Yawazzi Fish Tank

We’re in a darkened theatre. The audience is hushed and intent, the only light is the soft orange glow from Mathew’s headlamp. His character is determined, and so close to his final goal. He climbs upward and the stage lights build. His expression changes to wonder and triumph as he reaches the top, throws his arms wide and shouts out, “You can see forever!” And our audience can’t wait til the end of the play – they start cheering now.

2 years ago we scraped together borrowed money to take a show to the Grahamstown National Arts Festival Fringe. The play was about a boy and his grandfather; they lived at the bottom of a giant tree that had grown so large it had covered the whole world. It was about the boy’s journey to see the sky for the first time, just like his grandfather had when he was a boy.

I didn’t realise at the time how closely our own journey would mirror the boy’s.

We lost most of that borrowed investment, but we didn’t lose faith in the play. The people who saw it loved it passionately, loved it enough to give us good advice on how to improve it and take it further. It’s because of them that we’ve been able to keep performing it and making sure that every time we performed it, it was a better show.

It was the support of Yvette Hardie that got us here – the Ishyo Arts Centre in Kigali, Rwanda, guests at the first annual KINA Theatre Festival for Children. Kigali is an amazing city and we were treated so graciously and generously by our hosts Carole and Lilliane that we never wanted to leave.

Kigali is a city of contrasts – dense clusters of buildings and open spaces where plantains, cassava or tobacco is grown, tall villas sandwich humble clay brick houses between their ostentatious gates and 5 metre high print ads for MTN compete for space with hand painted murals advertising the local beers. The endless hills of the country hide the full extent of the city and every trip around town offers new views of the bustling suburbs of Kigali.

But the greatest contrast of all is between the bloody the history of the place and the people we met. Optimistic and independent, the Rwandese welcomed us and proudly showed off their city. Their hospitality and their easy trust was what truly won us over. This was the first time our company had toured to another country, our trepidation melted away and although only one of our party spoke French and the play is in English, we had no problem. Theatre is understood across borders and cultures. Even though the play is a family show, it is mostly about death and trying to find a connection to the past. In Kigali we were playing to an audience that knew all about that, who knew more about it than I will ever know. It was daunting, terrifying. But they got it.

On our journey we’ve experienced all the lows, been left uncertain. But we’ve had our highs. I will never forget the moment in that hall in Kigali when the audience cheered for the boy. That moment was 2 years in the making and it was worth every step of the journey.

You can see Under the Stars, Above the Tree in Cape Town from the 21st, to the 23rd of January, starting at 8:30 P.M at Tabula Rasa, which is located on 140 Upper Canterbury, cnr Glynn str. Gardens. Tickets cost R70 for adults, and R40 for students. Bookings can be made by calling 072 112 1566 or emailing bookings@yawazzi.com.

Here at Yawazzi, we start 2010 with doing a new old show. Under the Stars, Above the Tree first saw the stage in 2008, but the idea for it was cultivated while teaching drama to Grade 1s at Windsor high when Jon and I were doing honours. Two years in the making, a new cast, a mini international festival have all come down to the performances at Tabula Rasa from the 21st to the 23rd of Jan.

As a director, one should always stand and feel proud of what they have put on stage. I do believe that more often than not, each director knows of parts or sections, characters or scenes that they did not quite direct or should I say master. Rarely does a director get the chance to revisit the same play again and, imparted with more knowledge and experience, direct it one more time. This is the third version of the play and I think that from this vantage point, I can see forever.

Important thing to note is that, as a director, you only got here as a result of the past: the present show is a product of the previous versions, cast members, and ideas. Andrew Laubscher and Jon Keevy as performers were the alphas in all of this, because they lay the groundwork down so that Marty Kintu and Mathew Lewis could step on and climb the tree. Brydon Bolton’s music remains the key device in transporting the audience to this world of the giant tree. But more than anything it is the continuing attention to detail of Jon Keevy, as writer and live animator, that gives the play the enchanting storybook quality.

Ironically, one of the themes of the play echoes the fact that we must be aware of our past, and realize that only for a while we are just the latest instance of it. The text of the play, the journey of the boy, the production process mirror each other. In this respect. After us the line might carry on, but it wouldn’t have, unless we, now, had done it for us.

And with the start of a new year, it is a great time to feel so good about something you have achieved creatively. It feels like you got one under your belt and you can only get better from this. There is a lot to do in 2010, a lot of things to achieve, and quite a few trees to climb.

The pity is that the future of the show is unknown. It stands somewhere between commercial children’s theatre and critically appreciated fantasy for adults, and thus gets lost on the theatre programme. But all those who have seen it, have sat in its magic and we can only hope that we will get the opportunity to showcase it to kids aged 7 to 77 more in 2010 and beyond. It is more than ready.

Under the Stars, Above the Tree – teaser