I attended the 2016 Hilton Arts Festival in the KZN midlands on a very rainy and cold Sunday, the 18th of September. I felt sorry for the brave stall holders sitting under their flimsy shelters in the miserable weather. Conditions definitely detracted from our enjoyment of the day and no doubt from the crafters’ takings. Indoor art galleries and a bustling food tent with free live music were the more cheery choices for how to spend free time.
While I wasn’t shivering in a tent, I watched three foreign-based plays: The Snow Goose, Tarty Flowers and Blonde Poison. It was a pity I couldn’t enjoy something musical; I had misunderstood the booking system by not reserving tickets even for “free” shows so missed out on Two Guitars, featuring James Grace and Jonathan Crossley. I’ll remember for next time.
The best show of the day was the beautifully scripted, extremely well-acted The Snow Goose. The story is set in England during World War II. It makes a sensitive comment on society’s cruel, and often stupid, vilification of those who are different, and on the stranger who longs to be accepted and useful. Whilst the actors in Tarty Flowers coped well with an unplanned electricity failure during their performance, the story, which seemed to move backwards, lacked a certain crispness of delivery. This meant that some of the cleverness of the show’s inspiration, Fawlty Towers, was lost. Fiona Ramsay gave a 60-minute solo performance in the aptly named Blonde Poison. This play featured a German Jewish woman relating to a journalist the story of how she had ratted on her fellow Jews in Nazi Germany, escaping arrest herself through bribery and her Aryan looks. The play was surprising on so many levels for me: from the energy required for such a lengthy solo performance, to the tale of treachery amongst Jews themselves, to realising what the name “Blonde Poison” really referred to. Ramsay was visibly moved at the end of this demanding performance and deserved her standing ovation.