Review: LA RONDE at the Baxter Studio Explores the Power Dynamics Inherent in Sex

LA RONDE, originally written by Arthur Schnitzler at the tail end of the 1800s and first performed in the early 1900s, exhibits ten interlinking scenes, each depicting a different sexual encounter. The tones of the scenes vary from sweet and endearing, to passionate, to violent. Some, in fact, depict sexual assault as opposed to sex.

Directed by Leila Henriques, this modernised production of LA RONDE sets the initial action in a night club, with each scene being observed by the omnipresent DJ (played by Tamzin Daniels), silently watching and selecting tracks to narrate the characters’ various rendezvous.

The ten vignettes explore the various dynamics of sex and how these dynamics can shift and morph before, after and during the act itself. Who holds the power in one scene may not hold it in another – or the holder of the power before the act may no longer hold it after. Some such dynamics include a married woman considering an affair with a slightly younger man, a predator disguised as a charming bachelor, and a student infatuated with his domestic worker. This is only a sample of the relationships and vignettes exposed in LA RONDE.

As always, the Fires Burning Company is excellent, and this ensemble work is handled well by the seven actors: Carlo Danieles, Aidan Scott, Awethu Hleli, Lyle October, Berenice Barbier, Nolufefe Nsthuntshe and Tamzin Daniels.

Standouts for me were Nolufefe Nsthuntshe as “the Maid” and Lyle October as “the Little Them”. I also loved Tamzin Daniels as the DJ, presiding over the shenanigans in front of her.

I enjoy the fresh set design often employed at the Baxter Studio, as was the case here. In this production, the audience surrounds the stage from three sides of the theatre. This works well with the subject matter – the characters are exposed to us from all angles, just as sex is an inherently exposing act. It is deeply intertwined with the act of observing and being observed – and the consciousness thereof. The stage also has various levels, the top tier of which (to me at least) resembles a somewhat phallic shape – but maybe my head is just in the gutter. Either way, it works well, and Patrick Curtis’ set design really adds to the thrust (if you will) of the show.

The choreography by Cystal Finck, who is also assistant director, is effective – both during the frenetic dancing during the linking night-club scenes, as well as the intimacy coordination in the individual scenes.

Additionally, Wolf Britz’ costume design is sumptuous – sexy, often with pops of colour and/or luxurious-looking materials.

As an exploration of power, positionality, vulnerability, and what it means to be exposed, LA RONDE is a fascinating look at the psychology of sex.

LA RONDE runs at the Baxter Studio from 20 June to 12 July. Tickets range from R60.00 to R200.00 and are available via Webtickets.

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