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De John Kani


Résumé: South Africa, 2019. Twenty-five years since the first post-apartheid democratic elections, two men from contrasting walks of life are thrust together to reflect on a quarter century of change. Jack Morris is a celebrated classical actor who’s just been given both a career-defining role and a life-changing diagnosis. Besides his age, Jack has seemingly little in common with his at-home nurse Lunga Kunene, but the two men soon discover their shared passion for Shakespeare, which ignites this ‘rich, raw and shattering head-to-head’ (The Times).


Type de série: West End Transfer
Théâtre: Ambassadors Theatre (Londres - Angleterre)
Durée : 1 mois 4 semaines
Nombre :
Première Preview : vendredi 24 janvier 2020
Première : mercredi 29 janvier 2020
Dernière : samedi 28 mars 2020
Mise en scène : Janice Honeyman
Chorégraphie :
Avec :
Antony Sher, John Kani
Commentaires : Transfert du RSC.
Written by South African actor, activist and playwright John Kani (Black Panther, The Island, Sizwe Banzi is Dead), this refreshingly funny and vital new play premiered in the Swan Theatre, Stratford-upon-Avon in 2019. It is directed by Janice Honeyman (Vice Versa; The Tempest, 2009) with exceptionally moving performances from fellow South African Antony Sher (King Lear, 2016 and 2018; Death of a Salesman) and John Kani.
Presse : ★★★★★GUARDIAN
‘Poignant two-hander illuminates post-apartheid South Africa’

GUARDIAN
‘John Kani beautifully captures the complex divides of race, class and politics in a remarkable and moving new play’

GUARDIAN
‘Directed by Janice Honeyman…with exquisite delicacy’

GUARDIAN
‘Offers a rich portrait of a relationship and a society’

GUARDIAN
‘It contains two great performances: [Antony] Sher…captures all of the old actor’s testiness, insecurity and his Lear-like moral awakening’

GUARDIAN
‘[John] Kani is equally magnificent in showing how Kunene’s dignified forbearance… conceals a deep anger at the cruelty and injustice created by apartheid and at the persistent inequalities in South African life’

★★★★WHATSONSTAGE
‘Director Janice Honeyman…is blessed with the play’s author, John Kani, and recent RSC Lear Antony Sher…two terrific performances’

WHATSONSTAGE
‘[John] Kani has a deft ability to weave comedy and pathos together, with some killer moments and a nice line in humour’

WHATSONSTAGE
‘There are some beautiful touches across the production, including Lungiswa Plaatjies' haunting vocals, which bring authentic life to Neo Muyanga's music, a surprisingly conventional but effective set from designer Birrie Le Roux and some impressive lighting and sound effects from Mannie Manim and Jonathan Ruddick respectively’

WHATSONSTAGE
‘Electrifying’

★★★★THE STAGE
‘John Kani's clever and compassionate character study’

THE STAGE
‘[John] Kani’s writing remains deeply incisive, full of both anger and understanding’

THE STAGE
‘Director Janice Honeyman lets each scene develop in its own time, lifting meandering conversations with a good dose of gallows humour to get the most out of the play’s wrenching emotional shifts’

THE STAGE
‘[John] Kani plays semi-retired nurse Kunene, shouldering unhealable emotional scars but remaining a beacon of warmth and dignity’

THE STAGE
‘Antony Sher’s cantankerous Morris, an ageing actor with advanced liver cancer…tackles this complicated character with real skill, equally terrified and outraged by the fact of his own mortality’

THE STAGE
‘Lungiswa Plaatjies plays traditional instruments and sings with a lilting but resonant voice. At one point, she belts out a completely transporting vocal evocation of a summer storm, perfectly capturing the rumble of thunder and the hiss of falling hail’

★★★★THE TIMES
‘[Antony Sher] is huge in this RSC production, arriving with mortality clinging to his clothes and hair like cigarette smoke’

THE TIMES
‘It’s electrified by its clear-eyed political reckoning, by passion and by fine performances’

THE TIMES
‘There’s a musicality to the way these actors work together’

THE TIMES
‘The writing is rich and raw’

THE TIMES
‘A shattering head-to-head between two citizens of the same country’

THE TIMES
‘Engrossing, and executed with consummate skill’

★★★★FINANCIAL TIMES
‘Antony Sher… is compelling to watch’

FINANCIAL TIMES
‘Director Janice Honeyman’s production culminates in a storm, with juddering live sound from Lungiswa Plaatjies’

FINANCIAL TIMES
‘Twenty-five years since apartheid ended, it’s fascinating and necessary to see [John] Kani bring things up to date’

★★★★THE OBSERVER
‘[John] Kani’s powerful new drama’

THE OBSERVER
‘They both deliver “Friends Romans, countrymen”: [Antony] Sher speaks in English, [John] Kani in Xhosa. Both are powerful: Sher defiant, Kani radiant’

THE OBSERVER
‘As Kunene, [John] Kani is a beacon: rich-voiced, contained, determined’

THE OBSERVER
‘As the dying man, Sher – florid in speech, frowsty in tartan slippers – carries his pain like a terrible armour from which his skin is shrinking’

THE OBSERVER
‘Lungiswa Plaatjies….singing new compositions by Neo Muyanga, her voice like a chime’

★★★★THE SUNDAY TIMES
‘Beautifully written two-hander by John Kani’

THE SUNDAY TIMES
‘Absorbing comedy-drama’

★★★★★LIBBY PURVES, THEATRECAT
'Often funny, sometimes explosive, sometimes poignant, always, arresting and important'

LIBBY PURVES, THEATRECAT
'Opens great vistas of heart-stopping universal wisdom about death, guilt, reconciliation and human need'

LIBBY PURVES, THEATRECAT
'Honest, humane and thoughtful play'

LIBBY PURVES, THEATRECAT
'Sher is wonderful, fine-tuned in every move... opening fissures of stark feeling'

LIBBY PURVES, THEATRECAT
'A terrible mutual rage flares, becomes a fiery dance of laughter, subsides to glowing embers in the beauty of still, wry reconciliation'


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