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.
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MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: The Fugard's CLYBOURNE PARK a 'Woke' Look at White Privilege and GentrificationBWW Review: The Fugard's CLYBOURNE PARK a 'Woke' Look at White Privilege and Gentrification
Posted: Sep. 19, 2016


BWW Review: Quirky MACHINE MAKES MAN Extends Tradition of Science Fiction on Stage at Cape Town FringeBWW Review: Quirky MACHINE MAKES MAN Extends Tradition of Science Fiction on Stage
Posted: Sep. 23, 2016


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: 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: Top Notch Cabaret DANI & THE LION Reinvigorates the Genre at #NAF16's Albany Cabaret ClubBWW Review: Top Notch Cabaret DANI & THE LION Reinvigorates the Genre at #NAF16's Albany Cabaret
Posted: Jul. 9, 2016


BWW Tonys Special: South African Theatre Pros on the 2016 Tony AwardsSouth African Theatre Pros on the 2016 Tony Awards
Posted: Jun. 12, 2016


BWW Review: WAIT Over-simplifies the Complex Dilemma of Access to Education for Girls and Young WomenBWW Review: WAIT Over-simplifies the Complex Dilemma of Access to Education for Girls and Young Women
September 27, 2016

The discrimination against girls and young women when it comes to their education remains a pervasive issue in contemporary society. WAIT, currently playing at the Cape Town Fringe, focuses on just two of these: the priority of educating boys over girls and the marrying off of girls and young women for capital gain.
BWW Review: Epic ODYSSEUS FINN Offers Fire, Absolution and Transcendence at the Cape Town FringeBWW Review: Epic ODYSSEUS FINN Offers Fire, Absolution and Transcendence at the Cape Town Fringe
September 25, 2016

Odysseus Finn is epic. An hour with band members David van Witt, Michael McQuilken and Peterre Bourgeoise offers fire, absolution and transcendence. This is one of the highlights of the 2016 Cape Town Fringe.
BWW Review: WOZA SARAFINA! at Cape Town Fringe a Disruption that Needs to EruptBWW Review: WOZA SARAFINA! at Cape Town Fringe a Disruption that Needs to Erupt
September 25, 2016

Writer-director Koleka Putuma's assemblage of ideas and motifs in WOZA SARAFINA! is constructed within the context of the #RhodesMustFall movement and is informed by the ideologies that underpin that movement. While it speaks many truths, the play never finds a way to deliver more than just "the feels".
BWW Review: Quirky MACHINE MAKES MAN Extends Tradition of Science Fiction on Stage at Cape Town FringeBWW Review: Quirky MACHINE MAKES MAN Extends Tradition of Science Fiction on Stage at Cape Town Fringe
September 23, 2016

Dealing with the concepts of technological singularity and transhumanism, Adina and Michael Verson-McQuilken's MACHINE MAKES MAN navigates its way through the traditions of science fiction, ultimately emerging as a poignant reflection on the nature of humanity, with some broadly comic entertainment along the way.
BWW Review: The Fugard's CLYBOURNE PARK a 'Woke' Look at White Privilege and GentrificationBWW Review: The Fugard's CLYBOURNE PARK a 'Woke' Look at White Privilege and Gentrification
September 19, 2016

The Fugard Theatre's production of CLYBOURNE PARK arrives at a time when South Africa is caught up in Archibald MacLeish's idea of 'the play without the play,' a world in which the gentrification trend and the problems caused by white privilege denialism intersect.
BWW Review: I LOVE YOU: You're Privileged, Now ChangeBWW Review: I LOVE YOU: You're Privileged, Now Change
July 30, 2016

There is a meme making the rounds on Facebook at the moment. Above an image of the cast of the television series, FRIENDS, a caption reads: 'This documentary of White Privilege is kinda long and hard to watch, but DAMN. Really lays it all out there.' This revival of I LOVE YOU, YOU'RE PERFECT, NOW CHANGE offers the musical theatre equivalent of that perception.
BWW Review: ANGELS ON HORSEBACK: RELOADED Delivers on its Promise to Be Daring, Dirty and DeliciousBWW Review: ANGELS ON HORSEBACK: RELOADED Delivers on its Promise to Be Daring, Dirty and Delicious
July 30, 2016

ANGELS ON HORSEBACK: RELOADED is a revival of a successful cabaret first devised by Fiona du Plooy - who directs this reboot - and Candice D'Arcy in 2007. Daneel van der Walt and Alicia McCormick saddle up for a wild ride through a series of original songs, covers and parodies, some crazy banter and even a line dance.
BWW Review: NIQABI NINJA an Essential Commentary on Sexual Harassment at Alexander Bar's Upstairs TheatreBWW Review: NIQABI NINJA an Essential Commentary on Sexual Harassment at Alexander Bar's Upstairs Theatre
July 22, 2016

Theatre can bring people to the threshold of revelation; theatre can also engender revolution. NIQABI NINJA achieves the former, but its limited theatricality presents it from going further. Its essential commentary outlined, NIQABI NINJA needs now to amplify, unapologetically, what it has to say.
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 Centre
July 18, 2016

Lara Foot's latest play, THE INCONVENIENCE OF WINGS, has been seven years in the making. Since Foot started dreaming up this startling, intimate tale about the challenges of living with a mental disorder, both as a patient and a caregiver, this play achieving the same rich fulfilment of promise that Foot's first original play, TSHEPANG, embodied in 2003.
BWW Blog: 11 Ways to Make More Amazing! National Arts Festival DaysBWW Blog: 11 Ways to Make More Amazing! National Arts Festival Days
July 14, 2016

With the National Arts Festival having come to a close, many people are reflecting on what they took away from their experiences in Grahamstown over the past two weeks. I have based my observations on conversations I had with artists, festival-goers, technicians and my own experience of this year's edition of '11 days of amazing'.
BWW Review: Top Notch Cabaret DANI & THE LION Reinvigorates the Genre at #NAF16's Albany Cabaret ClubBWW Review: Top Notch Cabaret DANI & THE LION Reinvigorates the Genre at #NAF16's Albany Cabaret Club
July 9, 2016

DANI & THE LION is cabaret as it was meant to be. Created by Daneel van der Walt, who performs her own songs and stories with a cameo appearance by a few unexpected classic tunes, this show sets the gold standard for this trickiest of theatre genres.
BWW Review: Gender and Performance Under the Spotlight in ACTRESSES: AN ADAPTATION OF CHEKHOV'S 'THE SEAGULL' at #NAF2016BWW Review: Gender and Performance Under the Spotlight in ACTRESSES: AN ADAPTATION OF CHEKHOV'S 'THE SEAGULL' at #NAF2016
July 9, 2016

ACTRESSES: AN ADAPTATION OF CHEKHOV'S 'THE SEAGULL' is the kind of production that captures one's attention. The poster is excellent, with an image that is as provocative as production company Black Hole Collective's description of their work. Anon Chekhov's 1895 drama was first produced the following year and became a landmark play in Konstantin Stanislavsky's 1898 staging for the Moscow Art Theatre.
BWW Review: Devilishly Wicked Satire on the Drill Hall Stage in FATHER, FATHER, FATHER at #NAF16BWW Review: Devilishly Wicked Satire on the Drill Hall Stage in FATHER, FATHER, FATHER at #NAF16
July 8, 2016

The winner of a Silver Standard Bank Ovation Award last year, Robaby's FATHER, FATHER, FATHER is back on the National Lottery Fringe at the National Arts Festival in Grahamstown. A devilishly wicked satire, this physical theatre piece was created by cast members Roberto Pombo, Joni Barnard and Rachael Neary under the direction of Toni Morkel.
BWW Review: PEOPLE BENEATH OUR FEET at #NAF2016 Represents Significant Development for Hungry Minds ProductionsBWW Review: PEOPLE BENEATH OUR FEET at #NAF2016 Represents Significant Development for Hungry Minds Productions
July 7, 2016

PEOPLE BENEATH OUR FEET is the first original play from Hungry Minds Productions, written by Katya Mendelson and Kiroshan Naidoo in response to the refugee crisis that has been the result of the Syrian civil war. This new play grapples with important issues and represents a significant development for this young theatre company.
BWW Review: Highly Watchable New Production of OUT OF BOUNDS at #NAF2016 Needs More Nuanced Directorial EyeBWW Review: Highly Watchable New Production of OUT OF BOUNDS at #NAF2016 Needs More Nuanced Directorial Eye
July 7, 2016

Although OUT OF BOUNDS is highly watchable, director Crizelle Anthony should re-interrogate her production thoroughly so as to refine both her vision and her execution of this still significant South African play by Rajesh Gopie
BWW Review: Far-fetched and Flimsy, SCRATCH is a Heartfelt Attempt at Creating Original Musical TheatreBWW Review: Far-fetched and Flimsy, SCRATCH is a Heartfelt Attempt at Creating Original Musical Theatre
July 6, 2016

SCRATCH, written by Heather Livesey, describes itself as an 'indie style musical'. The piece comes across very much like a first draft, with its far-fetched and flimsy plot never finding any kind of coherent throughline in which an audience can truly invest its engagement.
BWW Review: Magnificent THE GRAVEYARD Confirms Philip Rademeyer as One South Africa's Greatest Contemporary Playwrights
at NAF16BWW Review: Magnificent THE GRAVEYARD Confirms Philip Rademeyer as One South Africa's Greatest Contemporary Playwrights at NAF16
July 5, 2016

What happens when your parents' legacy is one of violence, alcoholism and abuse? That question is at the heart of THE GRAVEYARD, Philip Rademeyer's magnificent new play for the Rust Co-Operative.
BWW Review: Artworks, Music and Dance Offer an Immersive experience in BIRD/FISH in the Commemoration Church Hall at #NAF16BWW Review: Artworks, Music and Dance Offer an Immersive experience in BIRD/FISH in the Commemoration Church Hall at #NAF16
July 5, 2016

The first Standard Bank Ovation Award winner of the 2016 National Arts Festival in Grahamstown, BIRD/FISH, is a solo exhibition by Kristin NG-Yang.
BWW Review: Collaborating UO and Oakfields Students Deliver Promising SONGS FOR A NEW WORLD at #NAF16BWW Review: Collaborating UO and Oakfields Students Deliver Promising SONGS FOR A NEW WORLD at #NAF16
July 5, 2016

SONGS FOR A NEW WORLD delivered an engaging 85 minutes of musical theatre, managing to explore a clear thesis while doing so. Like some of the musicals presented at the Student Arts Festival over the past few years, it raised the bar of what can be accomplished on this platform in this genre.
BWW Review: SONGS FOR A NEW WORLD Translation at #NAF16 Shifts the Boundaries for South African Musical TheatreBWW Review: SONGS FOR A NEW WORLD Translation at #NAF16 Shifts the Boundaries for South African Musical Theatre
July 2, 2016

Certain parts of Jason Robert Brown's score for SONGS FOR A NEW WORLD have been translated for a new South African production of the show which is currently being performed at the National Arts Festival in Grahamstown. The intention is to explore possibilities for a greater connection for both the performers and the audience with the text of the show and the themes it communicates.


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