Ray Comiskey reviews Bojan Zulfikarpasic at Farmleigh in Phoenix Park. Derek O'Connor reviews Amajuba: Like Doves We Rise at An Grianán Theatre in Letterkenny. Patrick Lonergan reviews The Crucible and Teacher, by Galway Youth Theatre, Nun's Island Studio.
Bojan Zulfikarpasic at Farmleigh
The jazz Piano Salon series, programmed by the Improvised Music Company's Gerry Godley and run by the OPW, opened with a superb concert by Bojan Zulfikarpasic. Belgrade-born, but based in Paris, he gave a brilliant display of solo jazz piano, at the conclusion of which the audience gave him a deserved standing ovation.
His opening piece, The Joker, was a virtual summation of his many gifts - the elegant, utterly focused use of motifs and rhythmic figures as reference points in the development of each performance, great dynamic contrasts to heighten the drama, and an iron control of tempo, regardless of how many changes he wrought to it, which was amazing. Add to that great harmonic awareness and invention, and it was hard to argue with the notion that here was the complete pianist.
Both this and other pieces also revealed, to a greater or lesser degree, the influence of his Balkan roots, not only on the multiplicity of rhythms he used, but also on the unusual and unexpected lines he developed in the course of each solo, epitomised in the second piece, entitled Flashback. And it, like everything else he did, was carried off with stunning bravura and virtuosity.
Unsurprisingly, the elements of dance were also at the heart of much of his work. Solobsession, which first appeared as the title track on his solo CD, boasted a delightful theme set against a left-hand vamp; full of fresh ideas, brilliantly explored, it became a sprightly dance which, for all its exuberance, never lost focus.
Jazzman Henri Texier's Don't Buy Ivory Any More, a plaintive triple-time piece, revealed the more reflective, lyrical side of the pianist's talent. In this, as was the case throughout the concert, his wonderfully expressive touch constantly added depth and life to his ruminations.
He didn't hesitate to dampen strings manually to get different sounds and rhythmic effects, but it was a device used only sparingly on the quizzical CD-ROM - the ROM being a play on the name for Balkan gypsies - and on an untitled piece which may have been spontaneously created; so much clarity of thought was revealed in it that it was hard to be absolutely certain. What is certain, however, is that this concert has got the series off to a memorable start. - Ray Comiskey
Amajuba: Like Doves We Rise, An Grianán Theatre, Letterkenny
Since its conception in 2000, director Yael Farber's production has played to acclaim in South Africa and Britain. For its Irish premiere, Donegal audiences, never afraid to make their feelings felt when it comes to the theatre, rewarded Farber's efforts with nightly standing ovations - and rightly so. In the telling, Amajuba: Like Doves We Rise doesn't exactly suggest a fun night out for all the family. Four young South African actors play out their own tales of life during Apartheid - stories of abandonment, starvation, abuse and revolt played out against a grim backdrop of abrupt, anarchic violence and brutal oppression.
This is feel-good theatre at its most essential, infused to the core with joie de vivre, while unsparingly documenting desperate lives lived by a "lost generation" yearning for a better future, casting aside the emotional shackles to survive, to rise again, to thrive.
Ultimately, this is about the performers: Tshallo Chowke, Bongeka Mpongwana, Philip Tipo Tindisa and Jabulie Tshabalala, all superb, acting, singing and dancing with an infectious energy. Not to be forgotten, however, is the contribution of director Farber, who adroitly stitches together the disparate strands, staging the proceedings with a minimum of fuss and an organic, cinematic flair.
The troupe's achievements are made all the more remarkable given that Amajuba's fifth performer, France Conradie, fell ill just prior to the Letterkenny run, necessitating a comprehensive, last-minute re-jig of the show. - Derek O'Connor
• The Earagail Festival ends tomorrow night. Further information, contact 074-9168800
The Crucible/Teacher, Galway Youth Theatre, Nun's Island Studio
There's a tendency in reviews of youth productions to give backhanded complements; to praise actors' youthful enthusiasm, while making no reference to technical accomplishment.
That doesn't arise with Galway Youth Theatre (GYT). It wouldn't be fair to judge their output against the standards of professional theatre, but GYT's productions often equal, and sometimes surpass mainstream work.
It's a sign of their growing confidence that they've offered two major productions for the Galway Arts Festival.
The first, Arthur Miller's 1953 masterpiece, and the second a new play by Christian O'Reilly.
Miller's The Crucible is a regular fixture on the amateur and student circuit, mostly for practical reasons (it has a large cast and good roles for women). But at a time when politics is again dominated by an "if you're not with us, you're against us" mentality, it's also very resonant. That doesn't mean that producing it is easy, however. The story of John Proctor's struggle with conscience in politically-charged times is emotional and passionate. Too often, this can be realised in performance as 20 actors shouting at each other for three hours.
GYT avoids that danger, with the actors keeping the required balance between hysteria and restraint. There's some fine acting here, including a remarkable performance by Ciara Delaney as Elizabeth Proctor. Andy Kellegher also impresses in the difficult lead role.
Christian O'Reilly's Teacher opens with Paddy Casey's Saints and Sinners, a song that nicely introduces the action. The play centres on a confrontation between straight-A student Mags and slutty bad-girl Emma. Mags has invited Emma to dinner, hoping to convince her to apologise to the teacher whom, a week earlier, they'd reduced to tears. Emma is not impressed by this, and some crackling exchanges soon follow between the duo, with Mags' sister and two friends quickly joining in.
O'Reilly successfully handles the issues faced by these teenagers.
We understand their anxieties about Leaving Cert stress, sexuality, relationships, drugs - and it feels authentic and unpatronising. He also conveys his characters' individuality, presenting them as real people rather than types.
Both shows are directed by Andrew Flynn and designed by Owen MacCartaigh. Production values are impressive: there's a beautiful interplay of light and wood in The Crucible's timber set, and a fully functioning kitchen for Teacher.
The dedication of such resources to these productions clearly boosts the actors, who respond to their surroundings with confidence - and plenty of skill too. - Patrick Lonergan
• Teacher at 1pm and The Crucible plays at 8pm until July 23rd. No performances tomorrow.
