THEATRE REVIEW - CION: Requiem of Ravel’s Bolero at Joburg Theatre

On Sunday night, after countless postponements due to the global Covid-19 pandemic, I went to the Joburg Theatre's Nelson Mandela Theatre for highly-anticipated Gregory Maqoma's masterful choreographed dance piece which is fast becoming global Theatre piece, CION: Requiem of Ravel Bolero.

Cion: Requiem of Ravel's Bolero

 

This dance piece  is inspired by the character Toloki in South African author Zakes Mda’s trilogy of novels (Ways of Dying, Cion and latest Wayfarers Hymn) and music from French composer Maurice Ravel’s (1875–1937) Bolero. Bolero which is Ravel's most famous musical composition, is a one-movement orchestral piece, which he originally composed as a ballet commissioned by Russian actress and dancer Ida Rubinstein and premiered in 1928. Just like Maurice Ravel collaborated with Ida Rubinstein, and here too Gregory collaborated with the award wining Soweto Gospel Choir and musical composer and choreographer Nhlanhla Mahlangu. This dance piece won 2 Bessie Awards(Proto Type Festival at The Joyce Teacher New York City) in 2020.

Obviously CION becomes the first dance piece I watched in 2022. Though it was the third time I watched this stagepiece, everytime becomes an experience of its kind. The set design of the stage by Oliver Hauser  is thoroughly thought-provoking, resplendent of tragic death mood with crosses epitomizing the 'requiem' - a mass for the repose of the souls of dead people. The opening act of the performance is punctuated by a human cry and wailing of grief piercing complete darkness, from Mannie Manin's extensive experience of lighting designer, the motion is brightened only slightly after a spell to show its mournful figure walking through a graveyard effervescent of figures chanting and singing, all thanks an accomplished sound designer Ntuthuko Mbuyazi.

The visuals are of a graveyard with crosses hanging lazily above and installed onstage with dark curtains well lit around the stage. A cast of figures often nestled together couturing splendor of choreography starkly lit in a central inflorescence like a devout spectacularly choreographed scenery with arms raising high towards the heavens, expressing deep perturbation as bodies shake and flounder in what appears to be a ritualistic mourning decorum. At some point these figures gather around and about holding what looks like holy writs - the bibles in their hands, singing what sounds like gospel songs - soothing pierced hearts. 

Somewhere along this tapestry of art piece we are fronted with a hobo-like figure treading about the stage to the awe of fellow cast, confessing his sorrows and how fed up he is with life or the universe in general. In the midst of this song of death delivered in a varied stylic voices, the aura on stage makes one to sit at the edge of a theater chair. The song sounds like questioning: 'death who birthed you'? The song fades, making way to the next popular local gospel song entitled Khona Manje and the light is focused on this figure as he blurts out this moving words on what appears to be Nguni language (IsiZulu/IsiXhosa) 'I dont want salary! I dont want money! I don't a friend. I don't want a visitor. Neighbors I don't want!...even if it is a gate with high wall, I don't need it...i don't need anything'.

Dance appreciation among local audience with CION: Requiem Of Ravel Bolero summits a new high and flawless exhibition of local talent after long months of movement restrictions due to Lockdown regulations. This piece boasted an impressive tapestry of all the performance art forms from poetry to rap, from accapella to vocal styles of isicathamiya and mbube, from African spirituality to western religious forms of healing, from storytelling to musicality of greatest order from an award wining musical composer Nhlanhla Mahlangu and GRAMMY award winning Soweto Gospel Choir.

Cion takes us on a narrative journey of Toloki, charting through imaginery graveyards with often altercation, a clash with those who seem not impressed with his profession or calling. There are longings and cravings of human nature such as love and happiness. We see Toloki flirting with a woman who obviously seems to be Noria from Mda's novels but they never get to kiss each other because Noria would always dodge or duck his lips in each attempt. Both their movements are executed with elegance and grace of romance. 

Here is a work of a genius. Gregory's sharp mind enabled him to cast amazing talent of characters and musicians with all the skill to match the delivery of Toloki's story. He brings relief from plethora of grieving and mourning, especially in times of Corona Virus worldwide. He affords us the general public an opportunity to pause and appreciate life with all its manifestations. We should be grateful that Gregory Vuyani Maqoma lives in our times and is able to share with us his talents generously. A black arts practitioner who managed to pull out a large production of this magnitude is highly remarkable. Camagu!!!

Everyone around Johannesburg and Gauteng should watch CION before it concludes on the 8th of February at the Joburg Theatre.

Production details:
Conceived and choreographed by : Gregory Maqoma
Dancers : Vuyani Dance Theatre
Movement analyst/dramaturge : Gladys Agulhas
Musical and vocal directors : Nhlanhla Mahlangu assisted by Xolisile Bongwana and Sibusiso Shozi
Set design : Oliver Hauser
Original Lighting design : Mannie Manim
Cion Amplified Lighting design : Oliver Hauser
Sound Design : Ntuthuko Mbuyazi

For further information, interviews and images, contact:
Siyandiswa Dokoda
011 838 7666 or 0712616625
siya@vuyani.co.za

For more information visit https://www.joburgtheatre.com/

Or purchase tickets here

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