American History as Western Parody: 'Dark Noon' at Wiener Festwochen

The theater collective fix+foxy, led by Danish director Tue Biering and collaborating with South African choreographer Nhlanhla Mahlangu, presents "Dark Noon." This production uses the familiar Western genre to deconstruct American history through the lens of seven South African actors. The play, which has toured internationally since its 2019 premiere in Copenhagen, episodically chronicles the journey of European immigrants in the "Wild West" as they competed for land, gold, and slaves.

From the outset, the performance establishes a playful, yet critical, tone. Actors engage in "whitefacing," transforming themselves into European settlers with white powder and blonde wigs. While this could easily veer into didacticism, the staging prioritizes humor over pedagogy, employing slapstick, absurd comedy, and exaggerated performances. The narrative touches on themes of land acquisition, the pursuit of gold, and the struggle for power, even using a symbolic football match to represent territorial disputes between indigenous populations and settlers. The piece overtly references American stereotypes and the often senseless violence depicted in classic Western films.

"Dark Noon" features a dynamic and sometimes overwhelming mix of elements. Scenes unfold in parallel, roles and costumes shift rapidly, and live cameras create cinematic effects. Narrators guide the audience, and the fourth wall is frequently broken as actors address the audience by their real names, stepping out of character. This results in a fragmented dramaturgy where individual episodes can sometimes feel lost. The constant oscillation between seriousness and parody leaves the production in a state of deliberate indecision.

Despite its fragmented nature, this very indecision contributes to the play's appeal. The stage transforms into a rapidly evolving film set, depicting the creation of an American Western town with its various establishments. Audience members in the front rows are actively involved, becoming extras in scenes like church inaugurations or line dancing, and even participating in a mock slave auction. This participatory aspect, though perhaps less intense than in other productions, ensures that the audience is consistently engaged with the unfolding narrative.