FOREPLAY

Koketso Mojela & Sello Zikalala in Foreplay

Photo by the Waldemar Photo Studio

Writer/Director: Mpumelelo Paul Grootboom

Designer: Wilheml Disbergen

Dance Choreographer: Boitumelo Shisana

Stage Manager: Zane Mashaba

Theatre Royal Stratford East

22 May – 13 June 2009

A review by Jafar Iqbal for EXTRA! EXTRA!

Allow me to divert your attention away from the real reason you are reading this to briefly discuss music. It is popular opinion that the longevity of a band depends heavily on its second album; if the second album is as, if not more, successful than the first, then the band has proven itself as a legitimate force. “Why is this relevant?” I hear you ask. Quite simply (and getting back on topic), Mpumelelo Paul Grootboom’s Foreplay is that all-important second album.

After the success of Township Stories in 2006 The South African State Theatre had, in theory, two possible directions they could go with their next international venture - play it safe with a production on par with the first offering (nobody would complain, I’m sure), or attempt to steamroll past that initial success with something completely new and different; I can safely say that the latter was definitely the intention. Where Township Stories was groundbreaking in its bleak and often shocking portrayal of crime in South Africa, Foreplay pushes the boundaries further by tackling sex in an even harsher and more provocative manner.

What intertwines the lives of nine black South Africans in the play is their insatiable desire for sexual pleasure. Art, politics, religion, war – none of these seem to matter as each sexual liaison slowly unravels the corruption, instability and insecurities of a country still trying to recover from Apartheid. Whether it’s the preacher trying to choose between his love for god and lust for women, or the prostitute sick of the world and getting by, each person comes with their own tale - sometimes funny, sometimes poignant, and ultimately plain tragic. Their stories are riddled with a brash and dark humour, almost painting fun at the sordid lives they have created for themselves; in parallel with their behaviour, this is at times crude, vulgar and inundated with innuendo.

The script is deliberately shameless; there is absolutely no doubt about that. Characters discuss sex with carefree abandon, many of them finding as much joy in that as they do in the act itself. As has become a staple of Grootboom’s work, we are not eased into this often-unsettling dialogue, instead, we arrive straight at the deep-end. So much so that, by the time the lights come down at the end, the audience is numbed to it – embarrassed gasps are replaced with awkward silence. At times, this vulgarity does feel overused and unnecessary, but the desired effect is certainly achieved. The physicality in the play is also tackled with, well, physicality! Simulated sex and foreplay make their appearances but, interestingly, it is the cleverly choreographed dance routines and aesthetic sex scenes that stick in my mind. They are sprinkles of beauty amongst what is, arguably, pornographic imagery.

The controversial content of the play means that there was always the risk of it falling flat on its face. Whether it did or not rested heavily on the actors’ shoulders; thankfully, the cast did not disappoint. They portrayed their characters with all the provocation that it required, and handled the more uncomfortable scenes with confidence and vigour. Mandla Gaduka, as the spoilt young man and playmaker, deserves a special mention. Of all the actors, he is best at resonating with the audience, and is the closest we get to a protagonist. In retrospect, I’d argue that the male actors are probably the ones given more chance to shine. While the men are all strong and authoritative, the women (save the prostitute) are weak, helpless and naïve. Whether this is a conscious effort by Grootboom to echo the gender divide in South Africa is hard to say, but I didn’t get that impression from watching it. Regardless, the women were just as good in their performances as the men.

The technical aspect of the performance is where the play faltered slightly. The use of sound, lighting and set was well done; it was the set changes that caused the problems. There were many props and set changes, requiring lots of hands and, as a result, lots of time. The changes were taking place whilst there was still action on the stage and, at times, became an annoying distraction.

In all fairness, the criticisms here are few and far between. Minor flaws only serve as hiccups to what is a very well constructed and well-performed production from the State Theatre. Admittedly, this play is not for everyone (“Not for those easily offended” is stamped clearly on the advertising) but Grootboom knew this going in. The young man has written and directed a play that remains true to his vision of theatre, and that confidence shines through.

Now, only that all-important question remains – is Foreplay that great second album? In this one person’s opinion, the answer is a simple, yes.

£12, £16 (£8, £12 concs) TUES-FRI EVENINGS AND 3PM SHOWS

£14, £20 (£10, £14 concs) SAT EVENINGS

Theatre Royal Stratford East, Gerry Raffles Square, London E15 1BN

http://www.stratfordeast.com

Tel: 020 8534 0310

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