Director/Writer: Mpumelelo Paul Grootboom
Cast: Mandla Gaduka, Boitumelo Shisana, Klaas Motebejane, Nomcebo Gumede, Sello Zikalala, Koketso Mojela, Azaria Molobela, Kedibone Tholo, Fumani Shilubana, Thabo Sekgobela
Lighting designer: Declan Randall
Costume designer: Phumelele Dlamini
Choreographer: Ntshimane Letswalo
Warning: Violence and strong language, parental guidance strongly advised
Dates: Until May 11 at 8pm
In his programme notes, Grootboom states his intention by quoting an American critic: "The way the story is told is part of that story. You can tell the same story badly or well; you can also tell it well enough or magnificently. It depends on who is telling the story."
He starts his latest play, with a rape, as in Relativity, but this time, it's as if it is happening in the laps of some audience members. With crime in South Africa so commonplace, it takes shock tactics to make people sit up and notice.
Grootboom tackles voyeur-ism and our proclivity to stand on the sidelines.
In Grootboom's world, if you don't want to listen or care to hear different points of view, he will shout it from the rooftops - loudly, clearly and at length, to make his point.
He doesn't deal in snapshots, but creates scenes, which remind one of images from a Brueghel, a George Pemba or a Sekota painting.
The playwright is often accused of overwriting. Does the man listen? No, he turns around and presents probably the first, four-hour long play.
There's an acknowledged wisdom about showing rather than telling in theatrical terms. Grootboom's style is to balance both and much of the time he pulls it off with amazing results.
This is a gruelling work, but my heart goes out to the actors rather than the audience. Telling Stories is action- packed, hair-raising and quite volatile. The acting ensemble are up for the task though, and stay the course miraculously. Grootboom has selected many of his regular team and each one of them has raised the bar with this one.
As Madi, Mandla Gaduka captures the complexities of someone who becomes a public persona, but is much more comfortable in the background.
Boitumelo Shishana shows the banality of the hardcore criminal while quoting Shakespeare. Koketso Mojela is asked to repeat her role as a rape survivor once too often, but fortunately her character is allowed to explore other emotions.
Thabo Sekgobela does a fine balancing act as he offers light relief with his gormless but equally evil character and Fumani Shilubana comes into his own playing different characters, like in the Felini-esque dancing scene or the victim in the train murder.
The playwright takes the audience out of their comfort zones and into the heart of his discomfort.
Grootboom bombards with such spurts of brilliance while mixing lyricism with violence, one forgives his indulgence of time.