Classic Cabaret at Kalk Bay
12 Mar 2012 2 Comments
in Uncategorized Tags: Godfrey Johnson, Roland Perold, The Kalk Bay Theatre
Coward & Cole has opened to a revamped dinner theatre venue at the Kalk Bay Theatre. Featuring the musical talents of Roland Perold and Cape Town local maestro Godfrey Johnson, the show pays joint tribute to the individual songwriting genius of Noel Coward and Cole Porter.
The duo are slick and the arrangements are exciting – these are gifted musicians as well as seasoned entertainers and, fortunately, their collaboration plays to each others’ strengths. Musically, the show is a satisfying slice of nostalgia, served with a local twist. The performers tread a delicate balance between celebrating the original spirit of the songs and adding modern flair – the accents, for instance, play homage to the over-articulation of the stylised 20s radio host, but lapse, to amusing effect, into plat South African vernacular. Whilst this works surprisingly well for the most part, Perold’s rolling r’s are decidedly more Boerewors Curtain than British clip – an accidentally amusing side note to an otherwise flawless vocal performance.
Personal highlights included an exquisitely moving interpretation of ‘Mad About the Boy’ and a cracking (and seasonally appropriate) “It’s Too Damn Hot.” For those who appreciate a good inside giggle, there’s even a little poke at the local performance industry with a naughty ad lib addition to the rambunctious ‘I Went to a Marvellous Party.’ Both performers look the part in immaculate evening dress, barely ruffling a cuff at even the most taxing virtuoso moments. Johnson particularly has a captivating stage presence – his facial expressions range from the sly sideways glances to stares of such soul searching intensity that each audience member feels pinned to their seats by his eyes alone.
Johnson and Perold have attempted to capture some of the stylised spirit of the era by keeping running banter going between numbers. This didn’t always hit its mark on opening when there were several timing and teething issues, but promises to gain smoothness as the show gels.
With a brand new dinner theatre menu now on offer, Coward & Cole will satisfy both those who long for a little old fashioned entertainment as well as Perold and Johnson’s individual loyal cabaret followings. If you’re looking for mood music, you’ll find yourselves in luck at Kalk Bay Theatre.
Brilliant Brel…Who?
29 Nov 2010 Leave a Comment
in Uncategorized Tags: Godfrey Johnson, Jon Keevy, Sanjin Muftic, The Kalk Bay Theatre
Godfrey Johnson has a loyal Cape Town following – and rightly so. Similarly, the songs of Jacques Brel need no introduction…unless, apparently, you’re me. I have check and confirmed that I am, quite possibly, the only person in Cape Town to whom the work of Brel is virtually unknown (do covers count? No?)
It didn’t stop me. After all, Jacques seems a racy sort of fellow with a reputation. He certainly gets around (If you haven’t been Kissed by Brel in the company of Godfrey and Claire Watling, then you might have been Touched by Brel).
Anyway, I thought I’d better find out what the fuss was about. Deeply shamed and deeply curious, I made my way to the Kalk Bay Theatre. Would I – after an hour of unknown songs – be ready to gnaw my own arm off? Would Parisian amour quickly pale in the face of Cape covers?
Nope.
The songs mesmerised me – sweet but never sentimental, dark but rarely beyond some form of redemption; deliciously twisted little tales of love, crime and obsession. I particularly enjoyed – of perhaps ‘enjoy’ isn’t quite the right word – Johnson’s rendition of ‘Next’, but you’re going to have to see that one for yourselves.
Muftic and Johnson have worked together well to avoid any sentimental simplicity or one-dimensionalrendering: the songs deserve the dark and disturbing undertones to be given their place alongside the simple joy of some of the selection. Johnson is such a talented performer that he is able to give any song a unexpected reworking and, whilst I had no knowledge of the originals to compare his work to, his seemingly effortless performance kept me spellbound. Certainly, I have no idea how he manages to keep eye contact with the audience, his body at a 45 degree twist to the piano, whilst playing such intricate songs…and remembering his words. In a production as stripped down as this, there’s always a fine line: go too far in one direction, you distract from the essence of the music; too far in the other and all but the most avid Brel fan begins to nod off. The Shadow of Brel kept the classic simplicity of one man and a piano approach, but held my attention in subtle ways. Key among these was some really great lighting by Jon Keevy. The amount of mood that man can wring from half a dozen par cans is ridiculous. Lighting is always important, but especially so in a production that is so dependant on the aural, with very little visual relief. Although always subtle, the lighting was so central to the feel of the songs it might almost have been considered another performer.
I was a big fan of Sanjin Muftic’s decision to include a ‘pay request’ section after the Brel – and after a well-timed bar and bathroom break. With a selection of quirk and classics, each ranging from an inexpensive R5 to R20 (and all profits going to Pieter Dirk Uys’ Darling Trust), this added a new twist of fun to end the evening on.
Purists beware: this is a selection from the English translation of Brel’s works. Whilst I was devoutly thankful for that, some (ok, possibly only my French colleague) may feel differently.
I thought the programme might still need some work to make the first half tighter and the request section smoother, but, then, I saw the production at the beginning and this might already have been worked on during the course of the run.
So, Brel has a new convert, and Godfrey a continued fan. I reckon if this show plays again soon, you shouldn’t miss a chance to spend an evening in its company.
