Category: Musicians

A GREAT BEGINNING FOR 2025, THE KKNK FESTIVAL WAS A BRILLIANT SHOWCASE FOR THE ARTS

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Diversity was the element that dominated this year’s fantastic KKNK Festival (in Oudtshoorn at the beginning of the month) – from the audiences to the artists, also including the plays and performances. DIANE DE BEER reports:

PICTURES: Hans van der Veen (unless otherwise stated.)

On one day you could see a solo show, a play with both words and movement, a translated modern classic and a new work that will outlast some of us watching.

Yet as is often the case at this festival, theatre was what really captured the imagination – and true to the diversity theme, it played out in many ways.

For me it started with a bang with a piece titled Die Een Wat Bly (which can also be seen at the upcoming Cape Town Suidooster) with a cast consisting of the two talented dancers from Figure of 8 Dance Theatre (Grant van Ster and Shaun Oelf) who in this instance combined their extraordinary movement with the insightful words of Wessel Pretorius who seems to deliver an endless stream of brilliance. And the third member of this inspired cast is Daneel van der Walt who is an actor who has emerged these past few years as someone to watch.

Everything seemed to combine beautifully, from the story, how it was written, the excellence of the casting and the way movement underlined and emphasized every emotion so magnificently. I couldn’t resist catching it a second time and it confirmed my initial instincts that all the elements just flowed together seamlessly to present perfect theatre. I could easily watch it again … and again… and again.

In a different guise, Pretorius performed in Yasmina Reza’s translated text Kuns (which had previously been performed by two of the actors, also directed by Marthinus Basson in the English version titled Art). Pretorius and Wilhelm van der Walt (part of the former cast) were joined by Ludwig Binge in a play that satirises the often achingly precious way people view and talk about art.

Because of the NOW, a time where an anti-wokeness and fake news seem to dominate everything, it worked even better than the first time I saw it and with these three adventurous actors (all three Basson graduates who have established exciting theatre careers), it was perfect for this festival which always celebrates.

Basson also delighted with a play which has been on the circuit for a while, and I was thrilled to finally experience. Who would not be intrigued by a play titled Kruispad, of die legende van die goue vis.

Picture: Nardus Engelbrecht.

Again the casting blew me away with Eben Genis giving one of his finest performances in the role of the eccentric recluse Oswald whose life is rudely interrupted by two lost and rain-drenched youngsters played by two of the best, Edwin van der Walt and Carla Smith, with a glorious copper-coloured wig which completely changed her character without her having to say a word.

Because it plays with temptation and loyalty, it reminded me of the film Indecent Proposal in which Robert Redford offers to buy Demi Moore for a million dollars for the night.

Masterfully written and performed with great gusto you are never sure what is real or not, whether something is fact or fiction, and in fact when someone is being honest or not. It’s like trying to solve a puzzle that tortures and teases with a few disruptive detours that keep you slightly unbalanced as an audience.

There was so much more in the theatrical realm with solid performances in the Hennie van Greunen translated and directed Annie+Helen with Cintaine Schutte as Annie, the governess/teacher in the Hellen Keller story and Judi Hattingh as the severely damaged teenager who cannot see, hear or talk.

A mighty struggle ensues and from beginning to end, the two actors battle, and sometimes, bruise one another in a fight for something so much more than survival.

I have always been a huge fan when some of our younger directors (and he might take exception to that description) take on the classics, and I was excited to see Speelgoed van Glas translated, directed and designed by Nico Scheepers.

Casting was a further incentive with Annamart van der Merwe, Carla Smith, Ben Albertyn and Mark Elderkin on board, and was also alerted by all the awards they had already received, all of them thoroughly deserved. Van der Merwe’s bravura performance as the brittle mother is bruising as she embodies a woman who is desperately fighting to hold on to the only power available to her, that of motherhood (and in this instance also victimhood).

Her children, especially her son, have no such illusions and their confrontation reminds one of how a home which should be a protected space for a family can become a warzone which holds only fear and a frantic will of those threatened, to flee and find emotional freedom.

It’s devastating writing, smartly translated and, set in the present with a cast who have had the time to hone their craft and honour the play.

Also Die Potplant: ‘n Tragedie written and played by Karli Heine who changed what had previously been part of something now called Blitsteater into a longer piece had an interesting effect on me. It’s a wonderful idea with a script that’s inventive with underlying pathos – and yet, while it still had the impact and was cleverly stretched into a more comprehensive play, I think I preferred the shorter version.

It might have had something to do with the impact it had the first time round as well as having lost my heart to that version, I was more aware of the padding. Yet Heine is worth watching. She is someone that thinks out of the box as well as having the courage to take chances. You need all of that in this challenging profession.

Another joy at a festival is discovering new talent as well as witnessing the creativity of artists and how they find ways to explore their craft in a world with no boundaries yet many obstacles. Bibi Slippers, who can only be described as a compulsive creative did two shows as part of the Blitsteater (a bit like fast food, fast theatre), but there’s nothing fast about what she does with her imagination.

Picture: Stephanie M. Gericke.

I have always been fascinated by this young woman who has carved her own career in a very individual way. She pops up all over the show and her strengths lie in her words. She knows how to use them and has two spectacular poetry books that run like a thread through her performances.

Everything she does has thought behind it, is usually novel and it works. If anyone wants to see how to be an artist in today’s world and be in command of your own life, this is it.

In similar vein Sandi Dlangalala and Ilana Cilliers combined style and swagger to present an interlude of theatrical magic with Smak. The way they told the story in very little time with their whole being and soul was quite extraordinary.

A regular festival contributor, Llandi Beeslaar, who with her partner has been running a series of short performances by various artists, in the above mentioned Blitsteater, decided it was her turn to shine individually. She was ready to test herself as a comic with her first stand-up piece.

She participates in the arts in different ways, but this is a chance to use her own voice – and that she does with a particular style. Most importantly she has something to say and should keep going while honing her craft. There aren’t enough women in this space and the only thing she lacks is confidence.

Picture: Mia Truter.

A solo performance that stood out was that of singer/songwriter Frieda van den Heever.  I first noticed her as producer with a fine sensitivity as well as an imagination which seemed to be strongly independent.Picture

She has obviously decided it is her time and instead of producing others, she staged her own show. She’s got all the goods and probably if you start counting, has more talents than a triple threat. In this her first solo show (that I know of) at a festival, she did the performance as well as the production. She brought in Mauritz Lotz on guitar, but the rest was all done by this astonishing performer.

I’m more of a theatre girl than music, but she blew me away with her presentation, the way she put together her show, her music (on piano as well as singing and songwriting), her lyrics and her singing. I know I can find her album Ontspoor, onlineand that’s what I’ll do.

But to find new music so accessible and a performance that’s fresh, daring and quite darling. I’m a groupie. Once I checked her previous work (which I had seen, with her as producer rather than performer) I understood why I liked the show so much.

Karoo Kaarte is one of my favourite experiences every year at this festival. They pick their battles, how best to explore them and this year they joined forces with the District Six Museum and GALA queer archive and used the Kewpie: Daughter of District Six picture archive as a platform to develop this years’ experience.

It all culminated in a queer festival with a multi-disciplinary drama titled Kroon en Konfetti which incorporated three elements: Kewpie’s life and legacy as dancer and artist; the rich culture of Oudtshoorn’s beauty competitions called “models”; and 25 personal stories collected from Oudtshoorn’s queer community.

Dressed in all their finery, the “models” all gathered in a dressing room to start their show with the dialogue smart, sassy and with an edge. It was quite magnificent as are all the Karoo Kaarte productions and more than anything it’s the topics they choose to spotlight that’s so important.

Here is deals with a group of people who are already sidelined in a country where prejudice is still rife. With their queer status they are in search and hoping to find safe spaces in their community where they can celebrate their culture, yet behind all the glitz and glamour, the shadow of oppression is hard to ignore.

As always Neil Coppen, Vaughn Sadie and Tiffany Witbooi are the creative team responsible and my only regret – as happens every year – is that I couldn’t participate in all their offerings. It’s one of those projects that’s imaginative and innovative and even more importantly, they’re constantly working with elements that result in real change in a community that has always been neglected.

And then cleverly the festival ended with Nataniël and a company of 10 on the openair stage under the Oudtshoorn night skies. The elements aren’t his friends, but it was a glorious way to end the festival with a performance that showcased new voices and performers as well as the glorious artist himself with stories and songs that suited the occasion.

Tracy-Lee Oliver was the artist he chose to spotlight on the night, and she made full use of the occasion with spunk and singing that added spark to this final show. It was great to see someone step into the limelight with such poise. As usual, making sure he gave his audience all the hysterical stories and masterful songs they expected with his superb band and backup singers, he also paid it forward with this sassy introduction of new voices for this audience.

He first spotted her when she was a contestant on a television show he judged, and astute as he always is when it comes to producing for an occasion, this was where he decided to showcase her – for all the world to witness.

Rehearsal picture.

I haven’t even touched on the festival artist Henk Serfontein’s magnificent exhibition Die Stomme Aarde complimented by a performance piece by the artist and his collaborator Hannah Loewenthal as he made a painting to which she contributed while both of them participated in an expressive dance which further enhanced this particular emotional landscape of both the St Jude’s Church as well as the art displayed in this holy space .

It was the perfect example of how art and artists when working with an emotional intelligence can transport you in a way that seldomly happens in what has become quite a cranky world.

Similarly, Mareli Stolp, a pianist with a particular penchant for avant garde music invited animation artist Diek Grobler to illustrate her chosen compositions for a programme Die Gevlerktes. It was a stroke of genius.

The exquisite animation was imaginative in the way it enhanced the music and the listening experience which then also transformed into a visual feast.

I could go on, but this is simply one art lover’s experience …

See if you can catch any of these gems at other festivals and theatres in the year ahead.

THE MOST REWARDING ASPECT OF THE ANNUAL FIЁSTA ARTS AWARDS IS THE ACKNOWLEDGEMENT OF LOCAL ARTISTS IN DIFFERENT GENRES

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Diane de Beer reports:

Pictures: Gys Loubser

Awards can mean nothing or EVERYTHING. It really depends on each individual  and perhaps the most important ingredient is to witness especially the individual artists when they get over their surprise, gather their thoughts and express their wonderment at receiving such accolades.

Rocco Pool (Best Design), Christian Olwagen, (Best Festival Production), Rolanda Marais, (Best Actress) all for Hedda Gabler.

Astonished yet astonishing actress Rolanda Marais perhaps captured the moment best when she reflected on the 17-year-old schoolgirl she had been and how she would have experienced this achievement.

It’s one of the most vulnerable yet vibrant careers to choose, as your whole life is always dependent on the vision of others. If a director selects you, if the play is one that shows you at your best, if the audiences come, if they like the play and the cast and the list is endless.

Aardklop Fiësta winners: Joshwin Dyson (Laaitie mettie biscuits for Best Upcoming Artist and Best Actor), Artistic Director Alexa Strachan, Conroy Cupido, (Best Achievement in Classical Music for Die groot Finalé) and Philip Rademeyer (Stinkhout for Best Text ).

And yet, time and again, the actors put themselves on the line and out there to hopefully change the world for some in the audience. They probably do it more than they give themselves credit for and I have often been in awe of what they manage to achieve with too many obstacles for anyone to deal with, let alone create magic.

The Fiëstas panel attended every debut production at seven arts festivals (KKNK, Suidoosterfees, Innibos, Vrystaat Kunstefees, Klein-Karoo Klassique, Momentum Beleggings Aardklop and Toyota Stellenbosch Woordfees) last year. Following an extensive voting process audited by auditors, the winners in 14 categories were determined and announced at the end of last month at a glamorous awards ceremony held at the Kirstenbosch National Botanical Garden in Cape Town.

kykNET also announced that the kykNET Fiëstas will have a new home. After 15 years of management by kykNET, the Tribuo Trust will now coordinate the Fiëstas, with kykNET taking on the role of naming sponsor.

“The decision was made so that the  kykNET Fiëstas can continue and flourish as a vibrant celebration of the arts in Afrikaans. kykNET remains the main sponsor and naming sponsor of the Fiëstas,” said Waldimar Pelser, M-Net Channel Director of Premium Channels.

“In discussions with the festival directors, kykNET emphasised that we will strengthen our support for the arts festivals in a way that we hope will also make the festivals more sustainable. We look forward to reimagining the new kykNET Fiëstas together with Tribuo and are excited about the road ahead.”

Karen Meiring, Executive Chairperson of Tribuo, said: “It is an important objective of Tribuo to invest in the future and the sustainability of the entertainment industry’s ecosystem. The kykNET Fiëstas seamlessly align with this goal as the awards recognise and celebrate excellent work. They also encourage crucial audience engagement and honour the people who carry the performing and creative arts. Tribuo looks forward to continuing this project together with kykNET, who remains the naming sponsor.”

The winners are:

BEST ACHIEVEMENT IN CLASSICAL MUSIC

Die groot finale (Momentum Beleggings Aardklop)

BEST CONTEMPORARY MUSIC PRODUCTION

kykNET-konsert (Innibos)

BEST MUSIC-DRIVEN THEATRE

Ontban (Suidoosterfees)

BEST ADAPTATION OR TRANSLATION OF A TEXT

Naòmi Morgan – Ons wag vir Godot (Vrystaat Kunstefees)

BEST NEW TEXT

Philip Rademeyer – Stinkhout (Momentum Beleggings Aardklop)

BEST ACHIEVEMENT IN VISUAL ARTS

Marlene Steyn – Between my i’s: tussen my oë (Toyota Stellenbosch Woordfees)

BEST ACHIEVEMENT IN DESIGN

Rocco Pool – Hedda Gabler (Toyota Stellenbosch Woordfees)

BEST ACTOR IN A SUPPORTING ROLE

Gerben Kamper – Ons wag vir Godot (Vrystaat Kunstefees)

BEST DIRECTION

Dion van Niekerk – Ons wag vir Godot (Vrystaat Kunstefees)

Joshwin Dyson (right) with his playwright/director Christo Davids

BEST UPCOMING ARTIST

Joshwin Dyson – Laaitie mettie biscuits (Momentum Beleggings Aardklop)

BEST ENSEMBLE

Hedda Gabler (Toyota Stellenbosch Woordfees)

BEST ACTOR

Joshwin Dyson – Laaitie mettie biscuits (Momentum Beleggings Aardklop)

BEST ACTRESS

Rolanda Marais – Hedda Gabler (Toyota Stellenbosch Woordfees)

BEST FESTIVAL PRODUCTION

Hedda Gabler (Toyota Stellenbosch Woordfees)

The winner of the Blou Fiësta, awarded for commendable work that does not fall into any of the other categories, is the Suidoosterfees project 21. In celebration of the festival’s 21st anniversary, 21 productions were staged, each lasting 21 minutes with a ticket price of R21.

Amanda Strydom and Frank Opperman were honoured for their contributions to the arts.

A BRILLIANTLY BRAVE KARIN HOUGAARD, A POETIC PERFORMER AT HER BEST – AND SHE WILL BE BACK

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Kaalvoet by Karin Hougaard

Musicians Leon Ecroignard (contra bass, bass and handpans) and Luke van der Merwe (guitars, mandolin and oud)

February 2 at Pretoria’s Fairtree Atterbury Theatre

Karin has always been a performer rather than a singer. She throws herself into the performance with her whole body and soul and manages to sweep her audience along from start to finish.

She is a dramatic entertainer, larger than life in both stories and song – in the best sense of the word.

Personally, I feel as though she has grown into her performances with a confidence and wisdom that result in an extraordinary experience. She embraces the content and substance of the show, turning every song as well as the binding text into something personal and quite unique.

Sometimes the intervals between songs are an introduction to the song, sometimes it’s like a quiet meditation or a poem. It’s all-encompassing and deals with love, sadness, longing, alienation (which is probably due to her extended stay in the US), craving, being a woman and sensuality, something that she expresses with every movement.

This is a performer who explores her heart with exuberance and complete honesty. For her it’s all about authenticity.

Her selection of music is spectacular. Her English songs include You Don’t Own Me, the popular Dolly Parton’s Always Love You in a unique adaptation, the haunting  Uninvited by Alanis Morissette, a combo of Baghdad Café’s Calling You and Salmon Berries’ Barefoot (pointing to her choice of title and the way she performs, KAALVOET), a personal favourite, both dealing with her particular status as an outsider.

Those familiar with her self-written music, including  Muse, Sterrereën, Daar’s Ek , Stilbly en Daar’s Ek as well as the well known Heimwee and Summertime combined with Thula, will know it’s equally emotionally rich in song and presence. She and the iconic Dutch artist Herman Van Veen have a strong connection, she will be recording a duet of her song By My with him on his upcoming album, as well as perform as a guest artist on his 80th birthday celebration concert.

She also paid tribute to his songwriting with the Van Veen song Anders Anders and their dual composition Bij Mij.

While the cover adaptations are exquisite and felt to  me almost Janis Joplin (lite) inspired, the Afrikaans/Dutch songs have a more poetic and dramatic approach.

Her binding texts are as much part of the message as the choice of her songs. There’s nothing that’s not carefully choreographed and chosen to complete the full circle including her two marvellous musicians, Leon Ecroignard and Luke .

From beginning to end, you’re engaged and committed. If you do the work, the rewards are extraordinary.

One of the glorious results of being part of the arts for such a long time is being able to follow an artist’s career from the early days to their maturity. It’s such a privilege to see them grow and blossom and then reach a stage where they open their wings as wide as possible and fly.

That’s exactly what’s been happening to Karin these past few years. And it’s truly something to admire and for audiences a true gift. This is what she can do and how she nourishes her soul and ours.

She has returned to the US for a time, but her plans are to return to South Africa permanently in the foreseeable future. She says that she has been singing less and less, scaling down, she calls it. “

Her performances have been in  Holland more often than here locally and she chooses very carefully where to perform. She is intent on doing only selected special shows which will mean something to her as performer and thus be passed on to her audiences.

And she prefers to sing in theatres where the lights go low, the world disappears and she believes she can make magic.

Indeed, that’s exactly what happened this past Sunday. It feels as though you are witnessing something holy and in the moment, and that is something miraculous.

Knowing that she is returning to our shores also means that we will hopefully see more of this exceptional performer. Don’t miss the next one. You won’t be sorry.

TWO MARVELOUS MOVIES, CONCLAVE AND A COMPLETE UNKNOWN, AHEAD IN AWARDS RACE

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FILM REVIEWS BY DIANE DE BEER

With streaming becoming such a comfortable option, I haven’t been to the movies for a while, but pre-Oscar Awards is always a good time to catch up on as many of the nominated films as possible It always turns the event into something more substantial because you actually know more about the possible winners. I chose these two films – Conclave and A Complete Unknown (Ster Kinekor)and my selections were both extraordinary – both with chances of quite a few Oscars each:

CONCLAVE

DIRECTOR: Edward Berger

CAST: Ralph Fiennes, Stanley TuccI, Carlos Diehz, John Lithgow, Isabella Rossellini, Sergio Castellitto

How can one not be pulled into this story with such a fantastic cast? And then the secrecy about everything that surrounds the Vatican inside and out?

Cardinal Lawrence (Fiennes) leads one of the world’s most secretive and ancient events as the dean who is in charge of the selection of the new Pope.

If you’re not Roman Catholic, it is a religion that comes your way mostly through scandal, the misbehaviour of priests around the world, the lack of action by the church itself when its representatives transgress and the films and books that feature these kinds of missteps, Spotlight being the most recent one that springs to mind.

Perhaps because of the look of the members of the priesthood as so magnificently showcased in this film (already enough reason to see the spectacle), yet because of the visuals as well as the secrecy, I kept thinking of the recent television seasons of The Handmaid’s Tale.

In today’s communication-rich world, any secrecy is immediately viewed with suspicion and becomes rife with rumours and stories emerging. And for those on the outside, how to distinguish between rumour and fact with this particular faith and its powerful leaders is often what draws us to whatever it is that drives the church.

With Conclave. to glimpse the inner workings of one of the most powerful institutions in the world is quite extraordinary. Add this particular cast and the weight of the storytelling is heightened and the final product doesn’t disappoint and leaves you gasping.

The eight Oscar nominations including Best Picture, Best Actor for Ralph Fiennes, Best Writing, Best Production Design, Best Music (original score), Best Costume Design, Best Actress in supporting role (Isabella Rossellini), and Best Editing are all deserved.

It certainly lived up to all that. It has a rich story and is beautifully directed but what really kept me enthralled was the cast and their particular storytelling. If I really had to give only one acknowledgement it would be to the actors.

It was their ensemble performance that kept the intrigue going with especially strong performances by Fiennes (who is the true centre of the movie), Tucci, Diehz, Lithgow, and Rossellini.

As the puzzle unfolds, sometimes painfully slowly yet deliberately, you have to keep your wits about you because you will be kept in suspense right until the end. Again because it is the unfolding that holds the key, I was glad not to have read the book before seeing the movie.

The less you know, the more it will add to the thrill of the viewing. It is a novel story which holds all the intrigue one would expect from such a rich presentation which is all an extremely clever balancing act. Once in a while, I wasn’t too sure whether it was delivering on the expectations surrounding the film.

But pull it all together, and it ticks all the boxes. The best is that you have no idea where it is going or what to expect. And finally, it delivers magnificently in a way that is as relevant in today’s circus as it is unexpected.

It’s one that lies there for quite a while and the more you delve, the better it gets.

A COMPLETE UNKNOWN

DIRECTOR: James Mangold

CAST: Timothée Chalamet, Monica Barbaro, Edward Norton,  Elle Fanning

I was truly surprised by how much I loved this movie. Of course I know Dylan’s music, but there are as many songs I didn’t recognise.

And while I thought I knew a lot about him, there’s as much that I didn’t know. One has to keep in mind that this isn’t a documentary, it captures a piece, mostly the early part when he first appears on the scene, of his life.

I was even caught unawares by the fact that he turned up at festivals on a racy motorbike. If the women weren’t so mesmerised by die budding artist they would have known that the music was everything in his life. Did he love them? Of course. But he was a performer and everything in his life revolved around that.

It was understood, if unspoken, that the women could be part of all this – but no demands. He wasn’t unfeeling, just unaware and completely wrapped up in his own creative world. That’s where his mind and all his attention was focussed.

It begins with Chalamet’s performance. He captures the essence and then just goes with it. He is not trying too hard to fake being Dylan. He has something, resembles the wiry, wild-haired singer and has enough of a voice to do the nasal drawl and sing the music well enough.

It centres on his performance and the reason he stole the limelight from the day he first appeared is his star presence – without paying too much attention to that stuff. He’s a lovely actor, has bags full of screen presence and pulls this one off magnificently.

It was as if Mangold with the right script and cast selected the right mood for the film and pulled it off masterfully.

To my mind, Chalamet is the James Dean of his generation. His reach is huge and his future cemented. And because Dylan, as one of the most influential artists of our time, is familiar to most of us, it must have been a challenge to capture his persona. But that he does with astonishing grace and with a strong cast and an especially brilliant performance by the always excellent Edward Norton as Pete Seeger, it’s a story that shines brightly, music that dominates and, for those of us who know some but lack the detail, a blissful few hours to catch up on working-class heroes.

A FABULOUS FEAST OF THEATRICAL GENIUS

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Review by DIANE DE BEER

CAKE STOPPER

ARTIST: Nataniël

BAND: Charl du Plessis (keyboards); Werner Spies (bass); Juan Oosthuizen (guitar); Peter Auret (drums)

VENUE: Atterbury Theatre with shows tonight at 7pm, tomorrow at 7pm, Saturday at 11am and 3 pm, and Sunday at 3pm; (13 to 16 February Roodepoort Teater; 5 and 6 March, Sand Theatre in Bloemfontein)

If you have followed an artist as closely as I have Nataniël, it’s not only the performance but also the progression that becomes part of the thrill of this spectacular talent.

Time and again, I have been curious at my astonishment at what I am experiencing during one of his shows, but I know it is the constant evolution of what he presents that keeps me enthralled.

He is one of the few who has managed to keep the element of surprise always present and he does this especially with his scripts. He has a mind that keeps on giving stories so fantastical and yet so based in reality that everyone can identify. But what elevates the presentation is his genius with words.

Bilingual and equally adept in English and Afrikaans, he has managed through the years to broaden his audience base in the way he has become comfortable in both. The stories immediately draw you in and the choice of language doesn’t play a part. It is the way his mind wanders, how he tells a story and the unique way he presents and arranges every single sentence.

Originality is one of those elements you either have or don’t. You cannot make it happen if it’s not there. And through the years, his has become stronger as his comfort levels have grown.

What you have now is a performer in total command of his art as he mesmerises his audience with his phenomenally unique storytelling. He is comfortable sharing the personal stories of his life and the way the world has always viewed and treated anyone who isn’t exactly moulded in the image of everyone else. He revels in the differences and through the years has become emboldened and embraces exactly the artist he is and wants to be. And we love him for that.

In everything he does, he always opts for the best and this is especially true of his band of class musicians. Headed by the masterful pianist Charl du Plessis, both Spies (bass) and Auret (drums) add to the individuality with their own musical flair. Add to that trio of perfection Juan Oosthuizen whose mastery with the guitar is legendary. Their performance is bliss.

It’s rare to have the accompaniment of such unusual talent, but Nataniël has always been secure in his own performance and knowledge that exquisite music enhances his singing, the real reason he loves performing.

The balance of stories and songs is important because the songs give you a reprieve from the density and sheer delight of the stories as well as a chance to breathe as you appreciate the excellence of what you are witnessing. And with time and maturity, Nataniël’s voice is richer, the music more nuanced and the singer has perfected his authentic sound.

I have always been captivated by what this artist brings to the stage because it is so unique, put together with boundless imagination and because of the inspired stories – a new play with every show he presents – each season is an explosion of the extraordinary. He has been a blessing to local audiences because of who he is and the riches he presents on stage.

The rarity of his creativity is a joy to behold. May he keep being the wonderfully colourful creation who once, twice, or if we’re lucky, three times a year holds us in the palm of his hand as he takes us wandering with wonderment into a world that is as charming as it is complicated.

Bookings: seatme.co.za

WORDS OF WONDERMENT FOR THE QUEEN OF PANTO

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BY DIANE DE BEER

BEAUTY AND THE BEAST

DIRECTOR/SCRIPTWRITER: Janice Honeyman

ASSISTANT DIRECTOR: Timothy le Roux

SOUND DESIGNER: Akhona Bozo

PRODUCTION MANAGER: Sandy Dyer

LIGHTING DESIGNER: Johan Ferreira

COSTUME DESIGNER: Mariska Meyer

CHOREOGRAPHER: Khaya Ndlovu

PRODUCTION DESIGNER: Andrew Timm

SET DESIGNER AND BUILDER: Enos Ramoroko

MUSICAL DIRECTOR: Dale Ray

THE CAST AND THE BAND: Too many to list

VENUE: Joburg Theatre

DATES: Until December 22

Dear Janice,

Driving back from this year’s pantomime (the children of the kids who first used to accompany me are now my annual companions) I thought it was time that I should write a more personal letter of thanks and admiration rather than the usual review.

Not being at a newspaper any longer and posting on my personal blog, I have the right, I think. Also, between the two of us, you have probably/arguably written and  produced more pantomimes than anyone else, definitely in this country and probably out there in the big world too; and I have probably watched and reviewed more than many can claim.

The genre as such isn’t my favourite and you have many other theatrical accomplishments in case anyone should think this is the only thing you do. But because of you, I make a distinction between a panto and a Janice panto, and as I mentioned in the review of Aspoestertjie (currently running in Pretoria), you have raised the bar for anyone who wants to participate in this field.

There isn’t any chance that I would have managed year by year if not for your genius and innovation. Being who you are, I know you would have been bored to death as anyone would have been, if you didn’t set a particular challenge for yourself. And perhaps that was what saved us both.

I was sitting in a packed Joburg Theatre on a Sunday with a show starting at noon and the aircon struggling with the current heat. Watching the audience, there were many kids but many couples or friends without youngsters too. It’s an institution and one you established and nurtured and grew to what it is. Small wonder they don’t want to let you go!

The text, which is always current and probably the thing most cherished by the adults, is as always on the mark with bullies a strong theme. That’s no surprise, but I love the way you wangle to be political without offending anyone.

You always have your finger on the  pulse and have managed to work your way with casts which now fully represent the country without too much fanfare, you just did it. And this mirror of our society at a season that has such mass appeal is probably one of your strongest achievements. Few would have managed in such an easy fashion while showing the best of the country without bashing anyone on the head.

I know this is unfair, but allow me the indulgence. Cast and musicians were fantastic, but there were five that deserve special mention: Bongi Archi (aboveas the Good Fairy (Mama’ama’bali); Virtuous Kandemiri as Beauty-Belle; Judy Ditchfield having an absolute ball as Hectate-Hex, the wicked witch; and Lesedi Rich as Doodlesakkie The Donkey; and lest we forget, Chrissie-Anna Mampoer as the guest newsreader.

Through the decades you have been gifted technological advances, but the wonderment of that is to see how you have applied that in such a wonderful way. This time it’s the way you blend the players from their digital images to the live performers.

Also the sets, the in jokes which some might miss but it doesn’t matter. It keeps viewers on their toes. The six-year-old was curious about some of the adult laughter and that’s also a good thing. There’s a lesson there every once in a while.

I truly loved your Hitchcock moment this time. You managed to display almost all your different skills as well as showing that you’ve still got it – and will always keep forging ahead.

You are an example of a true artist. Someone who could probably have stopped through the years, but you simply cannot resist. For that I’m grateful. Your casting of the young and the old, the experienced and the newbies, each one of them bringing something unique to the stage and the story, also contributes to the success.

Even your choice of Timothy le Roux as assistant director and company manager looks ahead, as you made sure you don’t go without leaving some institutional memory and knowledge behind. If anyone was there to watch and learn it was this artist who started in the arts as a ballet dancer and followed that by crafting and creating his own way on the production side in this very tough profession.

To everyone’s delight, it’s the usual spectacular pantomime, but the reason we could say that time and again from one decade to the next, is you, Janice Honeyman.

And for me to say this about pantomime is all your doing.

Thanks for the magic and the memories!

I don’t have to preach to the converted and for those of you who need to introduce youngsters to the enchantment of live theatre, this is it.

FROM A FAN

PRETORIA HAS ITS OWN FANCY PANTOMIME THIS YEAR AND IT GETS A CELEBRATORY THUMBS UP

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Review by DIANE DE BEER

Aspoestertjie and the ensemble.

ASPOESTERTJIE DIE PANTOMIME presented by OAK ENTERTAINMENT

DIRECTOR: Ferdinand Gernandt

MUSICAL DIRECTOR: Jaco Smit

CHOREOGRAPHY Tarryn Botha

CAST: Afrikaans singer Leah (Aspoestertjie);  Marno van der Merwe (Prins Jan-Percy); Carmen Pretorius (stiefma Mevrou Violetta Esterhuizen); Grant Towers en Schoeman Smit (stiefsusters Marabella en Amaranta); Elsje Lourens (Feetjie peetma) as well as Donae Brazer, Duandre Vorster, Jemma Gradwell, Jonathan Raath, Lindi Niemand, Monique Barnard, Rainy van Zyl, Tristin Indigo, Tseamo Mapukata and Zante Marais to complete the ensemble

TICKETS: http://www.afriforumteater.co.za/event-details?event=aspoestertjie-die-pantomime or at the box office at the Afriforum Theatre, Menlo Park

VENUE: Afriforum Theatre

DATES: Until December 13

PICTURES: Supplied by OAK Entertainment

The scheming step-mom and a forlorn Cindy.

For the first time in decades Pretoria has a pantomime to be proud of.

Gauteng has grown accustomed to the Janice Honeyman spectaculars at the Joburg Theatre and that is also happening, which meant that my expectations were put on hold when I went to the first preview of this production.

I was also prepared to give them some slack because of the early attendance but it’s a short run and I wanted to get the word out there – especially if, as in this case, it is good.

It’s much better than that. It all starts with the script, which is original and funny  – and  has some real edge to keep the adults happy while the youngsters get the drift of this thoroughly modern Cinderella tale with many twists and turns.

Add to that a cast that have been rehearsed to within an inch of their lives and there was very little to complain of.

The prince and the two ugly sisters.
Let’s all go to the masked ball!

It’s also good to see that they’re prepared to take some chances, like the vibrant, young Elsje Lourens cast as the fairy godmother, Tina Tydreis. She’s the one who has to set the tone and pace of the production and has no problems doing just that. There’s bounce in every move and she immediately engages the audience in her particular telling of this over-the-top tale.

Pantomimes rely heavily on a handful of actors who have to keep everything together. The romantic leads, in this instance Leah and Marno as Cinderella and her prince, have to keep the little hearts racing. I had a youngster right next to me who was terrified she would not witness the final embrace.

With Lourens, the two deliciously decorative ugly sisters (Towers and Smit) and probably the celebrity of the show, Carmen Pretorius as the achingly precious stepmother, they especially  knew how to keep the show on its toes and the laughter rolling while playing their parts to the hilt and singing their songs magnificently.

It truly was a treat and I was thrilled that Pretoria finally stood up to challenge their neighbouring city with some panto excellence. I know Ms Honeyman will welcome the competition and she will delight in witnessing the results of the standard she has set other professionals in this particular field.

Pantomime isn’t as easy as it looks. Everyone is having a merry old time but if your cast doesn’t have the energy and elegance to pull it off, the audience won’t engage.

This one did. From the youngsters to a row of elderly women, everyone was shaking with laughter and delight throughout and for me, someone who has seen far too many pantos in her life, the fiesty and fresh approach, and the sheer excellence of the presentation, was a highlight.

It wasn’t that I was expecting to experience doom and gloom, but the standard was unexpected and something that blew me away.

Tseamo Mapukata (as Buttons, centre) has a magnificent voice and the rest of the cast are not too shabby either.

If you have children in the family, gather them and get tickets to join this talented gang in some lovely end-of-year entertainment. There’s not a weak link in sight and I would go especially to hear Tseamo Mapukata  who played Buttons sing.

What an exquisite voice. But none of the cast was too shabby.

Let’s hope we hear more from OAK Entertainment in the future, they certainly know how to put on a show!

CELEBRATING THEIR 25th ANNIVERSARY MAMMA MIA AND HER THREE STARS HAVE THEM ROCKING

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REVIEW BY DIANE DE BEER

MAMMA MIA

Three dynamic stars, Ilse Klink, Gina Shmukler and Kate Normington.

CAST: Gina Shmukler, Kate Normington, Ilse Klink, Emmanuel Castis, Matt Newman, Tiaan Rautenbach, Kiruna-Lind Devar, Gianluca Gironi, Ntshikeng Matooane, Sunny Yoon, Chad Baai, Bradley Smith and the rest of the ensemble

SET AND LIGHTING DESIGNER: Denis Hutchinson

MUSICAL DIRECTOR: Charl-Johan Lingenvelder

CHOREOGRAPHER: Duane Alexander

COSTUME DESIGNER: Sue Daniels

SOUND DESIGNER: Mark Malherbe

ASSOCIATE RESIDENT DESIGNER: Timothy Le Roux

PRODUCER: Hazel Feldman, Tony Feldman

DIRECTOR: Janice Honeyman

VENUE: Teatro at Montecasino

DATES: Until June

Kate Normington, Gina Shmukler and Ilse Klink in their ABBA gear with the cast.

It wasn’t that Mamma Mia was the attraction  –  been there, done that. I was intrigued by the three actors – Gina Shmukler, Ilse Klink and Kate Normington – in the latest production.

Seasoned actors and singer all, they don’t get that many chances in lead roles (there are just not that many starring roles for women once they’re out of their 30s) and I knew this would be a triple threat. These are women with sass who strut when they walk. No shrinking violets here! They would go for this one in unison and grab that stage – as they did, fulfilling my every wish.

Like many musicals, this is also a rather silly if sweet one, but with ABBA’s music, it ticks all the boxes and has an hysterically loyal fanbase, but what I wasn’t expecting were the many youngsters (I’m guessing between 8 and 12!) in the audience.

Kiruna-Lind Devar as Sophie.

Right in front of me were two (again guessing) 12-year-old girls who were totally into the musical from start to finish. At the beginning of each song, they would glance at each other and joyfully sing along ­­– pitch and word perfect! Rather than hinder my experience, I was enchanted by their enthusiasm and it switched me on to the charm of the musical, which might otherwise have felt jaded to this seasoned viewer.

Not for this audience though. When last were you in an auditorium where they were clapping along to almost every song? You cannot but be swayed to lose all your hard-earned cynicism.

Ilse Klink, Gina Shmukler and Kate Normington and the cast.

But back to the show on stage. Can those three women sing  – together and individually they rocked and easily generated the star power this kind of show needs. It’s not that they haven’t all had the chance to individually star in shows. But these days, it’s tough to find starring roles for women beyond 40, so when you get them, you’d better make good use of the opportunity.

This is exactly what Klink, Normington and Shmukler do. They know the game and have made full use of this marvellous opportunity. And, like I thought it would, it shows.

They’re directed by another wise and wily artist, Janice Honeyman, who knows all the tricks in the book. And with these three accomplished performers, she would have had loads of fun.

The two lovebirds Gianluca Gironi (Sky) and Kiruna-Lind Devar (Sophie).

They’re well supported by the youngsters, especially the love-struck couple, Kiruna-Lind Devar and Gianluca Gironi, who both have youthful stage appeal and energy.

A personal favourite was the omnipresent, soberly yet strikingly dressed in black, little old Greek lady (Chantal Stanfield), who is a constant presence as she pops up in almost every scene, for no other reason than confirming we’re on a Greek island. This lovely throughline stays amusing, if not relevant to the story.

Tiaan Rautenbach, Emmanuel Castis and Matt Newman as the three Dads.

If you don’t know the story of the young woman who hopes to recreate her mother’s romantic dream and in the process also discover the identity of her birth father, don’t delve any further.

Check the colourful pics, see if it looks like your kind of thing, gather the family or a group of friends and make a night of it.

Chad Baai, Ginaluca Girona, Bradley Smith and the Mamma Mia male ensemble.

Think of titles like Dancing Queen, I have a Dream, Lay all Your Love on Me, Mamma Mia (of course!), Super Trouper, SOS, Our Last Summer, Take A Chance on Me… and many more.

Even if you don’t consider yourself a particular fan, I bet you can sing along to most of these songs. That’s what their music is ultimately about … and so is this musical.

And this time there’s extra punch with these three dynamic dames. They are what makes this show swing.

RINGMASTER SYLVAINE STRIKE GATHERS THE BEST AROUND HER FOR A FLOURISHING SPRING AWAKENING

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The ensemble wih the love-struck couple (Scarlett Pay and Dylan Janse van Rensburg) in the front.

REVIEW BY DIANE DE BEER

Pictures: Claude Barnardo

SPRING AWAKENING

Based on the play by Frank Wedekind

Books and lyrics: Steven Sater

Music by: Duncan Sheik

Featuring: Dylan Janse van Rensburg, Scarlett Pay and Jonathan Conrad with Gemma Bisseker, Killian Blerk, Jude Bunyan, Tatum Grace Coleman, Jayden Dickson, Noa Duckitt, Skye Themeda Goss, Ché-Jean Jupp, Gabriella Knight, Jasmine Minter, Tumelo Mogashoa, Hannah Norcott, Nandipa Nyivana, Benjamin Stannard, Tjaart van der Walt, Gerhard van Rooyen (graduates and under-graduates) and playing the two adults, also former students of LAMTA (The Luitingh Alexander Musical Theatre Academy), Francis Chouler and Natalie Robbie

PRODUCERS: Anton Luitingh and Duane Alexander

LIGHTING, SCENIC AND COSTUME DESIGN: Niall Griffin

SOUND DESIGN: David Classen

ASSOCIATE DIRECTOR AND ASSISTANT MUSICAL DIRECTOR: Anton Luitingh

CHOREOGRAPHIC SUPERVISOR: Duane Alexander

VOCAL DESIGNER: Annemari Milazzo

MUSICAL DIRECTOR: Amy Campbell

CHOREOGRAPHY: Anna Olivier and Naoline Quinzin

STAGE MANAGER: Sarah Wolhuter

DIRECTOR: Sylvaine Strike

VENUE: Pieter Toerien Theatre, Montecasino

DATES: May 5

Spring Awakening a production for current times.

Perhaps Spring Awakening is the reason Sylvaine Strike is only now directing her first musical. It was destined to happen with this particular show – and she does it magnificently.

If anyone was up to this specific task, she was. Even more than I knew, because I was unaware of her teaching responsibilities at LAMTA, Luitingh and Alexander’s Musical Theatre Academy in Cape Town that invited Strike to direct.

In her programme notes, she explains that  her  students understood her approach “tackling the very controversial themes – from a physical rather than a psychological perspective – possible, and ensuring that the sexuality, heartache, and rebellion we activated during the rehearsal process always came first and foremost from the body. This was apt seeing that the impulses of adolescence also spring from this turmoiled yet effervescent well. Whether we explored the private agony of self-consciousness; the damage of self-doubt; the wreckage of hormones on both mind and soul; the pain of parents’ inability to accept a child as they are; or the blossoms of sexuality growing their gentle tendrils of yearning and fantasy throughout adolescence …”

Much of the magic is in the movement.

Her mantra was to seek a physical way to manifest these feelings and to create the characters from that specific place.

And even though I didn’t know any of this before watching this production, it was the movement and the choreography that grabbed and gripped me throughout. It was so clever and crafty to use this in both solo and ensemble numbers and even with the very specific movements of the two adults to exactly capture their strictly restrained and fastidiously maintained lives.

I kept wondering who the choreographers were, as they who would have been completely aligned with Strike’s vision because of her very detailed rehearsal process. Not surprisingly, but also with kudos to the producers and director, they picked two of their talented graduates Olivier and Quinzin, who did an amazing job both incorporating and executing their work to perfection. It adds currency and electricity to the performances that translate masterfully.

But that was just the start of the cohesion of the whole. Again the programme notes capture it best when explaining the electrifying adaptation of Wedekind’s Spring Awakening into a contemporary rock musical, which Strike rightly salutes as the key to the current success of the piece. She is convinced (and I agree) that the sheer brilliance of Steven Sater’s lyrics and Duncan Sheik’s music makes the return of this classic possible and heightens the relevance of the themes as long as there are adolescents in this world.

To pull it off though, it needed the razor-sharp vision of Strike, her pinpoint accuracy in the detail and, more than anything, the artists she surrounds herself with, assigning them to their specific fields of expertise. Even though she and designer Griffin had never worked together, she trusted her instincts and tasked him with all three design elements: lighting, costume and set, all of which establish the feel and the atmosphere of where and how the story unfolds.

 It’s brilliant. From the set that transforms with only a few movable parts to the costumes that speak volumes in their simplicity but also carry an underlying theme, as he experimented with the authenticity of the fabric, to the lighting that enhanced what he had already established with the set and the costumes.

All of this would have been superfluous without the right cast. It starts with their youthfulness. Undergraduates and graduates of LAMTA, most were already familiar with the director’s ethos, and it shows. Performances are spectacular and some of the solo moments quite breathtaking.

Spectacular singing with individual tones from Johnathan Conrad and Dylan Janse van Rensburg.

There’s too much to take in and remember in one sitting, but the performer I couldn’t turn away from was the unusual Johnathan Conrad. It needed someone like Strike to cast correctly, but it was as if the theatre gods had handed her a mini Mick Jagger in looks and talent. As the overwrought and picked-upon Moritz Stiefel, his every move, the singing and the presence never faltered  –  a wonderful foil in a complex production.

The love-struck Scarlett Pay (as Wendla Bergman) and Dylan Janse van Rensburg (Melchior Gabor) are radiant as the couple who cannot resist one another, and their singing captures their hearts’ desires magnificently. Another standout was the luminous Noa Duckitt as Ilse Neuman.

Two standout performances from Noa Duckitt as Ilse and Johnathan Conrad as Moritz Stiefel.

The music holds the show and the singing had to soar for the show to come alive. Again, musical director Amy Campbell teaches at LAMTA and wisely she was in charge and harnessed all her skills to get this working perfectly. More than anything it is the individuality of the different singers surrounded by the more gentle ensemble singing (more often than not) that rocks this one.

Finally it is Strike who pulled it all together. You can have all the talent in the world, but if the story isn’t told with one voice, it has diminishing impact.

Strike doesn’t miss a beat. She has gathered artists young and old around her to tell this striking story that affects us all at some stage in life in the best way she knows how. It has purpose, it holds you in awe from beginning to end, and you are engaged in and enraged with these youngsters as they fight for their right to live their way.

I was spellbound.

DREAMY SINGER/SONGWRITER LUNA PAIGE IS ON THE MOVE WITH MUSIC THAT REFLECTS THE TIME

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Stellenbosch singer/songwriter Luna Paige will be in Pretoria and Philadelphia for rare performances to celebrate the launch of two new albums; the one in Afrikaans (Dis die Dors), the other in English (Harmony). DIANE DE BEER chats to the singer whose career she has followed from her early days – with admiration:

Storielied Reunion.Picture: Pierre Rommelare

For singer/songwriter Luna Paige the last few years has been a sharp learning curve. Since her early start in the industry (late 1999), she has been one of the most dedicated artists I know – and she usually does it all herself.

Her first look-in was when she was invited to record three of her songs on a compilation album alongside Lesley Rae Dowling and other female artists at the time. “It is what catapulted me into a music career,” she says. But driven as she is, and one has to be when you drive your own career as she does, she would have found a way.

Since those early days she has released five solo albums and one SAMA-nominated collaborative album. And since 2015, she has released numerous songs digitally  and she believes, she has come into her own this past decade. That is until Covid struck.

She established her own music production company which developed music-driven productions, hosted and organised, concert series and co-ordinated music workshops five years ago. In her capacity at Iluminar Productions, she also represented other musicians and musical groups.

She found herself collaborating with many artists and produced shows such  as Her Blues, Korreltjie Kantel and Smeltkroes. She also played a supporting and promotional role in the popular My Miriam Makeba Story featuring the luminous Sima Mashazi.

Because her business was still young and primarily focussed on servicing art festivals and live entertainment venues and clubs, the pandemic was disastrous as for so many other artists who depend on audiences.

Luna knew it was time to join the workforce and between 2021 and 2024 she worked as a marketer and fundraiser for Paul Roos Gymnasium, a prestige Stellenbosch school. But she’s back in the music business, armed with many new skills and ideas she wants to implement in the music industry – as well as two new albums.

During Covid she had time to reflect, and, coming out of the pandemic, her thinking and that of the world around her, has changed. That is also what her songs reflect; her collaborative intent as well as the fast-paced changes in our society. “The last time I released an album, the world looked a lot different. The digital era is now in full sway. It has affected everything outside of us, but also our own internal way of processing information, and life in general.”

And that is exactly what she sings about.

When you ask Luna about her life, she speaks about the difficulty of packaging herself. “Let’s be honest, I am so many things!” She is a singer-songwriter. She writes in her mother tongue but also in English. She doesn’t compose in a specific genre. “For me, the song, and the story behind it, dictates the genre the song needs to be in. I find my influences from a wide array of genres.”

But then she is also a social worker, an altruist and an organiser. She feels she is a catalyst of sorts. “I know how to bring an interesting group of people together to do great things.” And with those words in mind, I predict exciting performances in the future.

Luna has always had to fight for her place in the industry. Performing isn’t an easy way to make a living. Music is her life, and she has always known that’s where she wants to be. Armed with new skills and insight, she believes that private investment in the arts is essential for its survival. “I believe artists have a huge responsibility to not only expect funds, but to also give back to their own communities. And the causes they believe in.”

While fundraising and marketing something other than herself, she became aware of her own different facets. “I have always seen them as separate things, one not having anything to do with the other. But now I know it’s the combination of these elements that makes me unique.”

She’s excited to explore what she calls “fusion of self”, how it will unfold and the kind of creative endeavours it will lead to.

These two latest album releases also reflect her new-found knowledge, showing the different sides of self.

“My Afrikaans side and my English side. Why? Because I do express myself differently in these two languages. It is interesting to me how I almost have a different voice in each of them,” she explains.

And speaking of voices, Luna also does different voices when she speaks and when she sings. If you have a conversation and have never heard her sing, it sounds like a completely different person.

On her Afrikaans album, Dis die Dors, she pays homage to two iconic poets – Jeanne Goosen and Antjie Krog. Their poems, which she puts to music, touch on the subject of either loneliness or aloneness. “It’s a theme I am quite interested in – especially the difference between the two. The power of the one versus the sadness of the other.”  Both poets, she notes, also touch on our thirst – for something meaningful in what can be a challenging world. “I sing about purpose, about nature’s generous supply of lessons, and about the labels we embrace for our own self-preservation.” She also addresses online nastiness and real-life kindness, and borrowed time.

And as always with the soulful singer, the genres vary from gypsy jazz and world music to folk rock, rock ‘n roll, troubadour-style songs and one typical Luna-style piano rock ballad.

On the English album, Harmony, she included some of the songs released digitally during 2021 and 2022, as they didn’t reach enough people. She believes they deserve a good resting place. She describes the album as bolder in sound and voice. “I am sharing ideas that I have never previously introduced in my music. Ideas about a lot of –isms. In my song Whose life is it anyway I am encouraging freedom of expression, of individualism, freedom from whatever the mainstream demands. In Circle of witches she addresses the sensitivity towards feminism (even from women themselves). “It is a modern take on feminism and why I believe it is still relevant.”

Not one to stand on the sidelines,  Middle Class Shoes  is dedicated to May 29 when we stand in line to vote for our next ruling party. “It is a song about classism – something we don’t acknowledge remotely enough when talking politics in SA,” she says.

Luna Paige. Picture: Nardus Engelbrecht

Real news that feels like fiction, alcohol abuse, the power of owning aloneness as well as her love of the continent all feature. And there’s much more.

What she does with her music is speak her mind. All she asks is that we take the time to listen. And I certainly can’t wait. She has a voice that melts your heart and touches the soul. And she offers wisdom and wit with her thoughtful lyrics.

Much thought and research went into producing these albums and how to package them for this digital age.

What she has decided is to release her music in USB-format.

The 2024-USB will include the two new albums, poster art, lyric sheets and two music videos. The Full Collection-USB, will offer all her releases since 2003, multiple videos and live footage. She will also be selling personalised Luna Paige notebooks – with lyric extracts inside.

Her first performance was in Stellenbosch this past weekend and these two follow in Gauteng and Philadelphia:

Sunday, 14 April. Moonshot Café. Pretoria. 2.30pm. Tickets cost R200 at Quicket. Ticket link: https://qkt.io/tR9Nhd. On stage: Luna Paige and Mauritz Lotz.

Wednesday, 17 April. BV Hall. Philadelphia. 8pm. Pre-drinks and dinner at The Pepper Tree from 5.30 to 7.30pm  (Reservations: (+27) 84 707 3177. Show time: 8pm. Tickets cost R200 at Quicket. Ticket link: https://qkt.io/DAlG8G. On stage: Luna Paige, Mauritz Lotz, Schalk Joubert, Kevin Gibson.

And then she’s off for the rest of the year as she recharges her creative instincts and inspiration. She will be visiting places she has always dreamt of like Italy, Greece, Spain, Portugal and possibly Slovenia. She will be walking and writing, researching business ideas and checking in with artists who work in a social impact sphere.

She will be vlogging for those who wish to follow: https://lunamusic.co.za/blog-and-chat/