board. Which meant that we left the theatre this morning at 02:00 and were all up again at 07:00 to get ready for our 10:00 performance today.

And yet, considering Smithfield, we can`t complain too much.

Performing at Smithfield was interesting, as the small town was not particularly equipped for a dance show. Performing on a slippery, raked stage, we skated more than danced the first night, and despite  our efforts again the second  night. Instead of running, and `chasing` each other across our makeshift stage, we...walked with great energy and intention. 

And tomorrow morning I will arise again at 06:30 to perform at 10:00 (Chasing requires me to wash my hair before the show), and again at 14:00. Tomorrow evening I will be bruised, I will disinfect the multiple burns on my feet, I will laugh with my cast members about the mistakes we made, wondering if the audience noticed. We will joke about an audience member walking out of the show or arriving late. We will complain about the mistakes the technical team made, and I will be happy. Happy and excited to perform again the next day. Cause this is what we aim to do. To perform.

Shows will go on!

The whole point of rehearsals, studying and training, costume fittings, technical rehearsals and struggling with lighting boards and CD players is to perform, eventually. So, this past week was the type of week someone like me lives for. Last Saturday my show at the State Theatre, Today’s Youth Tomorrow, for the Youth Expressions Festival opened. We moved into the theatre at 8 that morning, started a technical rehearsal at about 10, and performed our show in front of an audience for the first time at 12 that day. We had a fantastic performance on Saturday, with a standing ovation, but the day had not started off that well. I left my flat that morning at 7:30 to fetch 2 benches which were incremental to our show, and upon which we had been rehearsing. I picked up two cast members and headed to the space in which we had been rehearsing. The benches, try as we may, did not fit into my car. Bailey, the most experienced of our cast of four, and the glue that held me together during this process, decided that we would surely find a substitute once we reached the theatre. When we did reach the Momentum theatre in which we were performing, we found the set piece which the set department from the State Theatre had prepared for us.

I had asked for a chair, resembling that of a tennis umpire. I had also mentioned, repeatedly, that the cast would be climbing onto this chair. The rickety chair standing in the middle of our stage, kept upright by about six stage weights would not support an orange, never mind an actual dancer. It was removed from our stage pronto. Then Bailey and I took a brisk walk through the loading bay to find something appropriate which we could use to substitute our flat benches we had been rehearsing on. We found two benches, which were stable enough for us to dance on and which were of the correct size, but unfortunately they had backs. We moved the benches on stage, and changed the choreography to work on our brand new set pieces.

The cast of Today's Youth Tomorrow: Myself, Bailey Snyman, Mdu Nhlapo and Chanel van Wayk
in our dressing room at the South African State Theatre

And after the high of Saturday’s performance, I rehearsed until the early evening on the two other shows I am dancing in which opened respectively on Friday evening and Saturday evening. Sunday we had off in order for our bodies to rest, bruises to heal slightly, to disinfect the floor burns we got during the week and usually to catch up on work we didn’t have time to do during the week.

Apples and Oranges: Setting the stage
for Today's Youth Tomorrow.

And early on Monday morning I got ill…violently ill. My presence at rehearsals for all three shows was cancelled and when I got to the doctor on the public holiday I was informed that I was the third patient he had seen that morning with a 48 hour stomach bug. I required it to be a 24 hour stomach bug, as I had to perform Today’s Youth Tomorrow at 2 the next afternoon.  And propped up on medication, vitamin water and jelly babies I did. I left the stage feeling nauseous and dizzy, but proud that I had survived the entire show. Along with the stomach bug, I had to deal with a new technical team, as the theatre did not apparently deem it necessary for our lighting and sound operators to actually know the show, and with no stage manager from the theatre back stage to act as a bouncer we had a surprise guest artist appear on our stage, in school uniform halfway through our show. But the representative from the festival who came to watch our show was on his feet during the curtain call.

Tuesday evening I was back in rehearsal as we plotted lights for the opening of our shows on Friday and Saturday. Thursday evening we replotted the lights for our shows, and then had our first full dress rehearsal, under the lights and the watchful eye of a video camera. And the next evening we performed As Night Falls. Saturday afternoon I performed Today’s Youth Tomorrow and at 7 that evening I performed Chasing.

Bruised and Burnt: My feet on Saturday evening after
performing three dance shows in two days.

Three different shows in two days. It’s been a wonderful week.

They tell me its one week...

This past week has been high on stress, low on time and crazy on the body. As life would have it, after stretches this year of not having much work, and stretches of unemployment which will still come, I am currently working on three dance shows simultaneously.

My very first non-university show, TODAY’S YOUTH TOMORROW opens at The State Theatre in six days. Which means that including today I have five rehearsals left with my cast, and in the limited time I have had to create the show, with the limited availability of my actors rehearsing has not been easy. I also leave for Grahamstown, performing in Smithfield along the way in 16 days to perform CHASING and AS NIGHT FALLS at the National Arts Frestival. And, just because that’s how things work out, I had a two day intensive Laban course and an unexpected audition in Johannesburg this week. And the cast of As Night Falls had to perform at UP Drama’s Head of department’s inaugural speech on Thursday evening, which required rehearsals from Monday as well. I feel like this week of my life was exactly what they meant with the whole raining and pouring scenario.

Myself and fellow dancer Mdu Nhlapo, waiting backstage to perform
at an inaugural speech.

And the powers that be decided that my show needed to be viewed by The State Theatre in this week too. Considering the amount of hours my cast of very understanding friends and fellow dancers have had to rehearse together I feel we had come quite a long way, and yet not in my opinion, far enough to be viewed this past Saturday. And when our Friday evening rehearsal needed to end earlier than expected I tried to cancel our viewing the next day, but to no avail. And then on Saturday morning one my cast members informed me a few hours before our said viewing that he would not be able to attend. After an out-of-breath phone call, in my five minute water break while rehearsing for the shows I will be performing in Grahamstown, my said viewer informed me that, no matter who was or was not present, I would be viewed that day. I bluntly informed him that if this was the case, he really would not be seeing all that much. He steered on, apparently non-plussed that a quarter of my cast would not be present.

So, innumerable stomach knots, curses and a rehearsal later a dancer from The State Theatre arrived to view our little incomplete cast. We walked through choreography and I discussed the flow of our show with him (which had changed again about an hour after our viewing). To my absolute surprise considering what we had shown him he was very impressed with the work that he had seen. With the concept of the show and the style in which we were working. I think the relief rolled off my physically as he left the rehearsal space about ten minutes after the last quarter of the cast arrived to rehearse. And we could, eventually, carry on with our much needed rehearsal, and the precious time that we four have to dance together.

As our show is physical theatre I am more of someone pulling draw strings together in the collaborative process of generating and making movement/dance material for our show, and I feel that the title of choreographer doesn’t necessarily suit my position. But at the end of the day I am responsible for the content going on stage, and I feel like I am in a cocktail shaker of emotions at present. I am elated that I will not only be performing at The State Theatre for the first time, but that ‘my’ first show will be on stage soon. I am also stressed out about the fact that the show is not entirely finished as of yet, that I still have costumes and props and makeup to buy and songs to learn and music to edit. And somewhere in between all the ‘I have to’s all the ‘I must still’s and  my Stage Manager that can’t be present at my technical rehearsal, I have faith in the people I am working with, my training and myself. Saturday will bring an amazing Today’s Youth Tomorrow to The State Theatre, come hell or high water.

But that, it seems, is how theatre life goes. 

Making a show!

I’ve always maintained, that the only way to make it in our ‘industry’ is to create your own work. To hunt down every opportunity with the expertise and patience of a ninja. And apparently, when you’re really blessed, sometimes opportunity falls on your lap unexpectedly, with an SMS at eight in the morning on an unexceptional Friday.

I’m not a morning person and luckily for me I tend to rehearse late at night, or work into the early hours of the morning on my dissertation so I tend to sleep in sometimes. So when an SMS woke me up before eight on a Friday morning after I had been up working on my dissertation all hours of the evening it took me a moment to focus on what I was reading. The moment my blurry brain comprehended the message however, I was wide awake.

A contact, and friend, I made a year ago during an audition and call back is involved in a festival aimed specifically at youth. The festival required a dance show, to be choreographed by a female, and he had recommended myself and another girl for the slot. I needed to submit a  name and proposal for an hour long dance show, to be performed 4 weeks from that morning, via SMS, immediately. The thinking cap went on, and a call to my mother and a very creative friend later I had a proposal, I had a title, and I had an SMS. A few hours and a phone call later I had the job. To conceptualize and choreograph and hour long dance show.

That Monday I went in for my very first production meeting as choreographer/director and as I learned from my 30 page long contract I read later that day that my title for this production also encompassed the role of co-producer. Within the frenzy of the past two weeks I have signed contracts, drawn up budgets, planned, re-planned and again reworked the concept and structure of the show. I have laid on my stomach on a tar road taking photos of apples for the poster of the show with my iPad as my camera decided that the appropriate day for it to stop working would be the day that I had to send in my poster. I’ve spent hours downloading music, sourcing costumes and had stretches of doubting whether I was up for what has been put upon my path. Basically, I’ve learned that everything I’ve always known about putting your own show together takes about three times longer than you would think.

The most amazing part of the experience so far has been the people I’ve worked with. Amazing friends who are willing to be in my show for almost no pay. A friend who has far more experience, and a name that carries actual weight in the industry who is willing to not only perform in my show, but has been mentoring me through the process, and has been great help at dispelling my indulgent moments of doubt. Parents who support me, and friends who are happy for me.

After all the paper work, all the shopping, all the emails and all the planning rehearsals truly begin. And its two weeks to curtain up!