THEATRE: Suzy Bell
IT’S more likely the word according to Ngema and the gospel, than the word according to Steve Biko, in Mbongeni Ngema’s latest three-hour musical Maria-Maria!.The writer, director and composer claims is South Africa’s first and only full gospel musical. He also says it’s the best musical he’s ever written.
Well the disciples should share some of the credit as the script is largely based on dialogue straight from the Bible. Even the Lord’s Prayer seemingly serves as Ngema’s original lyrics. Ngema discovered Christianity when he picked up the Bible while in hospital with post-Sarafina 2 blues.
Says Ngema: “I read the New Testament from the Passion week up to the death of Christ and thought of Steve Biko’s life. Biko was a Christian, and he held black consciousness meetings in the churches. Like Christ, Biko put his life on the line. I don’t claim to equate Biko to Jesus, but there are striking parallels in their lives. They both died the same way, a lonely death, naked and far from family and friends.”
It’s not just that the script is weak, but many of us have heard it before. And the parallel to Biko may be poignant, but it’s not striking or subtle and suffers because of this. For instance, Maria-Maria says mid- vision of Biko’s immediate ascension to heaven: “I can see Moses, David, Shaka and Martin Luther King running to praise Biko. The angels will shout glory hallelujah and Jesus Christ will hold Biko’s hands and say: “Well done’.”
Yes. What about the workers? How do they feel? Seemingly Christ’s approval is far more important. And dream on if you’re expecting the full African gospel experience because it’s as American as the cast, who are mostly Whitney Houston wannabes who specialise in those frenzied karate-chops softened by bland, repetitive aerobics manoeuvres, while a few Michael Jackson pelvic thrust crowd pleasers are thrown in for Mickey Mouse measure.
If the production were less Americanised and there were less running on the spot and more carefully choreographed Afrocentric dance pieces, perhaps Maria-Maria! would be attracting better houses.
The costumes and set design by Sarah Roberts, and the range of voices, are absolutely superb. Lindiwe Mkhize, an ex- choir-leader of the New Life Church in Umlazi, absolutely dazzles in her professional debut role. But it’s Seipati Sothoane, who lacks appeal in the lead role as Maria-Maria. She is unfortunately too one-dimensional and not that convincing as the angry, pouting Biko devotee. If she had been, she could have counter-balanced much of the celebration and joy expressed throughout the play which seemed to trivialise the mood for the more sombre moments.
The ebullient 28-strong cast certainly captures the “happy clapper” hysteria. But it’s a pity that Ngema relies, on too few occasions, on the more traditional African approach. He should realise there’s much more to that style than simply whistling and ululating and re-hashing dance routines from his earlier works.
— Maria-Maria! is on at Playhouse Opera in Durban until August 3