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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 Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical StatusBWW Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical Status
Posted: Feb. 19, 2015


LAST 365 DAYS

BWW Reviews: One Small Step for MACBETH, One Huge Leap for Opera in AfricaBWW Reviews: One Small Step for MACBETH, One Huge Leap for Opera in Africa
Posted: Apr. 28, 2014


BWW Reviews: BLUE is a Testament to Cape Dance Company's Artistry and VisionBWW Reviews: BLUE is a Testament to Cape Dance Company's Artistry and Vision
Posted: Dec. 1, 2014


BWW Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical StatusBWW Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical Status
Posted: Feb. 19, 2015


2014 South African Theatre Retrospectives: Dance and Physical Theatre2014 South African Theatre Retrospectives: Dance and Physical Theatre
Posted: Dec. 29, 2014


BWW Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical StatusBWW Reviews: New South African Show ORPHEUS IN AFRICA All Set for Classic Musical Status
February 19, 2015

ORPHEUS IN AFRICA is all set to be a grand, old-fashioned classic musical in the Rodgers and Hammerstein tradition. Kramer has unearthed a fantastic historical footnote and found the reason that this story deserves to be raised into our consciousness more than a century after Orpheus McAdoo's death in 1900.
BWW Reviews: (Un)Making Men in MOFFIE a Vision for Dance That MattersBWW Reviews: (Un)Making Men in MOFFIE a Vision for Dance That Matters
January 28, 2015

Billed as Bailey Snyman's dance interpretation of Andre Carl van der Merwe's novel, MOFFIE sets itself a demanding task in adapting and translating the themes of Van der Merwe's harrowing novel. That's enough to hope that MOFFIE is a piece that earns support so that Snyman and his Matchbox Theatre Collective can develop their work and continue to try and make dance that matters.
BWW Reviews: Devastatingly Competent OTHELLO Leaves Audience Out in the Cold at MaynardvilleBWW Reviews: Devastatingly Competent OTHELLO Leaves Audience Out in the Cold at Maynardville
January 26, 2015

Fred Abrahamse's staging of OTHELLO fails to capture the accelerating spiral in which the titular character finds himself on the way to his doom; this OTHELLO is a bland, watered down affair that is, at best, a devastatingly competent reading of the play.
BWW Reviews: Operatic SAMSA-MASJIEN an Intense Rendering of and Meditation on HumanityBWW Reviews: Operatic SAMSA-MASJIEN an Intense Rendering of and Meditation on Humanity
January 22, 2015

The premiere of SAMSA-MASJIEN in the Baxter Theatre's Flipside venue last week was my second experience of the play. I previously saw the piece at the Klein Karoo Nasionale Kunstefees (KKNK) last year, where it was staged in a hangar on the grounds of the South African National Defence Force, a seemingly infinite space that suited the operatic scope of the production a little better than the relatively more intimate (though still fairly sized) alternative theatre venue at the Baxter Theatre. Nonetheless, SAMSA-MASJIEN remains an intense rendering of and meditation on aging, the nature of dementia, family and compassion.
BWW Reviews: Penelope Youngleson's NAT a Noble and Essential Reality CheckBWW Reviews: Penelope Youngleson's NAT a Noble and Essential Reality Check
January 20, 2015

Penelope Youngleson and Philip Rademeyer's Rust Co-Operative is a theatre collective that does not shy away from controversial and provocative subject matter. The company's new play, NAT, written and directed by Youngleson is a brutal, no-holds-barred look at the reality of the lives of children in disadvantaged communities.
2014 South African Theatre Retrospectives: The Plays - Part 32014 South African Theatre Retrospectives: The Plays - Part 3
December 31, 2014

It is the last day of 2014 and this final look at 'six of the best' plays to appear on South African stages finishes up BroadwayWorld's review of the past year's theatre.
2014 South African Theatre Retrospectives: Musical Theatre and Opera2014 South African Theatre Retrospectives: Musical Theatre and Opera
December 31, 2014

The penultimate column in our 2014 South African Theatre Retrospectives deals with musical theatre and opera. Today we celebrate 'six of the best' opera and musical theatre productions from around the country - with two honourable mentions for an outstanding cabaret and revue - having already looked at some of the best plays and dance productions of the year.
2014 South African Theatre Retrospectives: The Plays - Part 22014 South African Theatre Retrospectives: The Plays - Part 2
December 30, 2014

2014 is almost over, which means that BroadwayWorld South Africa is in the midst of taking a look back at the past year in theatre. This third column of five in this retrospective series on South African theatre in 2014 raises the curtain on six more of the best plays that have been produced on stages around the country.
2014 South African Theatre Retrospectives: The Plays - Part 12014 South African Theatre Retrospectives: The Plays - Part 1
December 29, 2014

As 2014 speeds along to its final curtain, it is once again time to reflect on some of the theatrical highlights on South Africa's stages over the past 12 months. First up, we have six of the best plays seen in theatres around the country this year.
2014 South African Theatre Retrospectives: Dance and Physical Theatre2014 South African Theatre Retrospectives: Dance and Physical Theatre
December 29, 2014

2014 is almost done and dusted and as part of a series of five columns that reviews the past year of South African theatre, this second 'six of the best' column serves as an overview of the best South African dance and physical theatre of the past year.
BWW Reviews: ANTHOLOGY: A CHANGE IN THE WEATHER a Hip and Happening Short Format Theatre SpaceBWW Reviews: ANTHOLOGY: A CHANGE IN THE WEATHER a Hip and Happening Short Format Theatre Space
December 11, 2014

Compilations usually end up being a bit of a curate's egg, but the format of ANTHOLOGY makes for an invigorating night at the theatre - even if only two thirds of the programme of A CHANGE IN THE WEATHER succeeds at delivering a satisfying theatrical experience.
BWW Reviews: Beautifully Articulate WAR HORSE a Theatrical JuggernautBWW Reviews: Beautifully Articulate WAR HORSE a Theatrical Juggernaut
December 10, 2014

WAR HORSE has finally made its way onto South African stages, currently in the second and final leg of its national tour. As many a headline has declared since the local tour was announced: Joey has come home.
BWW Reviews: Promising New Voices Emerge in Papercut Collective's UHMBWW Reviews: Promising New Voices Emerge in Papercut Collective's UHM
December 9, 2014

As a part of its mandate to showcase new voices, Artscape is presenting, in association with the newly formed Papercut Collective, UHM, a play that takes a satirical look at the enduring legacy of colonialism in Africa.
BWW Reviews: THE PERVERT LAURA a Subversive Play from an Audacious PlaywrightBWW Reviews: THE PERVERT LAURA a Subversive Play from an Audacious Playwright
December 8, 2014

You have to hand it to Louis Viljoen. The man is an honest-to-god real-as-they-come playwright, and he explores something new in every play he writes. His latest piece, THE PERVERT LAURA, is a taut psychological drama about a woman whose past manifests itself her present, driving her to face some dark truths and make some difficult choices.
BWW Reviews: THE SWELL a Fantastic Metaphor for Identity, Trauma and TransformationBWW Reviews: THE SWELL a Fantastic Metaphor for Identity, Trauma and Transformation
December 2, 2014

Imagine watching Lewis Carroll's Alice chat to the Caterpillar for an hour. That's a good place to begin imagining what THE SWELL, the play collaboratively created and presented by Horses' Heads Productions and Fruitzalad Productions, is like.
BWW Reviews: BLUE is a Testament to Cape Dance Company's Artistry and VisionBWW Reviews: BLUE is a Testament to Cape Dance Company's Artistry and Vision
December 1, 2014

Nobody does dance on local stages like the Cape Dance Company (CDC). Their 2013 season of CADENCE at the Artscape Theatre was the local dance highlight of the year and they top themselves in 2014's presentation of BLUE, a compilation of eight eclectic pieces from half a dozen choreographers.
BWW Special Feature: Happy Second Birthday to Cape Town's Play Club!BWW Special Feature: Happy Second Birthday to Cape Town's Play Club!
November 26, 2014

Last Sunday, Play Club celebrated its second anniversary with a reading of TO KILL A MOCKINGBIRD, Christopher Sergel's stage adaptation of Harper Lee's Pulitzer Prize-winning novel. Play Club is a monthly event in Cape Town that was initiated by Drew Rienstra with the vision of building a community among theatre lovers, including actors, theatre-makers, filmmakers, educators, critics and theatre audiences.
BWW Reviews: SMAARTIES a Committed Look at Schizophrenia as PerformanceBWW Reviews: SMAARTIES a Committed Look at Schizophrenia as Performance
November 21, 2014

In SMAARTIES, performance becomes a metaphor for schizophrenia, with everything in Jannes Erasmus's script to in Quintin Wils's design and direction and Jaco Jansen van Rensburg's videography calculated to a embody a single character's psychosis.
BWW Reviews: Revised and Improved RETURN OF THE ANCESTORS at the Artscape Still Not a Game ChangerBWW Reviews: Revised and Improved RETURN OF THE ANCESTORS at the Artscape Still Not a Game Changer
November 16, 2014

Although the basic outline of the play remains the same, RETURN OF THE ANCESTORS has been revised in the four months that have passed since its premiere. The new script and its associated theatrical production improve on the earlier version of the play.
BWW Reviews: Lucy is Tops in STEALING THE SHOW: BETTE MIDLER  but the Show Views Bette 'From a Distance'BWW Reviews: Lucy is Tops in STEALING THE SHOW: BETTE MIDLER but the Show Views Bette 'From a Distance'
November 14, 2014

There is a sense of complacency that infiltrates almost every aspect of STEALING THE SHOW: BETTE MIDLER. Is there any point in paying tribute to a performer like Bette Midler and ignoring almost everything that makes her distinctive in the first place?


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