‘Waiting‘ lingers on in your mind.
WAITING, featuring Peter Mashigo.
Written by Michael Wentworth
and directed by Itumeleng Motsikoe
with music by Hilton Schilder.
Reviewed by Brett Adkins.
WORK that revolves around self-
scrutiny is nothing new at the
festival and, given the South
African condition, at times there
seems to be a plethora of it.
Festinos often have to wade
through a stodgy marsh of material
before stumbling across something
that has an eye and ear-pleasing
edge, that immediately captures
the imagination and that doesn‘t
sink into the depths of cliche
within the first few minutes.
Michael Wentworth‘s script is
certainly not entirely devoid of
the formula, and there is a degree
of predictability that pervades it,
but the winning trick of this
production is that it is extremely
well-written.
While there is always evidence of
an abundance of talent on both the
main and fringe programmes at the
fest – across all disciplines –
the scripts are often all too
pedestrian, with just glimmers of
potential.
But here there is a solid one- man
play which, invested in the hands
of a performer like Peter Mashigo,
makes a powerful impact while at
the same time being gently enter-
taining.
Good writing demands a great artist
to give it life, and Mashigo – a
commanding stage presence in a big,
essentially bare performing area –
does not let the rich monologue go
wanting.
This is a play about a solitary life
– solitary in all senses of the word
– and the always present undercurrent
of simply waiting.
Waiting for things to get better,
waiting for the right person to
step into your life, waiting for
that life-changing opportunity –
or, as Mashigo‘s character, Jimmy
Goeieboom, puts it: “Waiting for
the show to begin.
As he recounts and takes stock of
his life, Jimmy not only plays
himself, but takes on the persona
of all those who have come into,
and left, his rocky road existence.
Indeed, the scene in which he
plays out the meeting of the
people who actually created his
life, his young, head-in-the-
clouds
parents, is one of tenderness
juxtaposed with shrewd, witty
observations about love, lust
and courting. Jimmy‘s birth has
striking imagery – all the more
so, because it is portrayed with
just a single but remarkably
effective prop.
That sets the stage for the
telling of the beginnings and
the rest of Jimmy‘s turbulent
life and Mashigo paints a vivid,
colourful landscape across a
stage furnished with just a
solitary white bench and a set
design of white backing screens,
which allows for the economic use
of light projections to create a
particular environment.
But all eyes are on Jimmy. And
that‘s what gives this work that
elusive edge. Despite its lone
figure on stage with nothing more
than the simple clothes he wears,
it is extremely visual and the
story of how a human being is
forced to come to a realisation
of self through both painful and
joyous analysis, is one few will
not be able to identify with.
Instrumentalist Hilton Schilder
provides dramatic sound backing
that cleverly punctuates the
piece and, because it is done so
sparingly, has double the effect.
The set and lighting design
are also understatements which
serve to isolate and enhance the
essence of Mashigo‘s performance.
Waiting is a play which will
linger on in your mind much
later as you reflect on its
pockets of magic, laughter and
tension – and, if you do,
Mashigo, Wentworth and director
Itumeleng Motsikoe will have
achieved what they set out to do.
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