Thabo Mohlala
Die Fledermaus, the much-publicised comic operetta that received mixed reviews during its Christmas run at the Civic Theatre in Johannesburg, has run into more bad notices these from cast members who say they have still not been paid.
At the centre of the row is Opera Africa, the company that staged the show. Opera Africa contracted dancers and singers from the South African Ballet Theatre and, two weeks into rehearsals, Pro Musica, based in Roodepoort. The wheels started to come off when some dancers pulled out, claiming they were not being paid. They were not the only ones. The agreement was that Opera Africa would pay the orchestra by no later than December 14. This did not materialise but the show proceeded, and an alternative date for payment, December 31, was agreed to.
Says one of the aggrieved member who wanted to remain anonymous “every time we inquire about our money we are told to wait and wait. We just can’t go on like this. We have families to feed and other obligations to take care of.”
To add insult to injury, Opera Theatre opened another show this week in Bloemfontein.
What is Pro Musica doing about this?
According to Weiss Doubell, Pro Musica’s CEO and its orchestra’s conductor, ever since the debacle started the company has been trying to get Opera Africa to honour its obligation. But despite a series of meetings and a trip to Bloemfontein, money has not been forthcoming. He feels the company has exhausted all available avenues and has now decided on a legal route.
Asked if the legal action involves stopping Opera Africa from staging further shows, Doubell says, “I’m in two minds about this. As an administrator, it is my responsi-bility to make sure that my musicians get what they are owed; similarly as an artist I do not want to deprive the public of the art; I sincerely hope and pray that music, musicians and the public will not suffer from this.”
Doubell says initially Pro Musica did not want to involve the media, as “the theatre industry cannot afford another scandal, but now that we seemed to have reached a deadlock we cannot hide this any more”.
“I am really disappointed,” he says, because “88% of musicians we hired depend on this for their livelihood”. Repeated attempts to reach Opera Africa drew a blank; and its lawyer refused to comment.