Orpheus in Africa
Engela Britz – The Fugard Theatre, Cape Town – 6 February 2015
To be from Africa, of Africa and in Africa are three vastly different notions – notions which Eric Abraham and David Kramer demonstrate almost perfectly in The Fugard Theatre’s latest production, Orpheus in Africa.It tells the true story of Orpheus McAdoo and his Virginia Jubilee and ConcertCompany who toured Great Britain, South Africa and Australia in the late 1800's where they impressed some audiences and disappointed others. As fashions changed at the time, so did the public’s taste in music and McAdoo cleverly reinvented his show to suit both the public's demands but at the same time representing African Americans in a dignified manner. Orpheus in Africa takes the audience on his journey - the triumphs and disappointments; the jubilee and vaudeville.
The two act musical covers a range of musical styles – from old American civil war songs to ragtime hits, hymns and even a Nederlandslied. It includes some well-known pieces like “The Rhythm Train” and “Sweet Home Sweet Chariot” but the production also boasts fourteen new compositions by Kramer himself – of which “The Mirror”, “Not hot enough for me” and “Sweet Potato Mountains” were met with great applause. I believe that a huge factor in the success of this production is the extensive research which has gone into the musical fashions of the time – a large percentage of the plot is close to the truth and it is as much an educational experience as it is entertainment.
Every single one of the fifteen cast members brings a unique and refreshing energy to the stage. Both Aubrey Poo and UCT graduate Lynelle Kenned have voices as strong as their stage presence and will leave the audience in no doubt that they are highly talented actors and singers. Edith Plaatjies’ performance of “Battle hymn of The Republic” evoked various nods and grunts of approval as soon as she sang the first line, and left quite a few people wiping their cheeks afterwards. What I found as impressive was the ease and authenticity with which Gideon Lombard switched between the characters of JP Toerien, Curtis and Havel. Finally, funny men Dean Balie and Sne Dladla make a formidable team and left the audience roaring with laughter each time the entered and left the stage. Their performance of “All fools look alike to me” will definitely have you tapping your foot, or singing this early example of ragtime in the shower long after the show has ended.
Orpheus in Africa runs until the 23rd of February 2015 and I suggest that you get your ticket if you do not already have it. The show is a must for anyone interested in popular music of the 1800's, as well as those interested in the origins of jazz. As Kramer so clearly says, “Had he [Orpheus McAdoo] not died at age 42 and only worked in the colonies, I have no doubt he would have featured more prominently in black American entertainment history.” Keep your eyes open for the character named Ernst Logan, who is actually modeled upon the true entertainer and possible creator of ragtime, Ernst Hogan. To me, Orpheus in Africa is a brilliant musical which has brought to light a "largely forgotten story", as Kramer calls it - a must see!
