The Lion & The Lamb

When a musical is described as the life story of Jesus Christ, you pretty much know the plot already. But still, I expected The Lion & The Lamb to have a narrative that wasn't drawn entirely from the Bible.

Perhaps it isn’t - me and the Bible aren’t on familiar terms – but picture a preacher reciting the New Testament for close to two hours, and there you have it. Complete with old style phrasing of thee and thou and interspersed with 27 gospel numbers. Watching The Lion & the Lamb, in other words, is like attending a relatively lively church service rather than a theatrical event.

The show directed by James Ngcobo is billed as a reimagined version of the musical originally created by John Kani and Barney Simon, which last performed at the Market a decade ago. What’s a little disappointing is that Ngcobo hasn’t used the opportunity to rework the Biblical language by using the Modern English Version. Perhaps that would have lost the fire and brimstone effect, but John Kani as the narrator could easily deliver as much might and thunder using modern words as he could with the old.

As it is, he strides and shimmies, cavorts and cajoles as he flawlessly acts out the narrative, taking us from the immaculate conception to Jesus rising. On route he has Jesus conversing in the temple as a child, gathering his disciples, walking on water, raising Lazarus and predicting his betrayal by Judas.

Kani holds our attention well, his tone and mood changing to add gravitas or levity, and drawing on his skills to portray different characters. He confines his actions to the raised dias, coming forward only once to get close to the audience in a more intimate style that would increase the drama.

The set by Nadya Cohen is clean and spacious, with projections behind Kani that sometimes add depth to the stage and sometimes add details to the story.

Kani isn’t alone on stage, with a choir to one side and a four piece band to the other. The choristers aren't a homogenous group, with different singers standing up to take the lead or coming forward to play a part or belt out a number. They’re dressed in individual outfits rather than a choral ensemble, which enhances their different personalities, and the shoes supporting some of them are quite sensational.

Several among them were particularly impressive in their acting roles, with a line-up featuring Nokukhanya Dlamini, Gugu Shezi, Nomfundo Dlamini, Avril Mkansi, Hlengiwe Pitso, Lebo Barole, Lerato Gwebu, Mpho Somani, Tebogo Mokeona, Thembisa Khuzwayo, and Itu Tshabane as the only male singer.

The singing is beautiful and each of them gets the chance to shine, but it’s only during the finale that they’re all up on their feet and grooving. That’s when you realise the show has been too static, with Kani taking centre stage but the choral area remaining largely stationary.

It’s a lengthy story without an interval and feels ripe for paring back, cutting a few of the songs perhaps, and skipping a miracle or two. As an atheist I’m clearly not the target market, and I couldn’t quite supress a hallelujah when it ended.

The Lion & The Lamb runs at the Market Theatre until December 22. Tickets from Webtickets. Photo: Lungelo Mbulwana