It was a close call for local theatre production company UpStage Productions this week, after theatre critics’ and art reviews’ tendencies to obsess over themes and metatextual references made their latest show Glass Grey Sky an “insightful, profound piece that evokes a self-aware critique of postmodernism” instead of just a piece of really crap theatre with no real point or production value.
The show, which was written and directed by Arya Dzjoking and featured out-of-tune violins, out-of-sync choreography and seven instances of actors forgetting their lines, has been hailed by reviewers and physical theatre experts as “just ambiguous enough to be called ‘spectacular’”.
“To the lay man or woman, it might have looked really awful,” said reviewer and long-time Physical Theatre expert Harold Cress. “I mean, if it wasn’t for my ability to look past the flat, dead soundtrack and interpret this as a direct symbol of the paucity of life and lack of vim and vigour in the post-modern subject who inhabits an abyss of futile dreams, or my training which has prepared me to look into those expressionless, bland faces with too much make-up caked on their cheeks and read within them a scathing critique of the deadness of our Self in the modern digitalised era and our obsession with socially mediated appearances no deeper than a thimble that in no way form a meaningful representation of our true selves and beings, then it just might have been the worse, trite piece of shit of I’ve ever watched. But like I said, below the surface, it was genius.”
The show, which has purportedly gone over the heads of over seven thousand people without Dramatic Arts degrees or Arts Journalism training since its opening last weekend, will now tour the country, debuting at R150 a ticket.
“Some people have gone to see our show and been all like ‘oh, I totally didn’t get that, what the hell did I just watch?’,” said show director, producer and choreographer Sim Bolism, “but then again, what would those artless, ignorant pricks know about dance?”
