Television: Hazel Friedman
IT was punted as the show that would transform the face of television, the first magazine programme conceived and created for an all-African audience. But now that the curtain of hype has been lifted, Front Row, M-Net’s bright new brainchild, appears to be little more than a familiar tune played in a different key.
Merge the content of Wish You Were Here, Top Billing and snippets from Agenda, condense them into the format of 6 on 1 and you’ll come close to cracking the Front Row code. Even Penny Smythe and Khanyi Dhlomo-Mkhize — two of South Africa’s most photogenic and affable television personalities — could not salvage a show that is big on bark but short on bite.
First on the agenda of the debut programme last week was an interview with veteran actor Richard Harris, who came across as a combination between a leprechaun and the grim reaper. He was, however, extremely eloquent, leaving Smythe and Dhlomo-Mkhize several relays behind. Next was cricketer Fanie de Villiers, who fielded calls from viewers while chatting with his hosts. But, despite his prowess on the pitch, the conversation sort of struck out.
As for the skin-deep insert on Nigeria, it would have worked as an airways- sponsored travelogue, but it missed the mark as a competent example of cross- cultural journalism.
It would be unfair to blame Smythe and Dhlomo-Mkhize for a show that seems to be floundering in its lofty intentions. M-Net has never really succeeded in providing cutting-edge entertainment, preferring to stick to tried-and-tested investigative fare such as the highly successful Carte Blanche. What is surprising is that Front Row’s production team — paraded as the cream of the crop — didn’t come up with a more innovative format, clearer focus and provocative content.
This may sound like an unduly harsh assessment of a programme that has been on the air for exactly one week. But the flaws that were revealed in its debut screening are symptomatic of the unevenness that characterises so many of our cultural programnmes.
Take the unashamedly hedonistic The Works for example. When it first piloted as Artworks several years ago, local viewers were astounded by its spunky attitude and slick, sophisticated presentation. Executive producer Kathy Berman appeared to have found the perfect formula for wedding form and content.
But since reducing its name to The Works — in keeping with the broadened ambit of its focus — some of its substance has been whittled away. It is still slick and provocative in its FX irreverence. But in certain respects it has become like a series of music videos, filled with spicy visuals and seductive sound-bites but not enough in the way of fleshy journalism.
If The Works tends not to take itself seriously enough at times, mainstream cultural programmes like Collage often take themselves far too seriously. The latter undoubtedly fills an essential cultural niche, with its comprehensive coverage of events on the arts calendar. But it does so with such plodding earnestness that the flavour of its content is sometimes stifled by its stodgy form.
Front Row must do more than straddle the great divide between these two shows. It must devise a format and content that offers audiences something new and challenging, instead of empty promises packaged in publicity hype. If not, Front Row won’t fill a single seat in the house.
Front Row is on M-Net on Thursdays at 8.10pm
BUSINESS