Blood Orange
Blood Orange
Author: Moira de Swardt, 1 February 2008
This is based on the book by Troy Blacklaws and performed by Craig Morris. It is about growing up in white South Africa of the sixties and seventies. The play was easy to date because one of the fairly early scenes is of the 1969 moon landing, magnificently performed with only a tyre, and Craig Morris’ superb acting to recreate this multi-million dollar feat onstage, fully dressed in an imaginary, but very obvious, astronautical suit.
There is no set, very minimal, but effective, costuming and the only props are four tyres. The lighting by Barry Strydom is very good and it adds much to the play. Craig Morris is a dancer as well as a physical performer who trained under Andrew Buckland and performed with Cirque du Soleil. The performance was energetic and exquisitely visual, but one never lost contact with the words either.
This is an excellent piece of theatre and it will resonate with all South Africans who lived through those times, but particularly those who grew up in that era. It ended just as I started to get restless, one and a quarter hours of hard physical labour is exhausting to watch. The intensity arises from the honesty and the emotions this work conjures up in the audience, regardless of where they were on the political continuum in the dark days of apartheid.
"Blood Orange", directed by Greig Coetzee and performed by Craig Morris is on Upstairs at the Barney Simon Theatre, The Market Theatre, until 17 February 2008.
Blood Orange - a student's review
Author: Jordan Vasani, 5 May 2008
The one-man play Blood Orange, currently staged at the Market Theatre, is a highly physical adaptation of the novel of the same title by Troy Blacklaw. The play addresses the social and political issues of apartheid from the point of view of a young, white Natal boy called Gecko.
The stage had minimal scenery or props – four tyres on a bare stage – and this enabled the audience to focus on the superb performance by Craig Morris as Gecko. The lighting was subtle and realistic, helping to emphasise dramatic moments. The music was also understated and did not distract the audience from the acting. Director Greig Coetzee clearly understood that less is more in this play.
Morris is remarkably athletic, somersaulting, dancing and jumping across the stage in imitation of various characters. He wore only a pair of trousers and a vest: by the end of the play his clothes were soaked in sweat.
He is a brilliant mimic and comic actor, making the audience belly laugh on occasions. Morris is particularly gifted at capturing regional South African accents. His acting style is original and versatile, helping to create a whole cast of characters on his own.
The one criticism I have is that the story carried on past the natural dramatic conclusion, and therefore seemed to drag on at the end. The play could have ended when the titular Blood Orange sunset was referred to, the stage darkens and everything goes quiet. However the play continued for about half an hour.
The success of this production lies in the brilliant acting which completely engaged the audience. It would not appeal to people who want to be entertained with elaborate costumes, props and large casts – they should stick to Lion King. But for those who appreciate pure acting talent, this production is highly recommended.
i love you
Author: Gemma-bean, 5 August 2010
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