Fix + Foxy’s Dark Noon (June 7 - July 7, 2024) took the 2023 Edinburgh Festival Fringe by storm. In it, South African artists including co-director and choreographer Nhlanhla Mahlangu and seven South African actors join forces with acclaimed Danish director Tue Biering and create an exhilarating theatrical experience. Dark Noon turns the myth of the American Wild West, as endlessly glorified by Hollywood westerns of the 1950s, on its head. This time, rather than history being told by the victors, it is told by the vanquished. On a vast bare stage, the skeleton film set of a Western town emerges in real time. The extraordinary actors embody the distinctive characters of America’s past: cowboys, gold seekers, missionaries, enslaved Africans, Chinese workers, Native Americans, prostitutes, Bluecoats, and Confederates. Through playful interpretation, the performers scrutinize the presumptions and misconceptions of the American Frontier. “Dripping with energy, irony and anger,” this “savage and gripping” work “tells the 300-year history of the American west in 100 uproarious minutes” (The Guardian).
Dark Noon’s defining feature is the way the narrative can swing from over-the-top hilarity to darkly sobering in a matter of seconds. The episodic nature can wear a little thin at times, especially as the pioneer town advances and the focus spirals in different directions. Nevertheless, Dark Noon is an arresting story that packs a punch, especially performed in the country it so expertly lampoons. The show’s most poignant moment comes at the epilogue, when the actors cast off their roles and speak directly, earnestly, to the camera as themselves. One by one, they tell us about their childhoods in apartheid and post-apartheid South Africa, about the influence of the guns and violence gleefully portrayed in American movies, and the personal, real-life harm that was caused.
The audience is seated on three-sides of a bare stage, but Johan Kølkjær’s setting won’t remain empty for long. Representing America, the sets are gradually built upon a dirty tarp as the performance progresses. A church will be constructed, as well as a merchant store, a bank, a politician’s office, a pioneer home, a Chinese restaurant, a bar and whorehouse, a jail, and an outdoor holding pen. Oh, and a railroad track runs down the center of the stage ending at the mines. Plus, the endless props by Marie Rosendahl Chemnitz, cameras displaying live filming of scenes as they take place (video designer Rasmus Kreiner), and microphones (sound designer Ditlev Brinth). By the end, there’s so much scenery that other spectators disappear from view. Stage Manager Svante Huniche Corell and his crew notably uphold the challenging staging, allowing the pandemonium to unfold with perfection
2024 | Off-Broadway |
St. Ann's Warehouse Off-Broadway Production Off-Broadway |
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