Just in case anyone was in doubt, M-Net’s award-winning magazine programme, Carte Blanche, reminded us last Sunday that musicals are where it’s at.
It’s what local markets want. Another week, another boy band tribute. It’s where money can be made. That’s if you have money in the first place. To stage a musical. Or buy the rights to one. Or even simply to see one.
Some of the local high priests of musicals were interviewed on the programme, among them, Pieter Toerien, Hazel Feldman and Richard Loring.
Missing was Mbongeni Ngema, one of the most prolific producers of local musicals, or, as some uncharitable — and no doubt, racist — critics would have us believe, of the same musical under different names.
Ngema is about to unleash his New Partnership for Africa’s Development musical with the imaginative title, Sing Africa Dance at the State Theatre (which makes sense, since it is essentially supported by state funds). Which also makes sense, as the only way in which most of the DP (Disadvantaged Previously) and the DA (Disadvantaged Again) will get a slice of the musical pie, is if the state supports them. Unless there is a Musical Empowerment Charter obliging the captains of the musical industry to shift the musical deck-chairs on the listing performing arts ship.
In terms of such a musical charter, five key principles would apply, not all of them moral principles, but then, this is first and foremost about enrichment.
First, any international musical like Chicago, Phantom of the Opera or Cats that comes into the country in future, must employ at least 51% black performers, with the lead roles being allocated in these percentages too.
Alternatively, white producers of such musicals can be relieved of this obligation provided they give away 25% equity in their companies to black companies recommended by the Department of Arts and Culture.
Secondly, while white performers in musicals can continue to be paid half salaries for rehearsals and full salaries for performances, black performers are to earn full salaries for the duration of the rehearsals and performances. (Note: this does not apply to currently empowered black producers who can pay what they like).
Third, procurement of all services related to the staging of the musicals — and not just putting up the posters — will require at least 30% of such services to be allocated to black small or medium enterprises. Where there is no capacity in such enterprises, the producer shall pay an additional fee to enable such enterprises to outsource the provision of such services to whomever they like.
Fourth, the rights to produce locally created musicals shall remain vested solely in the creators and their soon-to-come-on-broad based black economic empowerment partners, and shall not be sold to countries that may produce these at a cheaper cost, lest we have African Footprint and Sarafina touring the world with Chinese casts.
Finally, at least 30% of all musicals coming into the country by 2010 must have soccer as the main theme, or must be adapted to have soccer as the main theme.
So, for example, Les Misérables can be staged, provided that it will be about Bafana Bafana. Similarly, The Sound of Music will feature only the vuvuzela.
Ultimately though, the musical charter will ensure that we create and export our own musicals. We’ve done it with Umoja, District Six and Sophiatown. The local and international markets are ripe for something new. Apparently, gospel and kwaito are the most popular musical forms. William Gumede’s book on the president is a runaway bestseller. Afrikaans speakers are the best markets for the arts.
So, ladies and gentlemen, stand by for Thabo Mbeki: The Gospel Musical, featuring Mandoza. Brought to you by Toerien and Ngema Productions. In Afrikaans.