23 March 2010

Extra show added for London Road due to public demand

Due to public demand, a special Easter performance of Lara Bye’s production of London Road has been scheduled.

The performance will take place at the Kalk Bay Theatre on Sunday 4 April at 7.30pm.

Doors will open at 5.30 pm and a special Easter ticket will be available at R175. This will include a ticket to the show, a glass of wine on arrival, a plate of snacks and, by special Easter Bunny delivery, a chocolate Easter egg. For those who would prefer, the usual ticket price of R100 for show only will be available and the bar will be open. Other food will not be available.

This new, all-South African production has been gathering rave reviews from the media and audiences alike and, after the run at the Kalk Bay Theatre, will be performed as part of Cape Town Edge at the National Arts Festival in June.

“We received a number of enquiries about whether the show was being performed over the Easter weekend, so we decided to add in an extra, festive performance,” says Simon Cooper, producer of London Road and owner of the Kalk Bay Theatre. “The production is receiving great acclaim and tickets have been selling like hot cakes.”

London Road is a tender, funny story about the healing power of a friendship between two women from diverse backgrounds. Rosa, an elderly Jewish widow, and Stella, a young Nigerian immigrant, live in the same block of flats in London Road, Seapoint. They are brought together following an act of violence and find that common themes, such as loneliness, fragmented families, a dark sense of humour and survival, unite them.

The unforgettable performances by rising star Ntombi Makhutshi, and the phenomenal 36 year old Robyn Scott as an elderly Jewish widow, have been described as ‘breathtaking’ and ‘a tour de force.’

Highly acclaimed director Lara Bye has collaborated with an award-winning, stellar creative team to bring her production of the play to life. Renowned theatre designer, puppeteer and performing artist, Craig Leo, designed the set, props and costume; Faheem Bardien created the lighting design, and original sound is by the incomparable Braam Du Toit.

The original script by Nicholas Spagnoletti, won the Audience Choice award at the PANSA new South African Playwriting competition in 2007. It has been further developed for the stage through improvisations in rehearsals and based on extensive research by the director and her actresses.

*Visit www.londonroad.co.za or join London Road on Facebook: “London Road”

Tickets to the Easter performance on Sunday 4 April cost R175 which includes a ticket to the show, a glass of wine on arrival, a plate of snacks and a chocolate Easter egg. Doors open at 5.30 pm and the show starts at 7.30pm. To book contact 073-220 5430 or visit www.kbt.co.za

PG 13

What the press have said about London Road:

“Go to London Road. It’s worth the journey.” Cape Argus

“…..awash with lingering, powerful images of the two women in relation to one another. It’s those tender vignettes that linger long after the lights have faded.” Cape Times

“Die 36-jarige Scott in die rol van die bejaarde Rosa Kaplowit is verbysterend… Makhutshi is pragtig en het ‘n sterk teenwoordigheid op die verhoog………Gaan maak gerus kennis met Rosa en Stella. Hulle is ons mense.” Die Burger

“I cannot think of a single reason why anyone in Cape Town shouldn’t see this play. It is proof that a play can grow, develop, be reworked and become something totally precious and beautiful. Bravo to all.” www.meganshead.co.za

“The humour is gentle, the drama and pathos understated … brought to life by two formidable stage talents… Lara Bye has teased two equally measured and powerful performances from her cast… The pace never flags…..This is a tender, moving and often funny theatre experience. See it.” Sunday Times

“”The characters themselves are fresh, the scenario novel yet quite plausible, and Spagnoletti has both a good ear for dialogue and a camp sense of humour…This is indeed promising new work.” Mail and Guardian

“It doesn’t happen very often at all, but every once in a while you get to see a production that is so tender and that hits the right notes so perfectly that what is happening in front of you feels like a little miracle…You will not find as emotionally enveloping and rewarding a play as ‘London Road’ anywhere at the moment. Don’t miss it.” 48 Hours

“London Road is quite simply not to be missed.” www.yoursoapbox.co.za

““…the visual prompts are so effective one hardly needs imagination…Robyn Scott is phenomenal as Rosa…I never cease to be amazed by how perfectly Braam du Toit’s original compositions fit the feel of the stage action, and combined with Faheem Bardien’s finely-tuned lighting, and real attention to detail from director Lara Bye, this emotive story is told with such sincerity and sensitivity.” Artslink

“It works beautifully… Scott’s portrayal of the aged Rosa is, quite simply, captivating – an absolute master class in movement and breath…Ntombi Makhutshi matches Scott with a strong performance as Stella – she carries herself with both a controlled strength and a hearty laugh, making her at once instantly likeable and a strong stage presence.” www.writingstudio.co.za

“London Road is a compassionate vignette with many laugh-out-loud moments and well worth an evening out.” False Bay Echo

“……London Road is certainly not a show to be missed. London Road will definitely leave you with a warm appreciation for one’s friendships and the joys of sharing. Perhaps even some food for thought.” www.bizcommunity.com

Backstage with Robyn Scott

The 36-year-old actress is given a sobering glimpse of her future self as a septuagenarian. In London Road, a two-hander written by Nicholas Spagnoletti and directed by Lara Bye, Scott plays Rosa Kaplowitz, a 74-year-old Jewish widow living alone in a flat in Sea Point who forges an unlikely friendship with Stella (Ntombi Makhutshi), a young Nigerian girl trying to make it on her own in a foreign land.

Read the rest of article here.

“This play is a labour of love and an act of carefully calculated faith,” says Lara Bye. “And both love and faith are amply rewarded by a wonderful team like this.

“It’s a small, independent production that runs on the fuel generated by all of us and would stall if any of us were to falter.”

Click here to read the rest of the Argus Tonight article

I joined the gals for a read-through on Monday after a weekend of script changes. Lara and I worked so much on structure in recent months but I hadn’t given enough attention to how those changes affected the meaning nor had I given the whole play a big fresh think-through. The actresses had some questions and issues that had come up during pre-rehearsal readings and these were – I could now see – glaringly unresolved. I’d spent the weekend writing and rewriting and fixating over a little section of seven lines in particular. I arrived with their new scripts on Monday rather filled with trepidation. But it was a lovely read-through. The play is all the better for their digging around lovingly in their characters. Plus all that work on structure felt like it really paid off – it has developed a very pleasing emotional shape now.

I was chatting to Lara about how writing a play is quite similar to a software project (software being my other rewarding passion). The script is the code. There are always bugs. Often in fixing one bug you inadvertently break something else. In software, simulations and tests can help you prevent and find bug but ultimately the proof is in the running. This process requires unflinching honesty and facing up to errors and omissions. Rejoice in finding the problem, and solve it, do not pretend it isn’t there, I say. Often in software, one finds a bug so obvious and so severe, that you wonder how the thing ever ran at all. This happens with plays too!