Woyzeck On The Highveld

The Handspring Puppet Company is performing Woyzeck On The Highveld at the Market Theatre in Johannesburg on 4 - 30 March 2008. (It will also be in Cape Town in May)

It's a multi-media event incorporating the animated drawings of William Kentridge with the Handspring puppets and live performers in an adaptation of German writer Georg Buchner's famous play of jealousy, murder and the struggle of an individual against an uncaring society which eventually destroys him.

The production originally premiered at the Grahamstown Festival in 1992 and was the first collaboration between Handspring and Kentridge. It brings together rod-manipulated puppets and animated film to graphically illustrate Woyzek's tortured mind as he tries to make sense of his external circumstances.

I saw Handspring's brilliant Tall Horse a few years ago, so I'm extremely excited to see another one, especially one featuring William Kentridge animations.

Tickets are available now, and it's not even that expensive. Don't miss it!

The Lion King

What an amazing, larger-than-life experience! I have been yearning to see this show ever since my first glimpse of it at the Tony Awards all those years ago. It has been well worth the wait.

Using a combination of masks, bunraku puppets, body paint and shadow puppetry, the splendour and diversity of an African savannah is created. It's brilliant and the visual animation on stage is truly the essence of the show.

Most of the lead actors have performed their roles before in productions all over the world and with the exception of Scar's Mark Rayment, all are South African.
The first few notes of Buyisile Zama's Rafiki literally sent shivers down my spine.

I enjoyed the local flavour. Shenzi has a Cape flats accent and Pumbaa uses more than a few Afrikaans words. Even little Nala got a huge laugh with a very well timed "Hey Wena!". This kind of thing is often used to gain a few more laughs in regional productions, but here it also helped to strengthen the diversity of the characters.

The wildebeest stampede was incredibly powerful, and with the exception of maybe the opening sequence and Simba's vision of Mufasa, my favourite in the whole show.

It's strange, the theatre itself feels small and intimate, but it seats over 1900 people! It is so well designed that there's basically not a bad seat in the house, since you are no further than 33m for the stage wherever you sit. I love the way the acoustic tiling inside the theatre is reminiscent of woven reeds - distinctly African, but not overbearing.

The best part? I'm going to see it again in July, this time from the front row, courtesy of my really, really cool boss.

Tall Horse

Last weekend I saw a production of Tall Horse by the Handspring Puppet Company. They specialize in using life sized wooden puppets that require up to 3 puppeteers to manipulate. A certain suspension of disbelief is necessary, since the puppeteers are visible the whole time (apparently a traditional Chinese puppeteering style), but once you get used to it, you literally don't even notice the puppeteers anymore, and the puppets come alive. Here, the whole 5 m tall giraffe was handled by just 2 puppeteers on stilts.


The story of Tall horse is based on the life of a giraffe that was caught in southern Sudan, taken up the River Nile in a felucca and shipped across the Mediterranean by the Viceroy of Egypt to be presented as a gift to the King of France. It wintered in Marseilles and in the spring of 1827 took several months to walk to Paris, creating a sensation along the route and, some say, inspired the design of the Eiffel Tower.