David Fick

David Fick Born and bred in South Africa, David has loved theatre since the day he set foot on stage in his preschool nativity play. He graduated with a Master of Arts (Theatre and Performance) degree from the University of Cape Town in 2005, having previously graduated from the same university with a First Class Honours in Drama in 2002. An ardent essayist, David won the Keswick Prize for Lucidity for his paper "Homosexual Representation in the Broadway Musical: the development of homosexual identities and relationships from PATIENCE to RENT". Currently, he teaches Dramatic Arts at a high school in Cape Town and also freelances as a theatremaker and performer.


MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: Pinteresque THE MOTHER an Utterly Arresting Ordeal on The Fugard Studio StageBWW Review: THE MOTHER at The Fugard Studio
Posted: Feb. 12, 2017


BWW Special Feature: The Fugard Launches 2017 Bioscope Season with NT Live's Thrilling THE THREEPENNY OPERAFugard Theatre Launches 2017 Bioscope Season
Posted: Jan. 30, 2017


BWW Review: This RENT is Spent, and Passion is Not Enough to Pay the Piper at the Artscape ArenaBWW Review: RENT at the Artscape Arena
Posted: Feb. 22, 2017


BWW Special Feature: Top Ten Highlights from the Glamorous and Ebullient kykNET Fiëstas!BWW Special Feature: Top Ten Highlights at the kykNET Fiëstas!
Posted: Feb. 27, 2017


STAGE TUBE: Behind the Scenes of Penelope Youngleson's SILLAGESTAGE TUBE: Behind the Scenes of Penelope Youngleson's SILLAGE
Posted: Feb. 12, 2017


LAST 365 DAYS

BWW Review: SONGS FOR A NEW WORLD Translation at #NAF16 Shifts the Boundaries for South African Musical TheatreBWW Reviews: SONGS FOR A NEW WORLD Translation at #NAF16 Shifts the Boundaries for SA Musicals
Posted: Jul. 2, 2016


Startling and Intimate THE INCONVENIENCE OF WINGS a Triumph for Lara Foot at the Baxter Theatre CentreStartling and Intimate THE INCONVENIENCE OF WINGS a Triumph for Lara Foot at the Baxter Theatre
Posted: Jul. 18, 2016


BWW Review: HEDWIG AND THE ANGRY INCH a Perfect Opener for Mother City's Stylish Gate69BWW Review: HEDWIG AND THE ANGRY INCH a Perfect Opener for Gate69
Posted: Oct. 17, 2016


BWW Review: Magnificent THE GRAVEYARD Confirms Philip Rademeyer as One South Africa's Greatest Contemporary Playwrights
at NAF16BWW Review: Magnificent THE GRAVEYARD at #NAF16
Posted: Jul. 5, 2016


BWW Review: Return Season of BAD JEWS at The Fugard a Timely Warning of the Dangers of a Post-Truth SocietyBWW Review: BAD JEWS
Posted: Dec. 19, 2016


BWW Review: Pinteresque THE MOTHER an Utterly Arresting Ordeal on The Fugard Studio StageBWW Review: THE MOTHER at The Fugard Studio
Posted: Feb. 12, 2017


BWW Special Feature: Top Ten Highlights from the Glamorous and Ebullient kykNET Fistas!
February 27, 2017

The kykNET Fiestas were presented at an ebullient ceremony at the Artscape Theatre Center on Thursday night. Broadcast live on kykNET, the evening was a suitably extravagant affair that honoured the best in Afrikaans theatre, classical music and visual arts. David Fick counts down his top ten highlights of the event.

BWW Review: This RENT is Spent, and Passion is Not Enough to Pay the Piper at the Artscape ArenaBWW Review: This RENT is Spent, and Passion is Not Enough to Pay the Piper at the Artscape Arena
February 22, 2017

David Fick reviews The Stephan Fourie Theatre Company production of RENT at the Artscape Arena, a production filled with passion - but which leaves a great deal to be desired. SPOILER ALERT: There is a spoiler about the plot of RENT in the first paragraph of this review.

STAGE TUBE: Behind the Scenes of Penelope Youngleson's SILLAGESTAGE TUBE: Behind the Scenes of Penelope Youngleson's SILLAGE
February 12, 2017

SILLAGE, the award-winning drama directed, written and designed by Penelope Youngleson and performed by Rebecca Makin-Taylor and Michele Belknap, returns to the Alexander Bar's Upstairs Theatre this February. See the behind-the-scenes video featuring interviews with the cast below.

BWW Review: Pinteresque THE MOTHER an Utterly Arresting Ordeal on The Fugard Studio StageBWW Review: Pinteresque THE MOTHER an Utterly Arresting Ordeal on The Fugard Studio Stage
February 12, 2017

Following the South African premiere of Florian Zeller's THE FATHER last year, the same playwright's companion piece, THE MOTHER, made its bow last week at The Fugard Studio. David Fick reviews.

BWW Special Feature: The Fugard Launches 2017 Bioscope Season with NT Live's Thrilling THE THREEPENNY OPERABWW Special Feature: The Fugard Launches 2017 Bioscope Season with NT Live's Thrilling THE THREEPENNY OPERA
January 30, 2017

Cape Town was at its finest this past Sunday when the Fugard Theatre hosted a reception in their breathtaking rooftop bar to announce the programme of The 2017 Fugard Bioscope World Arts Cinema Season before a screening of The National Theatre's thrilling production of THE THREEPENNY OPERA.

BWW Awards Special: South African Theatre Winners Celebrate the 2016 Regional BroadwayWorld South Africa AwardsBWW Awards Special: South African Theatre Winners Celebrate the 2016 Regional BroadwayWorld South Africa Awards
January 18, 2017

It was no unlucky Friday the 13th for South Africa's theatre community when BroadwayWorld's Regional Managing Editor Christina Mancuso released the names of the of the winners of the 2016 BroadwayWorld South Africa Awards.

BWW Review: Return Season of BAD JEWS at The Fugard a Timely Warning of the Dangers of a Post-Truth SocietyBWW Review: Return Season of BAD JEWS at The Fugard a Timely Warning of the Dangers of a Post-Truth Society
December 19, 2016

This return season of BAD JEWS comes hot on the heels of the announcement of "post-truth" as Oxford's word of the year, giving audiences a moment to pause and reflect on the way we handle our lives in a post-truth society and us to consider what we destroy in our quest to be right.

BWW Review: OH BABY, I'M A WILD ONE Offers a Deeply Cynical View of Contemporary Morality at the Alexander UpstairsBWW Review: OH BABY, I'M A WILD ONE Offers a Deeply Cynical View of Contemporary Morality at the Alexander Upstairs
December 14, 2016

Louis Viljoen's OH BABY, I'M A WILD ONE is a character study of a first-year teacher trying to sift through the psychological debris that a confluence of key events has bulldozed into her life. It is theatre that offers some food for thought about how society constructs morality and how individuals seem geared to deconstruct and contravene those norms.

BWW Review: HEDWIG AND THE ANGRY INCH a Perfect Opener for Mother City's Stylish Gate69BWW Review: HEDWIG AND THE ANGRY INCH a Perfect Opener for Mother City's Stylish Gate69
October 17, 2016

HEDWIG AND THE ANGRY INCH at Gate69 not only celebrates its queerness but also reminds us that we have our own Hedwigs to celebrate and our own Berlin Walls to conquer. It is the perfect choice to open this stylish new venue in the Mother City.

BWW Review: THE FINKELSTEINS ARE COMING FOR DINNER  and There is Sweet Love and Comic Domesticity on the Menu
October 10, 2016

Richard Kaplan's debut as a produced playwright with THE FINKELSTEINS ARE COMING FOR DINNER offers an evening of solid entertainment. For its pivotal love scene alone, it is worth going to see what is being cooked up for the Finkelsteins' visit.

BWW Review: Mamela Nyamza's DE-APART-HATE is First Rate Dance Theatre from a Visionary ArtistBWW Review: Mamela Nyamza's DE-APART-HATE is First Rate Dance Theatre from a Visionary Artist
October 8, 2016

DE-APART-HATE will mean a lot to everyone who is trying to engage with what is going on in our country at the moment. Because the mystery of what will rise once what must fall has fallen, what lies beyond decolonisation is what is at the heart of this piece, and Nyamza's recognition of that makes her a visionary.

BWW Review: Powerful HOLY CONTRACT Reminds Us That We Can Stop, Even as It Encourages Us to GoBWW Review: Powerful HOLY CONTRACT Reminds Us That We Can Stop, Even as It Encourages Us to Go
October 8, 2016

HOLY CONTRACT ends with a brief but powerful statement that compels us to reflect on our personal, social, political or artistic narratives. Sometimes it is essential to remember that we can stop, be present and decide whether we want to swim upstream or not, and HOLY CONTRACT is a potent reminder of our power as individual human beings.

BWW Review: Powerful Choreopoem SONGS FOR KHWEZI is Theatre That Can Disrupt and HealBWW Review: Powerful Choreopoem SONGS FOR KHWEZI is Theatre That Can Disrupt and Heal
October 7, 2016

SONGS FOR KHWEZI is theatre that one hopes to see grow in its reach. It is theatre that says important things in an original way. It is theatre that speaks truths that women know and that men need to hear. It is theatre that can disrupt. It is theatre that can heal.

BWW Review: Will the Real WOZA ALBERT! Please Stand Up?BWW Review: Will the Real WOZA ALBERT! Please Stand Up?
October 7, 2016

WOZA ALBERT! remains an incredibly powerful play. That it can withstand mediocre productions and still, more or less, manage to resonate with an audience is a testament to what Ngema, Mtwa and Simon achieved 35 years ago. When the real WOZA ALBERT! stands up, it takes no prisoners. It is a play that reminds us of the journey we have travelled, and the long way we still have to go.

BWW Review: Energetic Performances from Zondi and Nzimande Make TERMITE a Romp for the Tween SetBWW Review: Energetic Performances from Zondi and Nzimande Make TERMITE a Romp for the Tween Set
October 6, 2016

TERMITE! TALL TALES FOR BIG PEOPLE is a dynamic performance piece in which two actors tell a trio contemporary tales that blend izinganekwane with physical theatre . Mentioning 'big people' in the title is a super tactic to attract the 'tween' audience to which this production will appeal most, although there are plenty of nods to local political parties and popular culture to keep their guardians satisfied.

BWW Review: LA RVE DU LUCIE a Highlight for Young Audiences at the Cape Town Fringe
October 5, 2016

LA RVE DU LUCIE brings children and their guardians together like few theatre pieces for young audiences manage to do. The play is a gentle and tender story about the power of our imaginations in helping us overcome our greatest challenges.

BWW Review: Louis Viljoen's DANGLED with Rob van Vuuren Offers Genius in Action at the Cape Town FringeBWW Review: Louis Viljoen's DANGLED with Rob van Vuuren Offers Genius in Action at the Cape Town Fringe
October 4, 2016

It is quite remarkable when contemporary theatre-makers succeed in taking on a classic work and reinventing it so that it resonates within the context of our particular space and time. DANGLED is theatrical savant Louis Viljoen's adaptation of Nikolai Gogol's 1835 short story, 'Diary of a Madman', written as a performance piece for Rob van Vuuren. The result? Genius in action.

BWW Review: Brisk Business at Cape Town Fringe Will Ensure That THE GRUFFALO Franchise Continues to GrowBWW Review: Brisk Business at Cape Town Fringe Will Ensure That THE GRUFFALO Franchise Continues to Grow
October 4, 2016

THE GRUFFALO seems to have done brisk business at the Cape Town Fringe and is sure to have a life on South African stages beyond this initial engagement, with an isiXhosa version already lined up for next year. It will be fascinating to see how this process of translation plays out as the next entry into this franchise's commodities is developed.

BWW Review: Irrepressibly Zany POLICE COPS a Giddy Ride on Laughter-induced EndorphinsBWW Review: Irrepressibly Zany POLICE COPS a Giddy Ride on Laughter-induced Endorphins
October 2, 2016

POLICE COPS is pastiche on a grand scale, taking the buddy cop genre, putting a self-aware spin on it and playing tropes that were once taken extremely seriously to the very edge of sheer lunacy. The results are hilarious, as though THE MOD SQUAD were taking on IN THE HEAT OF THE NIGHT in the WILD WILD WEST at RUSH HOUR.

BWW Review: A Play About Failure, DEATH OF A CLOWN Has the Makings of a Successful Web SeriesBWW Review: A Play About Failure, DEATH OF A CLOWN Has the Makings of a Successful Web Series
October 2, 2016

The way that Ryan Napier tells the story of DEATH OF A CLOWN, through a solo live performance piece, prompts the question of whether this format and medium is the best way to tell this story, and the stalemate it reaches as an extended theatrical presentation is wrapped up in the answer.



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