Lungi Pinda

Penalty Shootout is the third and latest edition of Mike van Graan’s popular, award-winning Bafana Republic one-person, political, comedy revue brand. This time it is young Lungi Pinda who performs under the direction of Mandla Mbothwe.

Projections of Zapiro’s cartoons set the scene for each skit, opening with an estate agent kugel trying to sell Greenpoint stadium after the FIFA World Cup. Others include Madonna hosting celebrity adoptions; a man faking disability giving his take on the political situation; an evangelical preacher soliciting funds from us in order to pay for the soccer event which will bring the new dawn; an over-long spy scandal skit that (somewhat tediously) strings together James Bond film titles; a song “blame apartheid”; a rich, racist white woman with a racist dog struggling to come to grips with transformation at her children’s school; and the top 10 hits as reflecting various public figures. The most satirical sketch targets the African renaissance with a lecture in Dictator 101, and the cleverest is a spoof on South African politics by parodying the most famous lines penned by Shakespeare.

As a performer Pinda is limited to variations on two voices, and his female characters come across more as television stereotypes of over the top gay queens than women. The first Bafana Republic with Lindiwe Matshikiza remains the best performed. The current show is less reactionary and shrill and therefore somewhat funnier than the second instalment.

The problem I have with the Bafana series is that the structure of each skit has become lax. The satirical voice is too muted, because what we get is not quite satire, but almost a string of political jokes imposed on several fuzzily defined South African voices. A better performance would help somewhat.

Aubrey Lodewyk, Magdaleen Minnaar and Conroy Scott

Aubrey Lodewyk, Magdaleen Minnaar and Conroy Scott


If you missed it the first time around at the Suidoosterfees earlier this year, it is well worth catching Lara Bye’s stylish production of Giocchino Antonio Rossini’s one act farsa comica opera La Scala di Seta (The Silken Ladder).

Bye has recently developed a distinctive directorial aesthetic and puts it to great effect with this opera. The staging is slightly camp, lively and theatrical, with a nod to Tim Burton movies. Particularly praiseworthy is its seamless employment of multimedia and innovative use of surtitles in which the plot is sometimes summarised as opposed to a verbatim transcription of the libretto.

The only change from the previous run is that Matthew Overmeyr’s role is now being sung by Sunnyboy Dladla. The other roles are played by Magdalene Minnaar, Elizabeth Frandsen, Aubrey Lodewyk, Conroy Scott and Jacques Louw. The spirited Cape Town Camerata orchestra is conducted by Alexander Fokkens.

The opera premièred in 1812, when Rossini was only 20 years old. Every character has a delightful aria. It’s the timeless story of a daughter who has married secretly without her father’s permission – the father having another suitor in mind for her.

After many years of neglect, this opera is returning to the international repertoire, and this production is presented by the Richard Wagner Society of South Africa “to create a platform for young local singers where they can sing and gain experience by working with a professional theatre director”.