A MAN OF GOOD HOPE – Young Vic Theatre

In International, London theatre, Musicals, Opinion, Reviews by Carole WoddisLeave a Comment


Young Vic Theatre, London

As fourteen children from the Calais `jungle’ arrive at Croydon for `processing’, one can only imagine some of the journeys and experiences that have brought them to this point. But that imagination will be helped on its way by viewing A Man of Good Hope, the latest and perhaps most remarkable music theatre from South Africa’s Isango Ensemble.

Formed sixteen years ago in Cape Town by Mark Dornford-May and Pauline Malefane, Isango are a company from the very roots of South Africa, whose members are drawn from its townships and who at every turn when they’ve visited the UK – first with The Mysteries (Yiimimangaliso), with Carmen and later The Magic Flute (Impempe Yomlingo) – have shown they stand comparison with the best that musical theatre and opera have to offer here. Indeed The Magic Flute went on to win an Olivier for Best Musical revival.

A Man of Good Hope, though, is something else. Based on Jonny Steinberg’s equally remarkable book, Steinberg tells the tale of Asad, a young man caught up in Somalia’s civil war.

Asad – played with shining face assurance by young Siphosethu Juta making his stage debut – sees his mother, at the age of eight, shot in front of him. From then on, his life is a series of attempts to stay alive and safe as he makes his way picking up odd jobs, living on the streets, through Kenya, Ethiopia, to eventually reach Cape Town. He just narrowly escapes death when the Somalis he’s found work with are attacked by South Africans – racism as ever raising its ugly head in circumstances of strained unemployment.

Told partly in text but also sung through accompanied by marimbas, drums and any other vocal sound required made by the 25 piece ensemble, Dornford-May’s production is a model of economy yet full bloodied exuberance, choral excellence and not a little wit.

Like refugees and migrants everywhere, at all times, hope springs eternal and the safe harbour is always just beyond the horizon. For Asad and his adopted mother, the bright and shining destiny is America – a land, they sing where `everybody is rich and there are no guns’ – a line that brings an ironic ripple of amusement.

© Keith Pattison, Pauline Malefane (Yindy), Siphosethu Juta (young Asad)

In the show, Asad reaches a momentary safe place, creating a `family’ with a new partner and child. In real life, the young man Steinberg found on the streets in Cape Town was a hustler, living hand to mouth.

But by what wonderful transmutation, Asad’s story has now taken on universal status. Such is the power of art. And such, one hopes somewhere down the line, Steinberg’s telling of his story will also have helped transform Asad’s life and that of many others.

A Young Vic and Isango Ensemble Production co-produced by The Royal Opera, Repons Foundation, BAM and Les Théâtres de la Ville de Luxembourg

First perf of this production of A Man of Good Hope at Young Vic Theatre, London, Oct 6, 2016. Runs to Nov 12, 2016

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Carole Woddis
Carole Woddis has been a theatre journalist and critic for over 30 years. She was London reviewer and feature writer for Glasgow’s The Herald for 12 years and for many other newspapers and magazines. She has contributed to other websites including The Arts Desk, Reviews Gate and London Grip and now blogs independently at woddisreviews.org.uk. Carole is also the author of: The Bloomsbury Theatre Guide with Trevor T Griffiths; a collection of interviews with actresses, Sheer Bloody Magic (Virago), and Faber & Faber’s Pocket Guide to 20th Century Drama with Stephen Unwin. For ten years, she was a Visiting Tutor in Journalism at Goldsmiths College and for three years with City University. Earlier in her career, she worked with the RSC, National Theatre, Round House and Royal Ballet as a publicist and as an administrator for other theatre and dance organisations.
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Carole Woddis on RssCarole Woddis on Twitter
Carole Woddis
Carole Woddis has been a theatre journalist and critic for over 30 years. She was London reviewer and feature writer for Glasgow’s The Herald for 12 years and for many other newspapers and magazines. She has contributed to other websites including The Arts Desk, Reviews Gate and London Grip and now blogs independently at woddisreviews.org.uk. Carole is also the author of: The Bloomsbury Theatre Guide with Trevor T Griffiths; a collection of interviews with actresses, Sheer Bloody Magic (Virago), and Faber & Faber’s Pocket Guide to 20th Century Drama with Stephen Unwin. For ten years, she was a Visiting Tutor in Journalism at Goldsmiths College and for three years with City University. Earlier in her career, she worked with the RSC, National Theatre, Round House and Royal Ballet as a publicist and as an administrator for other theatre and dance organisations.

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