{"id":105903,"date":"2026-10-07T10:17:32","date_gmt":"2026-10-07T08:17:32","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/review-the-reservation\/"},"modified":"2026-10-07T12:55:02","modified_gmt":"2026-10-07T10:55:02","slug":"review-the-reservation","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/review-the-reservation\/","title":{"rendered":"Review: The Reservation"},"content":{"rendered":"\t\t
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DANCE<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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SA menu of movement and madness<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Production: The Reservation<\/strong>
By: Gillian Mitchell<\/strong>
Photos: Gys Loubser<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Figure of 8 Dance Theatre holds up all of our bizarre social rituals in their delightful production The Reservation<\/em> that is set in a bustling restaurant. It dishes up a menu of movement and meaning, where the absurdity of contemporary life is presented not as a warning, but as an accepted fact, writes Gillian Mitchell<\/strong><\/span>. <\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Restaurants are part of our social shorthand. The precisely laid tables, the carefully curated menus, the attention to service all mask swirling undercurrents that we gobble up from books, reality shows and culinary competitions. <\/p>

Irascible chefs, exploited staff, simmering attractions, and Damoclesian debt \u2013 not to mention the unsettling proximity to sharp knives \u2013 might easily make one question the wisdom of ever eating out. But restaurants continue to be wildly popular. It\u2019s where we celebrate, break up, manufacture alibis, propose, pose and occasionally, actually eat. <\/p>

Figure of 8 holds up all of our bizarre social rituals in this delightful production that opens with the striking sombre notes of a cello, quickly becoming the backdrop to a quirky and sometimes darkly amusing commentary on what strange beings we humans are.<\/p>

Set in a bustling restaurant, it dishes up a menu of movement and meaning, where the absurdity of contemporary life is presented not as a warning, but as an accepted fact. No one blinks when a guest orders duck \u00e0 l\u2019orange without the duck. The bathroom has become an influencer’s paradise. A young waitress is casually encouraged to trade on her appearance in pursuit of larger tips and a healthier bill. What should strike us as peculiar, troubling or worthy of scrutiny barely registers. The bizarre has become familiar. In one of the most striking sequences, where a waitress is metaphorically served up on a plate, the clinking of plates starts out as the herald of nourishment but soon dissolves into something more ominous. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The work is at its strongest when the cast are in motion. The performers are exceptionally well matched, each bringing a distinct technique and stage presence that meld seamlessly into ensemble work that is a joy to watch. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The work is at its strongest when the cast are in motion. The performers are exceptionally well matched, each bringing a distinct technique and stage presence that meld seamlessly into ensemble work that is a joy to watch. Accompanied by a soundtrack that is sophisticated and impeccably judged, the dancers perform with a level of energy and concentration that holds our attention throughout, confident that even the most gravity-defying feats are thrilling rather than perilous. <\/p>

Particular mention must be made of Shaun Oelf as the chef. His performance is marked by his signature fluidity and seemingly effortless grace. That effortlessness, underpinned by flawless technique, makes him the standout performer in a cast that is already exceptionally strong. <\/p>

Voice is an integral part of this production and at times the unamplified spoken text is indistinct. However, the clear voiceovers work perfectly as part of the richly layered soundtrack. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Choreographically, The Reservation<\/em> is dramatic and strikingly visual, making clever use of tables, chairs, plates, and glasses to anchor its world. The movement sequences do occasionally relax into familiar rhythms. With a company of such expressive and technically accomplished dancers, one is left wishing the choreography ventured a little further into unexpected territory, because the performers are more than capable of taking us there. <\/p>

The Reservation<\/em> is for the whole family \u2013 amusing, sharply observant, beautifully danced and creatively delivered. Make a reservation! <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Reservation<\/strong>
7 OCT 15:30 | 9 OCT 15:30
Adam Small Laboratory
R180-R250 | R210-R280 at the door<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Gillian Mitchell<\/p>\n","protected":false},"author":3799,"featured_media":105902,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[444,819,824],"tags":[817],"class_list":["post-105903","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dance-news","category-ink-feeskoerant-2026","category-fringe","tag-woordfees-2026"],"yoast_head":"\nReview: The Reservation - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/review-the-reservation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review: The Reservation - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"Gillian Mitchell\" \/>\n<meta property=\"og:url\" content=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/review-the-reservation\/\" \/>\n<meta property=\"og:site_name\" content=\"Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/woordfees\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-07T08:17:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-07T10:55:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2026\/10\/INK-banner56.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"INK Redaksie\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:site\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"INK Redaksie\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/\"},\"author\":{\"name\":\"INK Redaksie\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/person\\\/4fa89144f1f64e8103a71de1d4d44c47\"},\"headline\":\"Review: The Reservation\",\"datePublished\":\"2026-10-07T08:17:32+00:00\",\"dateModified\":\"2026-10-07T10:55:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/\"},\"wordCount\":607,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2026\\\/10\\\/INK-banner56.jpg\",\"keywords\":[\"Woordfees 2026\"],\"articleSection\":[\"Dance\",\"INK Feeskoerant 2026\",\"Fringe\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/review-the-reservation\\\/\",\"name\":\"Review: The Reservation - 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