SWAN LAKE THE PERFECT EXAMPLE OF CAPE BALLET AFRICA’S MAGNIFICENCE ON STAGE

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REVIEW BY DIANE DE BEER

CAPE BALLET AFRICA’S SWAN LAKE

TEATRO MONTECASINO until AUGUST 23

PRESENTED BY CAPE BALLET AFRICA AND GLOBAL STAR EVENTS with the superb Cape Ballet Africa’s presenting different principals in different performances

The first thing that popped into my head when watching Cape Ballet Africa’s in a packed Montecasino Teatro on a public holiday was Timothée Chalamet’s recent calamitous remark about nobody caring about ballet and opera anymore.

In case you missed the brouhaha that followed, it’s not as if this young actor is uninformed, his grandmother, mother and sister all danced for New York City Ballet. Seems to me as if this seemingly poor little-boy- lost was dealing with family intrigue, which should have been kept in-house rather than publicly declared and not even on topic at the time.

Nevertheless, it was aired worldwide and he got the attention he sought and deserved. Sitting right in front of me at the matinee was a young girl completely transfixed throughout the almost three-hour-long classic. I guessed her age at four, but when talking to her mother and ballet teacher who accompanied her, was actually seven.

And sitting next to me, the reason our little group of three were there, was my friend’s 14-year-old son, Heath Prior who has been dancing since the age of 6, but had never seen this particular ballet.

He remarked on the excellent quality of the dancing and especially praised the company for achieving the two purposes of ballet; the clarity of the story and the effortlessness of the performance.

With Cape Ballet Africa being the excellent company they are, we were all enchanted and in this corner of Africa, there was not a hint of ballet on its way out. In fact, at great expense and effort I’m sure, the company travelled from Cape Town to Joburg for a short season and they were rewarded with huge audience response.

From the moment the red curtains were drawn, it was sheer bliss. I had previouisly seen all the classics so often that I turned my back for a few years, but the reputation as well as witnessing two recent performances of this astonishing company at festivals, I knew it was time to revisit this exquisite ballet.

Not only was I reminded how uninformed Chalamet’s remark was, I was again swept up in the marvel of Swan Lake when so magnificently executed.

And when you read through the programme (which is well worth purchasing), it is the production of four standout women in the ballet world: the staging and choreography was by Elena Glurjidze, currently London based, whose credentials are too many to list, but the latest include the assistant artistic director for Nureyev, Legend and Legacy at London’s Drury Lane Theatre as well as a guest teacher at the Royal Ballet Upper School Summer Intencives for the past 10 years, as well as guest teacher for company class with the Royal Ballet from earlier this year and also staging Swan Lake for the United Ukrainian Ballet’s worldwide tour; Lindy Raizenberg, additional staging and choreography Act 3, currently a teacher, coach and choreographer with the company; Debbie Turner, artistic director of Cape Ballet Africa féted for her programming during her stint as CEO  and artistic  director of Cape Town City Ballet as she expanded the company’s artistic reach. Her current leadership embraces a broad, forward-thinking view of performance, repertory building, dancer development and dance education while remaining committed to preserving heritage and the traditions of classical ballet; and Diane van Schoor, patron, ballet master Cape Ballet Africa with additional staging and choreography Act I and II, whose teaching credentials in world ballet circles leave no doubt about her spectacular ability.

And while all this might sound over-the-top, it is simply the briefest of descriptions possible because these four impressive artists are the drivers and the result of the brilliance we see on stage. As you read through their numerous accomplishments, what you see on stage falls into place.

No one made a wrong step or wasn’t perfectly turned out all of the time. Everything was done with South African flair, from the casting showcasing excellent dancing from the principals and the rest of the company as well as a few guest artists for added swagger.

The masterfully-executed choreography, moody yet no-fuss sets and the costumes with Baron von Rothbart’s menacing outfit something quite spectacular as well as the shimmering jewel-coloured ballroom scene with the Queen in a regal midnight blue).

The stage is set for a Swan Lake to be remembered with pride and warm hearts. This is not easy to pull off in a time when ballet companies are seen as luxuries. The appreciative audience was testament that the dance community and following is strong and that when all of these components are in place, the performances will follow.

This is not a company who has you holding your breath in case someone is dropped or slips at an awkward moment. They can compete with the best and can be congratulated for this luxurious season of sheer wonderment.

Let’s hope that Gauteng audiences have confirmed that travelling companies who deliver the best will be féted and the attendances will be strong. Even with entertainment in abundance with ever-growing streaming services, when it comes to the arts, nothing beats a live performance. Cape Ballet Africa confirmed this, all the while stealing Gauteng hearts with classical genius.

THE ENORMITY OF STAGING A NEW WORK LIKE THE BACCHAE – AN AFRICAN CHORAL BALLET

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By DIANE DE BEER

PICTURES: LAUGE SORENSEN

This is a year of anniversaries, with theatres and institutions celebrating milestones. One of these is Joburg Ballet whose 25thAnniversary Season promises a monumental year of dance with a range of exciting productions that will showcase the company’s rich history, artistic vision and institutional growth, according to their CEO, Elroy Fillis-Bell at the launch of their milestone Silver Jubilee year. 

With this in mind and in partnership with Arts & Culture at the University of Johannesburg, a division of the Faculty of Art, Design & Architecture (FADA), is currently staging “a world-first Choral Ballet that reimagines Euripides’ iconic tragedy through a uniquely South African lens – The Bacchae: An African Choral Ballet”.

Kitty Phetla centrestage with the Joburg Ballet and the UJ Choir in the background.

And for this spectacular event, they have put together an extraordinary creative team which will excite art lovers across the country. There’s director Jay Pather with his second work on stage this month (see previous review of Constellations at Sandton’s Theatre on the Square), award-winning choreographer Mthuthuzeli November, and most impressively, composer Neo Muyanga, who conceptualised, wrote and composed this first African choral birthday celebration. On stage the Joburg Ballet came together with the UJ Choir and guest artist Kitty Phetla with a production team of note in the wings.

Muyanga started dreaming about the project a number of years ago when he first read a translation of Euripides’s text. “Later,” he writes in the programme, “I was able to locate versions of the story authored by the legendary Wole Soyinka as well as poet Anne Carson, and at each reading I found the story resonated deeply with expressions of worry I hear shared over the media as well as in my own personal interactions regarding what feels like an impending societal crisis, both locally and globally.”

The illustrious dancer Thando Mgobihozi, Joburg Ballet dancers and the UJ Choir in the background.

He describes The Bacchae as “a harrowing tale of what the ancient Greeks called Sparagmos – a festival of violence and mayhem involving the tearing of one another from limb to limb of spilling blood in order to work through periods of upheaval.” He explains that the ancient Greeks devised the genre of tragedy as a way of helping a troubled society navigate towards a catharsis – reaching a point of resetting the city and returning to the ‘right behaviour’.

He started the project by firstly writing a libretto that elaborates on the themes of magic, power, violence and seduction which feature powerfully in the original work to illustrate how these topics could be found in our own contemporary context: the spectre of a political force running roughshod over a systematically disempowered populace, but which is ultimately halted by a saviour figure derisively called ‘a foreigner’ by detractors.

He composed a musical score that hopefully speaks to the pre-eminence of ritual and trance, making deliberate use of brass, percussion and choral, which he argues are meant to reflect our own practices of ritualised worship in the African Christian tradition.

November, the choreographer, realised that for him, it was meant to be a sort of epic ballet. “It’s huge in scope but deeply human,” he emphasises.

“As an artist, I come from many different backgrounds, from traditional African dance, kwaito, pantsula, ballet, contemporary dance and have gone to a performing arts school. A lot of that then informed what felt important at what point.

“I believe this work is about community, and time and time again South Africans have been a strong community that comes together, to fight, to celebrate.”

Bringing it all together, director Pather views The Bacchae as an unbearably tragic story and sums it up as follows: “The slighted and banished God of wine, ecstasy and fertility, Dionysus” (in this instance cast as a woman, the statuesque Kitty Phetla) “returns to Thebes and exacts revenge on the autocratic ruler Pentheus. Swept up in the magical energy of Dionysus (also known as Bacchus), the citizens (who become Bacchae, hence the title) experience ecstasy and freedom as never before. But like all excess, this also has its toll and leads to clashes and violence.”

He notes that the work is variously seen as an ancient tale that demonstrates that disrespect for the Gods will have consequences. And it is also read as a metaphor for, and a warning that, oppressive patriarchal regimes cannot last forever, that they maintain that volcano beneath them at their peril and will explode.

We can all certainly agree that we are living in a world that is dominated by these kinds of excesses, with rulers who are more worried about themselves and their immediate family and friends than about their fellow countrymen.

It’s a glorious proposition to explore and one worthy of the spectacular production in the Joburg Theatre. It’s a chance to see our artists when they come together for a grand collaborative effort on a grand scale.

Personally, however, I felt it lacked that African spirit of originality which I was expecting. Theatre is my area of expertise, but I have always loved especially local music and dance. For me the production was magnificently staged and yet, being the first African choral and ballet of its kind, I was charmed by the performance but left wanting for something more explosively original and African, something that would blow my mind.

Even so, I would urge everyone to go. The fact that something like this was attempted on such a gigantic scale is magnificent. That it didn’t succeed for everyone is what happens in the arts when something new is attempted.

If you’re not constantly shifting boundaries, what’s the point? If anything, this production speaks volumes about the healthy state of the arts.

LOVE TAKES SOMETHING MORE THAN THE STARS

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REVIEW BY DIANE DE BEER

PICTURES: Daniel Rutland Manners

CONSTELLATIONS by Nick Payne

DIRECTOR: Jay Pather

CAST: Mark Elderkin and Mwenya Kabwe (pictured above)

VENUE: Sandton’s Theatre on the Square

DATES: Tonight, until Friday at 7.30pm and Saturday at 5 and 8pm

CONSTELLATIONS is an intriguing play about a couple and their relationship, told in a way that keeps the audience running around in circles.

How does one approach a story of love between two people in an original way without it becoming too forced or even trite? We have all witnessed many different relationships on stage and screen, and in literature, but the playwright’s sleight of hand is what adds the fizzle and pop to this one.

It’s all about time and different universes where the same scene unfolds over and over again with changes in tone, perspective and behaviour that flow flawlessly and without visible fuss.

It’s about small things that have a huge impact or slip by unnoticed when two people are involved. In Constellations, the playwright plays with ideas to tell a story that is as old as the hills yet finds angles and alleyways to add a different slant.

The key to unlocking the essence of the piece can be found in the interactions between the tiniest particles that turn every action into a seismic event between two people trying to forge a meaningful and possibly lasting relationship. It spotlights the fragility and the different ways people view their world and communicate their actions and feelings – or simply a single thought which can change the meaning of what they are trying to share?

It’s almost as if the writer is gambling with love. Is it even possible? How can they have such a tough time expressing their feelings to one another?

The concept is approached playfully, giving the actors a chance to play around with words and meanings, as would happen when rehearsing a play. Those of us watching will all be familiar with the wicked ways love can play with your heart, mind and sometimes hearing!

Yet even when you have a brilliant script, it is the actors who must breathe life into the words. And here, that is it, the actors and their words. That is what makes it all so enticing. The casting is both perfect and not obvious, but Kabwe (one of my favourite actors) and Elderkin (a new discovery) are the perfect fit with smart direction by Pather, who keeps it simple and to the point. It’s all in the script and how that is managed – and in this instance, magnificently.

It is the way the two actors switch demeanour in an instant, with every sentence making a difference and changing the temperature in the room smartly and swiftly time and again.

It is thought-provoking and charming, and keeps you on your toes. What more could you possibly wish for.

Well, for some, it’s also a compact 75 minutes long, the perfect breather in a long day.

REMEMBERING THE PAST TO HONOUR THE PRESENT

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Review by Diane de Beer

RISE ’76: THE STORY OF JUNE 16TH

WRITER/DIRECTOR: Tiisetso Mashifane wa Noni

CAST:  Deon Lotz (police commander), Sbuja Dywili (policeman) and Ben Albertyn (policeman), the three men at the back

With bottom row from left to right: Mfuneli Ntumbuka (teacher), Alex Sono (male pupil) Zilungile Mbombo (standing, female pupil), and Botlhale Mahlangu (headmaster)

With all of them playing many other smaller characters in the play

VENUE: Mannie Manim Theatre at Joburg’s Market

DATES: Until June 28

Can it be 50 years ago that our nation was confronted with one of its most devastating yet life-changing catastrophes?

In a country as diverse and divided (not only by law) as we were, everyone would have experienced that cataclysmic day differently and arguably, many older folk will think they remember it all too well.

And yet, because of the intimate setting, the small ensemble and the personal gaze of the historical retelling, it unfolds in waves of emotional information that often overwhelm you completely. For the audience, there’s no holding back, no place to hide. Whether you ‘witnessed’ the events or only heard about them many years or decades later, the full impact will catch you unawares.

That is what makes this such a masterpiece. So much has happened since the day the schoolchildren decided to take matters into their own hands. The focus has been dimmed and June 16 is a date remembered, but one that needs to be put out there in blazing colour and minute detail – not just the headlines.

Pupils Zilungile Mbombo (above) and Alex Sono (pupil), Sbuja Dywili (policeman) and Deon Lotz (police commander)

Because it had such an explosive impact and awakened the inevitable revolution, which was destined to follow, it is something that needs to be part of each generation’s psyche – and this certainly achieves that in a most courageous and daring fashion.

Whatever your political persuasion, you will be affected by this remarkable play and the choices made. Itis the full package that makes this work so magnificently, starting with the thoughtful and thought-provoking text.

This is then further cemented by the creative casting, with each member of the cast the perfect fit. And it shows in many different ways because most of them play many different characters, each one capturing the heart of the character they adopt. Ntumbuka’s teacher seems aghast at what she is expected to teach, for example. Imagine, she almost shrieks, that she is expected to teach maths in Afrikaans, a language completely foreign to her. And yet, when she appears as a mother, she’s calmness herself.

And the rest of the cast follow suit, slipping easily into whoever they’re expected to become next. The two youngster Zilungile Mbombo and Alex Sono, deserve special mention because they weren’t even born in ’76 and yet they capture the defiance and courage of that time with the energy required.

As you relive these traumatic times now almost a half-century ago, you cannot help but feel pride at the progress this country, which held such horror for such a large number of its citizens has already achieved. Much bigger countries (in fact, large chunks of the world) are suffering rough times and struggling with the animosity between citizens.

Nothing comes easily, but the work done these past 30 years is obviously paying dividends. With the  introspection that Rise ’76 brings, it reminds us where we come from and how much we have to cherish 50 years down the road on a continent and in a country that not many gave much of a chance to succeed.

Our outrageous systems of the past, with fortunately the most unattainable expectations of disempowerment of most of the nation, should never be forgotten even though we achieved miracles against all odds.

Those of us who lived through it should never lose the sense of wonder as we witness the cohesion that is starting to rear its head all over the show.

Many laughed at the notion of a Rainbow Nation in the early days. And while nothing is ever perfect, from my point of view, if you have a mixed populace turning up to something called the Pretoria Boeremark in the capital city every Saturday, we are doing something right.

And while comparisons are odious, as a nation we have to smile if 50 years on with many countries battling stability, we seem to be going from strength to strength.

FROM THE CHARL DU PLESSIS TRIO – WITH LOVE

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DIANE DE BEER

Soloist/accompanist/lecturer Charl du Plessis is all about music. He is constantly travelling all over the world, but everything is about the performance – or occasionally catching one of his cherished artists either in the classical or jazz genres.

His annual classical festival at the Fairtree Atterbury Theatre has become legendary in a very short time because of its innovative programming as well as the acclaimed artists participating.

Where he finds the time for everything he packs into his life, we all wonder, but not for too long, because all of those who share his musical bent, benefit from his crazy schedules which are always varied and adventurous. Similarly, this year, it will be difficult to choose from excellent programming, but it doesn’t happen more than once a year, so be generous and treat yourself.

Here is a rundown of the perfectly planned programming with a fantastic performance celebrating the Fairtree Atterbury Theatre:

Atterbury Klassiek 2026 21-24 May (Presented by Atterbury Trust Fairtree Atterburyteater)

VOX CHAMBER CHOIR: GLASS MUSIC

The Vox Chamber Choir, founded in 2017 by Franco Prinsloo, is a Pretoria-based ensemble of 40 highly skilled singers dedicated to performing and recording Prinsloo’s compositions.

Prinsloo, an internationally acclaimed composer, has played a significant role in shaping South Africa’s contemporary classical music landscape. The choir serves as a professional platform to bring his innovative works to life.

Fairtree Atterbury Theatre Thursday, 21 May 19:30 seatme.co.za (R190, R250) (duration 60 min)

Charl du Plessis Trio & Friends need no introduction. The celebration of two decades on stage reaches its pinnacle in what should be a spectacular concert featuring the trio  alongside a remarkable lineup of guest artists. The programme consists of a curated selection of works drawn from the Trio’s 10 albums, as well as brand-new material performed live for the first time. On offer is both a retrospective and a glimpse into the future, capturing the Trio’s signature blend of classical refinement, jazz energy, and crossover innovation. Joining them on stage are guest artists: percussionist and marimba virtuoso Magda de Vries as well as guitarist and long-time collaborator Juan Oosthuizen and iconic vocalist Nataniël. This is a celebration of musical connection, creativity, and the enduring life force of music itself.

Fairtree Atterbury Theatre Friday, 22 May 19:00 seatme.co.za (R330, R280, R220) (duration 80 min)

Introduction to the Orchestra: A Magical, Interactive Concert Experience for Children at Atterbury Klassiek 2026

Step inside the world of the orchestra in this vibrant and engaging concert-lecture designed for curious minds of all ages. It’s a musical journey through the different sections of the ensemble, uncovering how each family of instruments contributes its own colour, character, and voice. From the shimmering strings to the bold brass, this interactive experience brings the orchestra to life through live demonstrations, familiar musical examples, and moments of audience participation. Discover how composers combine these sounds, explore the building blocks of orchestral music, and gain insight into the creative process behind the music. Conducted by Richard Cock, whose engaging and audience-friendly style has inspired music lovers, this concert promises to be as entertaining as it is enlightening.

Fairtree Atterbury Theatre Saturday, 23 May 11:30 seatme.co.za (R100 children R200 adults) (duration 60 min)

Mozart’s Three Pianos

Three Steinway Grand Pianos will share the stage in an historic Mozart celebration at the Fairtree Atterbury Theatre. The concert will feature the Phoenix Co Orchestra under the baton of maestro Richard Cock. The highlight will be Mozart’s rarely performed Concerto for 3 pianos in F major, K. 242, an exuberant work that showcases the brilliance and interplay of three soloists performing together: distinguished pianists Charl du Plessis, Megan-Geoffrey Prins and Tessa Rhoodie – all faculty members of the University of Pretoria.

The programme also includes Mozart’s sparkling Concerto for 2 pianos in E-flat major, K. 365. Du Plessis will be joined by rising star Hermanus Schmidt, winner of the 2025 Atterbury National Piano Competition and the Hennie Joubert Piano Competition. Originally from Stellenbosch, Schmidt is currently a student of renowned South African pianist Mario Nell.

Fairtree Atterbury Theatre Saturday, 23 May 18:00 Sunday, 24 May 15.00 seatme.co.za (R330, R280, R220) (duration 75 min)

And to top it all, not strictly speaking part of the festival, yet landing with a celebratory blast off:

     
Fairtree Atterbury Theatre’s 15th Birthday Celebration with  Charl du Plessis – My Favourite Things — a personal journey through classical and jazz piano.  18 May | 19:00 | R200       Moving seamlessly between classical piano repertoire and jazz-inflected reinterpretations, Du Plessis creates a musical journey that balances elegance, spontaneity and expressive depth. The programme features works by Brahms, Chopin and Rachmaninoff with imaginative crossover arrangements of Mozart and Beethoven.   Well-loved melodies such as Salut d’amour, Rustle of Spring and Bésame Mucho are reimagined through Du Plessis’ distinctive pianistic lens, where lyricism and rhythmic vitality coexist effortlessly.   Also included are an improvisation on Somewhere Over the Rainbow from The Wizard of Oz and a sensitive arrangement of the traditional South African song Ntyilo Ntyilo, underscoring Du Plessis’ longstanding engagement with improvisation and musical storytelling.  
BOOK TICKETS

ALBIE SACHS THE MAN, THE FATHER, THE SURVIVOR

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Review by Diane de Beer


Pictures: Philip Kuhn

ALBIE SACHS, FATHERS, SONS, AND SOFT VENGEANCE

Presented by Troupe Theatre Company in association with Daphne Kuhn
Playwright: Gail Louw
Actor: Graham Hopkins
Director: Fiona Ramsay

Venue: Theatre on the Square, Sandton

Dates: Until May 24

If you were witness to the birth of the South African democracy in 1994, Albie Sachs will be familiar to you.

Not only was he part of the drafting of a charter for the new non-racial South Africa, but he also fought for the inclusion of a Bill of Rights and an independent judiciary in the new constitution.

On a more visible front, he was involved with the development of the new Constitutional Court building, and it is widely acknowledged that he was the instigator of the magnificent artistic heritage so marvellously displayed all over Constitution Hill.

As the title suggests, that’s not the story told in Albie Sachs: Father, Sons and Soft Vengeance; many of those facts will be familiar to South Africans.

It is Albie the man, the father, the survivor who tells this personal story of a young boy whose life was shaped and politically driven by parents who were both part of the Communist Party while his father, Solly, was also the leader of South Africa’s Garment Workers Union.

He grew up seeing white and black adults interacting as equals. That’s the background.

But here is a man who was also a father and a freedom fighter, somebody who lost an arm in a car bomb in Mozambique, where the South African secret service was actively trying to obliterate their antagonistic fellow South Africans.

And this is where the play is focused. Albie, instead of being crushed by the apartheid regime, viewed his scarred limb as a symbol of strength. It also pushed him onto a world stage where he became an icon of the liberation.

These musings of a man whose life was determined by the laws of the country of his birth, come to life in especially conversations with his son Oliver and that is how the story unfolds. It’s fascinating stuff which is magnificently explored by Graham Hopkins, who allows Sachs to emerge as a full-blooded human being.

It’s in the clothes, the way he moves and takes on the persona with a subtle touch. Seamlessly, he acquires the accents he uses for particular characters with astounding Hopkins flair. He moves through the 90-minute monologue in the blink of an eye without losing his audience as he tells the story of a man and a country fighting for their life.

It’s not an easy play to stage, but with the experienced Ramsay both as director and as actor, found imaginative ways to approach what could have been clumsy rather than crafty. Solo productions can easily fall into the trap of trying to add movement into a too static production, which then detracts from rather than embraces the text.

And then the play. Telling an Albie Sachs story could have been many different things. He is such a remarkable individual, a South African we were lucky to have during a momentous time in our nation’s future development as a democracy.

There were so many ways to swing with this one, but opting for the personal, the impact on his life of events he had no control over, is where the focus lies. That and the bridging of the gap between father and son, sharing the story in a way that explains how and why he was influenced in a specific way and how he hoped to have an impact on the future he wished for his children.

It also feels as though it is Sachs speaking, as though he has opened his heart and his mind to those who care to listen. It’s an extraordinary life and one that fellow South Africans can celebrate with pride.

He has been actively part of living and shaping the history of this country. It is individuals like him with strong belief systems who have turned this country into a beacon of hope in a world that seems to have lost its way.

Who would have thought?

THE DELIGHTFUL DILEMMA OF DEALING WITH LIFE

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Review by Diane de Beer

Pictures: Ngoma Mphahlele

AFROPOCALYPSE

DIRECTOR: Daniel Buckland

CAST: Market Theatre Laboratory 2nd Year Students

DATES: Until May 23

VENUE: Mannie Manim Theatre at the Joburg Market

It bubbles and bristles with energy, enthusiasm and excitement in this return season of a play which started as a student production in 2024 and returned in 2025 to the National Arts Festival, where it won a Golden Ovation Award, as well as a Naledi for Best Ensemble.

This current season is the forerunner of a showcase at a Swedish Festival, where it is one of four international productions selected from 600 applicants. And rightly so.

I was surprised when leaving the show that it had only been 60 minutes long. It felt much longer, in the best possible sense, and grabs your attention from start to finish. It was packed with adventure and a cast of 14 who never let up as they leapt into this glorious yet often gruesome adventure of the human condition in a world out of kilter.

How would theatre react to a world unhinged, as is presently at play? Through storytelling, of course, and taking this one to a European audience is the perfect choice.

Think of this country’s past and, in the present turmoil, one can only smile. We are sailing along quite nicely, apart from the constant syphoning off of state money, in this instance from the art coffers, which could benefit so many rather than just a few unworthy recipients.

Nevertheless, taking four constant bogeymen in a world that feels overwhelmingly disastrous and desperate: greed, mortality, religion and unconditional love – this outrageous yet wildly entertaining ragtag group use physical theatre and magic realism to uncover and explore what is happening around them and especially out there.

The fact that this comes from a country that not too long ago was viewed as one of the worst in the world, in itself brings hope.

With Buckland’s theatre-making ideal for this tawdry yet dynamic storytelling, it’s a joy to watch with the cast performing magnificently. It’s a compelling piece, told in an original fashion with a story that reaches young and old.

This is what the Market Theatre Laboratory does best. Described as “an incubator for the development of skilled theatre-makers while also producing bold, cutting-edge work”, that is exactly what is represented here.

That is why the way this specific piece has been transformed from its first performances to where it stands now is spectacular and a wonderful testament to what can be achieved in theatre with the right people and plans in place.

None of these 14 players has ever performed internationally and with this one, they are a testament to how theatre can evolve from small beginnings into something special.

Local audiences who see the piece will also be contributing towards the tour, and the cast are given every chance to land on the international stage in the best shape possible. What could be a better advertisement for local theatre, especially in a country like Sweden, which has contributed hugely to The Market and its pursuit of world-class theatre?

But don’t think you will be doing something charitable when going to experience this remarkable play, audiences are the ones that are rewarded.

In essence, the power lies in the originality of the text, the exuberant application and the perfection of the cast.

PASSION IS IN ABUNDANCE FOR THE CREATIVE JO STEENKAMP, BOTH AT WORK AND AT PLAY

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My favourite psychologist, JO Steenkamp, is playing in a different medium and yet, like his focus on spontaneous healing and internal transformation, which he has developed into his own modality, SHIP (Spontaneous Healing Intrasystemic Process), his art and more specifically sculpture follow the same principles of spontaneity. He talks to DIANE DE BEER about his longtime yet recently rekindled fascination with sculpture, which has resulted in an exhibition titled Shape-Shifters: The voice behind the veil, which will be held at Pretoria’s Pierneef’s Kraal from May 7 to June 7:

From an early age, JO Steenkamp knew what he wanted to do. Even though he didn’t have any artistic influences in his youth, he started sculpting at the age of 16. But when life decisions had to be made, he realized that his interest was psychology – and not simply the true and tested path of the time; he was intrigued by spontaneous healing, something he developed through his doctoral work and which he turned into what today would best be understood as Steenkamp brand.

Once he had decided on his future, he was determined to pursue his dream. Because the number of places had already been allocated for the Honours course, he wasn’t accepted. He was persistent and kept turning up at the head of department’s office until the accepted number was moved from 30 to 31.

His art followed a similar obstinacy once he decided to explore his 16-year-old dream. His son (also a clinical psychologist) was moving out of the house, which meant JO could use the rooms which were now unoccupied.

He phoned someone close by who he knew had clay, and when she said, “Come over and let’s have a cup of coffee,” his response was quick: “You don’t understand, I need the clay N0W!”

He already knew the process he wanted to follow. He simply reached back to his youth.  “It happens by itself,” explains JO. “I follow the lines and then comes the magic. I am not doing it for anything else but the connectedness,” says the disciple of spontaneity.

Reproductions don’t feature in his creativity, and because his spirit is driven in a very particular way, he doesn’t do requests either. Once he has a piece of clay in front of him, anything can happen. When someone asked him to sculpt a water nymph for them because apparently there’s one in every French river, he said the best he could do was to think about one when he was sculpting.

His process has to be spontaneous and he simply taps into consciousness. “It’s a knowledge that’s there,” he says. “It’s exactly like my psychology works. You’re tapping into something that already exists and you’re simply the vehicle. It’s a knowing.”

When it comes to the titles of his work and especially a special descriptive poem that accompanies each individual sculpture, it’s as if it taps into the consciousness of the viewer. It’s almost as if it opens something, he explains;

Even the way he decided on the use of bronze for the final sculpture. It is the ancient quality that caught his eye and he knew, it was the only way.

The title of the exhibition, Shapeshifter: the voice behind the veil, he describes as a celebration of something that was created.

When JO starts talking about the meaning of the process and the work, his passionate descriptions are hard to resist. Sculpting for him is an exploration of himself. He is constantly in conversation and, once that has been concluded, it is something he wants to share. “Something magical, mystical and fabulous,” he adds.

Listening to him talk takes me back a few decades to when I was one of his patients. I had been to many psychologists before him, but none of them could speak in a language that I understood. When JO first explained his method of spontaneous healing, I knew I had finally found someone who could show me the way.

And he did. But that is also why it is so fascinating to see his art and to hear him speaking about his creativity – all these years later. To my mind, his art is simply an extension of his psychological methodology. He takes the clay and allows the process to unfold spontaneously. It all makes perfect sense as his spontaneous flair is constantly nurtured, the one flowing into the other, forming a perfect circle.

THE VISION, THE MENU AND THE GUIDANCE OF DOOLSHE IS ALL LIENTJIE WESSELS

~ debeernecessities

Doolshe Restaurant and Winebar is a new venue out of town, between Joburg and Pretoria, with food genius Lientjie Denton in charge of the menues. DIANE DE BEER was keen to check this latest venture:

Chef/artist/fashion activist Lientjie Denton is a woman who lives life to the full. Meeting her a few decades ago when she opened her first interior shop, Lemon Lounge, in the always-sassy Brooklyn Mall, I knew this woman had exceptional style. That feeling has exploded over the years.

She always seems to make the right move at the right time, usually driven by personal passion and when life runs ahead, she finds a new pad for one of her passions and gets down and dirty.

It was at Lemon Lounge that I first lost my heart to this larger-than-life woman. She knows what she likes, and you knew immediately whether it was your kind of place.

After the shop, which moved and changed over the years, she spent a stint as a magazine journalist focusing especially on arty interiors, and then she opened a restaurant in Cullinan, which has had quite a few revivals and changes. Mainly it’s about moving about. She started in one of those classic mining houses so much a  part of the Cullinan charm, but then decided to be less permanent, left the regular premises and moved her food events around.

A few years ago, her yearning for change reared its head again. Lientjie and her partner Marius discovered the Karoo and, more specifically, Richmond, which is fast becoming a foodie destination and so much more.

So it is all about moving between these two different landscapes, each with its own challenges.

Last week the two of us went on a particular journey where food was the passion that would feature – to my delight. I have always loved her food and as she is constantly experimentingand dreaming about new combinations and flavours (her cookbook is titled Geure (Flavours), I’m always excited to see where and how her cuisine will manifest.

With her latest venture, she is behind the scenes, not necessarily even on the premises, but the vision, the menu and guidance is all Lientjie. The address,  when you Google is K40  on the 512 (Pelindaba Road) opposite the Lion & Safari Park, Broederstroom. From either Pretoria or Joburg it should take less than an hour – and it’s an easy drive.

She was contacted by two friends, who own the property and wanted her to design the menu and get the venue up and running. She quickly got hold of another- old friend, Mart Gresse, who she knew was perfect to run front-of-house, and three young chefs were appointed to do justice to the menu. For Lientjie, it is an ideal setup as these three young graduates are eager to learn.

The menu is seasonal, and even the one we sampled, will already be changed when this goes to print. But, taste rules. While the menu has Italian influences,  she steers clear of any staple items and when there are any, she adds her own interpretation and twists. Currently, she loves playing with fermented flavours, which introduces a strong contemporary slant – something she has always introduced to her menus.

It’s also what intrigues her followers, who don’t want the tried-and-tested but prefer to discover new tastes and ways to experience what could have been familiar recipes.

She describes her food as plant-forward, but world cuisine is the term she feels captures it best. Yet, she adds, and this is important, it is food from here. That’s truly what she does brilliantly. She is her own person, and her food reflects this.

Spending a day in her company also highlights her obsession with food. There’s not a moment that she doesn’t think of something she saw which reminds her of something else and voila, it results in a new recipe. “I make food in my head,” she says. And that’s true, it’s how she travels through her days.

Raisin pickle and Karoo dolmades made with venison are mentioned … and her mind races  off.

The current menu starts with a Doolshe farmhouse breakfast (herby pork sausage, bacon, eggs, fried tomato with parmesan granola, apricot chutney toast and white Miso butter) at R165; smoked trout and scrambled eggs with sour cream chives and dill (R190) or if you want something different ricotta flapjacks, homemade berry compote and whipped cream (R120).

Salads include different varieties, familiar and yet, there’s always a twist. You could share one at the table with a main or have it as a meal. The beef fillet strip and fried caper panzanella with crunchy vegetables and a balsamic dressing is perfect for a hot day.

You also have the option of sandwiches (pastrami with fennel pickle or roast chicken with parmesan granola, and,herb pesto with vegetable chips, all finger-licking good) or perhaps two starters (a sour cream and onion tortilla with white bean paté, parmesan and boerewors with a bite of chilli crumbs and short rib croquettes and blueberry chutney).

Lamb skewers with olive salsa verde and fresh sardine rillettes bruschetta with fennel also caught my fancy.

Mains include from smoked snoek gratin and apricot chutney (R220), pork neck and apple on creamy parmesan mash (R250,) chicken feta and parmesan roulade in saffron, honey and hazelnut sauce served with cous-cous (R250), or lamb chops with Za’atar, roast vegetables, cous-cous and rose harissa yogurt (R310) and a more manageable mushroom and cognac pasta with parmesan. And I need to read no further than the brown-butter spiced blondie and double chocolate ice-cream, priced between R80 and R125, to conclude on a sweet note.

It’s an unusually expansive venue with many different options. You could start with a Sunday morning hike and have a late brunch; you could come for a sunset and cocktails lookabout; or you could have a dinner-a-deux on the verandah on a moonlit night. It’s about the surroundings, the interiors and the ambience, take your pick.

Her new menu is ready to go and includes many new versions in her inimitable style. Sandwiches include for example beef fillet, Japanese barbeque and chlli mayo or a herb and garlic chicken breasts and lemon, black pepper mayo, parmesan and basil sandwich. On the salad platter, there’s the choice of a fragrant chicken and veg salad with a lime, coconut and chilli dressing or a Mediterranean lentil, chickpea, olive And artichoke salad with lemon and garlic mayo.

Mains include bobotie meatballs with brown basmati rice and traditional chutney or an artichoke and spinach  with tomato pesto gnocchi or if fish is your particular favourite brown butter and soy salmon, creamy mash and green beans and fermented carrots.

The name Doolshe already transports you to a different world. Pronounced dool-she, it is a loanword from Italian, meaning sweet. Italy colonized East and North Africa from the late 19th century into the middle of the last one. During that period, locals borrowed words from their colonisers and adopted them with their own pronunciation – hence Doolshe. And this particular abode with its verandah-styled dining spaces as windows are flung open wide allowing the inside out or closed in chillier times for a more cosy space, certainly embraces its name.

There’s nothing more apt for the ambience, the people, the drink and the food. It’s the sweetest.

Times: Thursdays and Fridays, lunch and dinner; Saturdaya breakfast, lunch and dinner; and Sundays breakfast and lunch.

AUTHOR GERDA TALJAARD CAPTURES REALITY IN HER MESMERISING FAIRYTALE DIE GRAFDIGTER

~ debeernecessities

In her latest book, Die Grafdigter (Tomb poet), author Gerda Taljaard plays imaginatively with language and story and it is the unusual title that gets your  mind racing. DIANE DE BEER speaks to the author about this remarkable novel:

Author Gerda Taljaard with her dog Iggy Pop.

It is the fairytale quality of the story meshed with a realism that keeps you questioning from beginning to end. That, as well as the double destination of motherlands with Russia and South Africa as the main focus, hooks you from the start.

I’m writing about Pretoria author Gerda Taljaard’s latest book Die Grafdigter, which has those in the know in the Afrikaans literature world talking.

She writes, she says, for the same reason she reads: to escape harsh reality. With this one, she wanted to explore a completely different universe from her own. And what she picked was the world of Chekhov, Tolstoy and Dostoevsky with snow-covered landscapes, lakes and forests.

She remembers an uncle who could tune in to Radio Moscow during the apartheid years, a time when Russia and its people were referred to as the rooi gevaar. “I think he and my father were keen to find out what was behind the Iron Curtain,” she says.

During one of these radio adventures, she heard a most evocative piece of music, which she tracked down many years later. “It is an original Ukrainian song titled Ukrainian Poem written by O. Kolichev and performed by the orchestra of the Russian army. “It immediately captured my imagination,” she explains. “I could see the steppe, mountains and frozen lakes in my mind’s eye. That was the original spark!”

She also points to a time when she was very young and had to share a bedroom with her grandmother for six months. “Naturally against my will,” she hastily adds.

It was only much later that she realized what an impact it had and how richly she was rewarded by a woman who had a wonderful way with rhymes and riddles as well as macabre fairytales like the Baba Jaga stories.

“With her facial expressions and voice maneuvers she conjured up a magical world for me. These included tales from the subconscious, emotional, irrational and primitive streams of thought. It means you could capture people’s deepest fears and desires in an authentic way.

“Jung said it best when noting that myths show life more accurately than the sciences can.”

And then there’s another plus, Taljaard’s language. As a South African who speaks Afrikaans but writes in English, I was mesmerized. It’s the flow of the story being told in a language that’s familiar and accessible, yet completely novel. “Afrikaans is part of my being,” is how she explains the astonishing use of her home language. “It’s the language that formed me and in which I am driven to write.”

She loves buying old dictionaries in which she finds many unfamiliar Afrikaans words. “I am astonished by how many words I discover and how many simply disappear from our vocabulary. And these are exactly the words I need to give new life,” she says.

“Afrikaans, like Zulu, is a very poetic language, which is the aspect I want to elevate to aesthetically tell my stories.” And she does this with great gusto and success, resulting in an extraordinarily pleasurable reading experience. I had huge fun discovering all these novel words and phrases I had never heard before.

As far as the choice of countries in this tale, it is the many points of contact between Russia and South Africa which first caught her attention: the oppression of the majority by a privileged minority; the isolation by the rest of the world, followed by freedom and reform and the hope of a democracy; the disappointment caused by corruption; the stop and start between progress and decay; equality and inequality … and there’s more.

Because she uses a child to tell much of the story, the balance between reality and imagination is blurred, which adds to the glorious fairy-tale quality and also keeps the reader off balance throughout. It feels as though there is a constant battle between good and evil, which again locks strongly into the reality of what is happening internationally today.

She introduces two thoughts which illustrate what she is hoping to achieve with this wondrous book:

We should show life neither as it is, nor as it should be, but as we see it in our dreams. ― Anton Chekhov, The Seagull

While you are living, part of you has slipped away to the cemetery. ― Elizabeth Hardwick, Sleepless Nights

And then, of course, the title, Die Grafdigter (The Grave Poet) which immediately propels you into a far-away landscape.

Roughly translated, this is how it starts:

It is the beginning of an endless winter. A grandmother and her granddaughter find themselves in the heart of a forest.

They are desperately looking for food when they spot a reindeer. The grandmother, or Baboesja as her young charge Mila calls her, tells her that you should look a deer in the eye. If you then cannot find the courage to shoot it, you aren’t hungry enough.

These are life lessons for the young girl who will have to fend for herself someday. But her elder is so thorough that Milla’s world is filled with a richness that never absconds.

Nothing simply happens; it is as though you are there. For example, the twilight drapes itself across the house, grows like an ink smudge over the kitchen and sleeping quarters and stretches beyond the sideboard on which Baboesja places the reindeer’s head.

It is detailed yet subtle, never overwhelming – to find that balance with such rich language is a feat. It could so easily lapse into writing that is more about the language than the story and that is the quickest way to antagonize readers.

That’s what I found so astonishing and why this is a book that will be read again and again as the story keeps unfolding with rich meaning.

She doesn’t simply write that it rains; rather, the wind hurls sleet against the windows and without saying it directly, the names of the two characters, the ferocity of the storm, and the reindeer, all point to the place this story is set.

It’s sassy and smart, seemingly without much thought as it sweeps you along in an icy cold wilderness where a young girl is being fiercely protected by a cantankerous older woman, raised in a manner that is determined not to hide the harshness that might be waiting in her future.

And yet, because of the fairytale-enhanced dreamworld that constantly appears, the writing also evokes a visual quality that magnificently illustrates these characters we are accompanying and getting to know.

Taljaard is someone who has developed a unique voice that matches her storytelling qualities. I thoroughly enjoyed her last book Vier Susters, because I am one of three sisters and there was much to identify with.

This one knocked me sideways because it was so original and yet so relevant in a world where war is raging all around us and threatening a life’s order we have become accustomed to navigating.

It’s as though she not only read the zeitgeist smartly but also latched onto a future which feels more frightening every day.