Year of Shakespeare: Venus and Adonis

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This post is part of Year of Shakespeare, a project documenting the World Shakespeare Festival, the greatest celebration of Shakespeare the world has ever seen.

 

U-Venas no Adonisi (Venus and Adonis), Isango Ensemble, 21 April 2012 at The Globe, London

By Pete Kirwan, University of Nottingham

The tagline for the ‘Globe to Globe’ Festival reads “37 Plays, 37 Languages”; a tagline which excludes the Isango Ensemble’s U-Venas no Adonisi, the thirty-eighth ‘play’ (a dramatised version of Shakespeare’s poem) spoken in not one but six different languages: IsiZulu, IsiXhosa, SeSotho, Setswana, Afrikaans and South African English. This launch production, then, functioned as a kind of prologue to the Festival, breaking in the primarily English-speaking audience with a story that retained a substantial proportion of Shakespeare’s text and embraced a range of musical traditions, making this both recognisably South African and unmistakably global.

The Isango Ensemble is primarily an opera company, and this take on Venus and Adonis was a palimpsest in both its spoken and musical languages, representing the cultural diversity of Cape Town. The influence of the western operatic tradition was keenly felt in the vocal work of the company’s formidable ‘diva’, Pauline Malefane (also one of the production’s two musical directors), whose extraordinary range and power immediately established the power dynamic that would drive her interactions as Venus with Mhlekazi Whawha Mosiea’s Adonis.

Innovatively, though, Malefane was only the first in a series of seven Venuses, all dressed identically except for individualised hairstyles and facial decorations. After an opening choral piece, the company wound an enormous bedsheet around Malefane, which was passed from actor to actor during the wooing of Adonis that occupied the play’s first half. In this way, Venus was kept constantly fresh, wearing down the increasingly embattled Adonis. The change in physical identity was accompanied by continual variety in musical stylings, taking in street rap, showtime (with a comically smiling troupe of chorus girls), jazz (with the male cast members donning shades and clicking fingers), tribal chanting, folk laments and rounds.

The effect was one of a melting pot of traditions, aware of the future but celebrating an African heritage. Venus and Adonis became a continental myth, the lover against the hunter. The soft melodies of Venus were countered by the raucous screaming of huntsmen, at which the usually sullen Adonis came to life, brandishing a spear and grinning wickedly in anticipation of the hunt. At these moments, the visual traditions of African carnival came to the fore. Venus entered on a horse made up of the bodies of actors, with a horse’s head on a pole held above. This horse was distracted first by Venus herself, pulling hard on his reins and scattering actors’ bodies; and later by the mare, another puppet horse brandished by Venus’s counterparts. Simphiwe Mayeki, as the actor brandishing the horse’s head, comically snorted and neighed in disdain of his master’s complaints, before prancing offstage. Luvo Rasemeni’s Boar was a more hideous presence: covered in blood and screaming, he ran about the stage, snarling and stabbing at huntsmen, enacting a mythical version of the unkillable foe.

The tone of the first half was largely comic, aside from the Boar’s intrusions, as the succession of Venuses threw themselves at the petulant and helpless Adonis, wrapping their sheet around him in various modes of entrapment and coercion. Adonis was largely passive, unable to resist and reduced to silence. In one especially beautiful moment, as Venus feigned death, he and she became wrapped in the tendrils of the sheet, allowing him to gently lower her to the ground then raise her for a kiss, at which she awoke and winked deliciously at the audience. After promising her a kiss, the chorus of Venuses entrapped him in a sheet, forcing him into an almost intimidatingly oppressive intimacy with the goddess.

The second half, focusing on Venus waiting for and then lamenting Adonis, was much darker, owing largely to the introduction of Katlego Mmusi’s Death. Made up from head to foot as a grinning skeleton, with long blood red tongue slithering out, Death paced the stage, clashing together two sickles to ‘kill’ Adonis’s wounded dogs. The second half became a literal dance between Love and Death; played by Malefane for the entire second half, Venus was once more a powerful but frustrated presence, throwing the invulnerable skeleton around the stage but unable to do anything more as he skulked in the shadows. Finally, the male chorus gathered, all concealed under blankets. Venus ran around revealing the men until she arrived at Adonis; and on looking into his face, Death clashed his sickles one final time.

U-Venas no Adonisi was the perfect opening to the Festival, representative of its South African visitors while speaking to a broad and accessible multicultural audience. In this sense it offered a modern idea of Africa, globally aware but celebratory of its diverse heritages. Shakespeare’s poem became a tribal story, a myth of essential human practices, and a full standing ovation welcomed this newly timeless tale back to London.

 

What others are saying about the production:

 

To read more reviews of the performances and events that are a part of the World Shakespeare Festival, visit Year of Shakespeare.

 

Watch a video recording of this production online for free at THE SPACE:

 

 

 

 

 

Listen below to an interview with one of the actors, recorded by the Globe Education Department:

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Author:PeteKirwan

Peter Kirwan is Teaching Associate in Shakespeare at the University of Nottingham, and the author of The Bardathon review blog (http://blogs.warwick.ac.uk/pkirwan). Follow Peter at @DrPeteKirwan
  • colettegordon

    A lively evocation of a powerful piece of theatre. This review raised a couple of interesting questions for me:

    In what sense is Isango’s UVenas No Adonisi both recognisably South African and unmistakably global? What is understood by “a modern idea of Africa, globally aware but celebratory of its diverse heritages”, “a tribal story, a myth of essential human practices” but “aware of the future”? How and why does U-Venus No Adonisi constitute “a myth of essential human practices”? What is the global future is the troupe aware of in contrast to the “tribal” past? And why do we assume that the performers’ heritage is mythic, but that this global future is a (positive) reality? Is this idea something that the festival itself is producing?

    A lively evocation of a powerful
    piece of theatre.  This review raised a couple of interesting questions
    for me:  

    In what sense is Isango’s UVenas
    No Adonisi both
    recognisably South African and unmistakably global?  What is understood by “a modern idea of Africa, globally aware but
    celebratory of its diverse heritages”, “a tribal story, a myth of essential
    human practices” but “aware of the future”?  How and why does U-Venus
    No Adonisi constitute “a myth of essential human practices”?
     What is the global future is the troupe aware of in contrast to the
    “tribal” past?  And why do we assume that the performers’
    heritage is mythic, but that this global future is a (positive) reality?
     Is this idea something that the festival itself is producing? 

     

    http://bloggingshakespeare.com/year-of-shakespeare-around-the-globe-and-back-again

  • Thanks for the review, Pete! Wish I could have attended. The only production I’ve ever seen of V&A was a puppet show so it’s really interesting to think about how this poem might be staged with human bodies.

    The multiple Venuses is an appealing idea – I like your point about her being ‘kept constantly fresh’ as opposed to ‘the increasingly embattled Adonis’. It also made me think of the Tempest that’s currently on at the RSC – it has Prospero, Ariel, Caliban, and 4-5 other island ‘spirits’ in the same grey suit, suggesting I think a distribution of personality and consciousness. No division of the lines though! Sounds like Isango went for a truly ensemble approach.

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