LANIE VAN REENEN KEEPS TELLING HER OWN LIFE STORY IN A WAY THAT REMINDS US OF LIFE EVOLVING WITH ALL ITS SPLENDOUR AND HEARTACHE

One of the joys of reading is to discover a writer who appeals to your sensibility and who has you reaching back to discover her whole catalogue. DIANE DE BEER was delighted to find (for a second time in one instance) the books of author Lanie van Reenen who shares her life in all its ups and downs quite gloriously:

When I was first handed Lanie van Reenen’s latest novel with the unusual title Vandagsedag (translated as Today’s Day), something sounded familiar but I wasn’t sure.

I was asked to have a chat with her with an audience in attendance, so I was keen to explore her third book. She’s adamant that she doesn’t do fiction; she tried, and (she believes) failed miserably.

But her unusual life, not strictly planned, was what first started her writing. She kept notes on her life to make sense of what was happening, which started with the disintegration of her marriage – unexpectedly.

To help her get through this painful experience, she wrote her first book, C’est La Vie, which told the story of her French sojourn, dominated by a castle turned into a guest house, which turned into a disastrous enterprise because of the worldwide financial crash, amongst other things.

This was when she discovered the strength of putting her thoughts on paper, which then turned into a book. “I don’t write what I write with the intention of publishing,” she notes. She insists she isn’t a writer. When she simply writes to deal with her tumultuous feelings, she finds it healing. If she should sit down and do it intentionally for a book, her writing feels self-conscious.

Lanie van Reenen, the reluctant yet invigorating writer.

Whatever she is doing, it obviously works. I absolutely loved the writing and the way she engages readers with her life. It is the way she achieves writing about herself yet embracing the world. That and her determination to move forward and on when disaster strikes. She writes well and because of her adventurous drive, she is constantly finding herself in some kind of pickle or another, which she then battles to solve in a way that works for her and harms no others.

In this latest offering, she pinpoints a few themes. Probably the most dominant, is the focus on her mother’s last years. Who of us have not had to deal with that, or will in the future – especially women?

“My mom was blessed because she had five daughters all living quite close to her at the time.” In her case, she was living in Stanford, her mom in Hermanus, so she could pop in quite frequently.

But the daughters were also lucky to have a mother who took advantage of life and the fact that she was still living. On her 90th birthday she jumped from a plane. I’m not sure many of us would do that at any age.

It also explains much of Lanie’s spirit. How could one not embrace life with a mother like that! “She was really special,” says Lanie. But at this stage, her mom knew this was her last season.

And that is how this latest book made its first appearance – or at least the title. “She asked one day when she thought she was ready to let go, ‘How difficult can it be? What else do you have but today’s day? (vandagsedag)’”

Chatting about her writing process, especially one that doesn’t lead specifically to writing a book, Lanie does make An effort to document her life. Whenever something special happens (a wale turns up right next to her while she’s having one of her regular swims in the open sea), she writes it down as soon as she can.

In her younger days she was given a special notebook by a special friend, the late Merwede van der Merwe, a television producer in the early days of local television. This became part of Lanie’s life and one that she has always stuck to.

“I also regularly attend writing schools,” she says, “in the hope that I will actually learn to write. It’s about those of us who feel we cannot write.” Here the participants are given special writing exercises, like creating something about their earliest memories for example.

Busy with her third book, and yet another life crisis she had to deal with, she decided she would include these earliest memories throughout the book to give readers an inkling of who she was as a youngster and then grew up to be.

Lanie (right) and Diane pictured by Janetje van der Merwe.

And because these pieces were written to be read aloud the following day in front of a group of would-be writers, she threw herself into every piece. “Luckily, because of that they were usually well written,” she explains.

“I realized there aren’t that many stories about my adult life I have yet to tell.” And as this was to be her last book, she thought that she might as well go back to the beginning, which she did.

She is still amazed at how she managed to publish three books, which she attributes to her years and years of detailing her own life. “Even if I’m on the road, I will stop and write it down,” she says. And we all know how you think you will remember that last thought before you drift off at night …

The next morning it’s gone and you can’t believe that you let those brilliant words go. Each time Lanie decided she would attempt another book, she turned to her notes. “If you want to heed the discipline of writing a book, you have to make a daily appointment with yourself and you have to turn up,” she admonishes.

Following the reading of her first book many years ago and this last book for our conversation, I also read the middle book which completed the circle. I am convinced Lanie isn’t yet finished with her writing. It has become a part of her life, something she turns to when she wants to make sense of her life.

In the meantime, for those of you who haven’t yet discovered her particular oeuvre, explore and enjoy. Hers is an unusual life and one worth reading about.

THE MAGNIFICENCE OF THE COLOURS OF OUR MARVELLOUSLY DIVERSE COUNTRY SOUTH AFRICA

A personal journey of South African people and places by DIANE DE BEER:

Recently I finally made a dent in my few bucket list items – a west coast/Namaqualand flower trip.

For years now I have been dreaming of seeing this annual phenomenon, a desire I don’t really understand. I’m not your nature kind of girl. As explanation, these feelings have probably been fueled by a partner who feels once you have seen one dusty animal, you’ve seen them all.

I’m not quite that extreme but mostly I rely on others to supply me with these once-in-a-while nature excursions. Of course, living and traveling in South Africa, much of our lives is dominated by nature, and it’s hard to resist. I love spending time in my garden and a few years back, a cousin who is married to a Kiwi invited me along on their Kruger National Park trip. I loved every second.

I was fascinated by the evolution of the park which I had not visited for a few years and I loved going with a couple who travel to this country especially for one of these game park trips. It thrilled me to know that this was one of our best attractions luring many foreign visitors to this country.

Menues and memories at the Springbok Hotel

So when we set off via Springbok as our first stopover and initial sightings of the flowers, I had very specific pictures in my head. It was very different to what I had expected, yet I wasn’t at all disappointed.

I had always thought that the whole area was covered in flowers. I knew certain years were better than others and I have a special friend, Martie-Louise and her husband Albie Hunlun, warm and generous people, living in that area who had gifted us their holiday cottage in Strandfontein and who kept me posted on the date we needed to leave – which we did.

Our first glorious encounter with the Namaqualand splendour was the day we spent on a circular drive in the Springbok environment. It blew my mind and if these were the only sightings to be had, I would have been happy. But I knew there would be more.

The floral splendour of Namaqualand.

Apart from the flowers, geographically this part of our country is quite spectacular. With the sea always close by, the landscape has a constant backdrop and if nature dominates my life in any way, it is the sea that most enchants me. It’s part of my childhood and while I have lived in Gauteng for most of my life, my most dreamy times are always when I go bodysurfing, something I do whenever I have the chance. With this trip both the weather and the chilly seas were a deterrent, but I had known that would be the case.

Our second day filled with the magnificent sight of flowers was in the Posberg area. While the whole Namaqualand area has sightings of flowers, there are specific spots where an abundance is more visible – in my mind’s eye, I thought the whole Namaqualand would be covered in flowers like I witnessed in these specific areas. It was a revelation but no less spectacular than I imagined.

We were blessed in all kinds of ways. The area in which people travel is quite vast, so we were never overwhelmed by traffic or tourists. I suspect because it isn’t contained to one specific area, the adventure is relatively unspoilt and clearly focused on the flowers. All the amenities are available if you want, but Namaqualand hasn’t been turned into a theme park – yet – which could so easily have happened.

The magnificent west coast.

The people of the area are also unique. There is a spontaneous warmth and friendliness in every encounter and while my partner was flummoxed by the absence of his much loved cappuccinos, for me it underlined the charm of this spectacular part of our country which changes into a wonderland annually for a few weeks – and yet, they have kept it as untouched as possible in a world driven by financial opportunity.

Nature at its best.

Because of the distance we had to travel, I expanded our road trip, and our final destination before heading home was at Gert Van de Merwe and Jaco Jansen van Rensburg’s Die Langhuis. In 2020, en route to Cape Town, the couple took a detour and found themselves in Barrydale where they discovered, and impulsively bought, what is now their destination. Die Langhuis has changed into something quite breathtaking by these two creatives.

Gert and Jaco with their doe-eyed Weimaraner Alexia as well as their exquisite enterprise here and below.

I kept in touch with all the happenings around the evolution of their lives moving from the city to the Karoo, Gert’s letting go (almost) of his design business and Jaco managing to create a new hairdressing spot in quite marvelous fashion.

Not unexpectedly, the designer in Gert is unstoppable, yet he has shifted his gaze from couture to something more eclectic combining his love for exquisite objects and fabrics as well as the treasure trove he discovered in India, which they visit regularly.

An escape to dream of and if you’re blessed, experience. Die Langhuis in all its splendour.

All this is displayed in their new joint venture which culminates in Die Langhuis countrystore, café and magnificent bed-and-breakfast country cottages. It’s difficult to capture the essence of what they have created to share some of their new-found Karoo magic with the rest of the world. It’s the ultimate escape in what feels like the lap of luxury while all the time wallowing in the expansive creativity of these two artists, both in their own right.

The magic of Magpie, one of the exquisite treasure troves in a gem of a small town, Barrydale.

You leave Die Langhuius and Barrydale with a feeling of fulfillment, even if small-town living isn’t what you wish for yourself. It is exciting to witness others who have found the lifestyle they were craving without realising that’s exactly what they wanted. When it then turns into something they share with like-minded travelers and allow you to have just a taste of what they lost their hearts to, it’s something more than money can buy.

I’m almost reluctant to share too much of this special little town, but because it is quite hidden and you have to make a very specific detour, they’re probably safe from too much exposure. Keep it in your back pocket for a day when you feel like a breakaway weekend wrapped in a charm that feels as if it isn’t from these harried times.

It’s your chance to do some local time traveling. And if you’re blessed as I am, you will also be meeting some of the best people I know.

HONEYMAN AND HER TEAM CAPTURE THE HEART OF PINOCCHIO AND HIS FRIENDS IN AN EXPLOSIVE BURST OF COLOURFUL DELIGHT

BY DIANE DE BEER

Pictures: enroC photo and video

Piunocchio and his Dainty Dollky.

The colourful panto kids.

PINOCCHIO

DIRECTOR: Janice Honeyman

ASS0CIATE DIRECTOR: Timothy le Roux

CHOREOGRAPHER: Khaya Ndlovu

COSTUME DESIGNS: Mariska Meyer

MUSICAL DIRECTOR: Dale Ray

CAST: Katlego Nche (Pinocchio); Gina Shmukler (Bella Bouboulina – the Blue Fairy); Sandi Dlangalala (Jiminy Cricket (Gepetto Spoletto); Lesedi Rich (Lampwick Spaghetti); Brenda Radloff (Madame Ill’Fortunato – The Fox; Camilla Waldman (Madame Pussy Galore – The Fat-Cat); Tiaan Rautenbach (Dame Arletti Spaghetti ); Mark Richardson (Senor Napolio Strombolio – (Puppeteer/Gambvling Lord/Donkey Pirate); Luciano Zuppa (Fiddelomino – Traindriver/Donkeydealer); Noluthando Mathebula (Dainty Dolly – a puppet); Dale Ray (Benny Basie Blue MD);and the ensemble of 15 performers

DATES: Until December 24 

A colourful explosion.

Oh Janice! Why am I not surprised? This your 38th outing … I think? And you’re still pulling it off? There’s simply no end to your genius, is there?

I know you can do many other shows as well and you have the CV to prove that. But Gauteng audiences simply refuse to let you go.

Not only do you pull it off year after year, you also have the perfect team, led by Timothy le Roux, assistant director, who has introduced his own stage charm to the proceedings as well as holding on to all that panto knowledge you have imparted since those very early years.

Doesn’t matter when you go … as we did on a Sunday at noon. You simply pack them in … young and old, it doesn’t matter, they all love it. And I was sitting in the perfect chair to catch the show as well as the audience. They’re having so much fun it’s almost a show on its own.

The colours capture the emotions of the panto.

And there’s a reason for that. You have honed your skills through the years. You never sat back thinking you’ve made it. With each outing you set the bar higher.

You know how to cast, both the veterans and the fresh young things. They’re all rehearsed to an inch of their lives, yet there’s nothing mechanical. They, it seems, are having as much fun as the audience. Even on a day when they will be back in 90 minutes for a second show, it’s all systems go go go.

Let’s start with the costumes! Those colours simply smash it! It’s bright and cheery with a strong Italian flavour of green, red and white running through, but that’s augmented by the brightest brights so that every one on that stage is shining as bright as can be. It’s as happy as well as hip, which immediately sets the tone and the flavour of what’s to come.

A cast of colourful characters.

There’s the cheery Pinocchio (Katlego Nche) and his perky puppet friend (Noluthando Mathebula), Jiminy Cricket (Sandi Dlangalala) with the exquisite voice, the two foxy madames (Brenda Radloff and Camilla Waldman), so deliciously delightful, old hands Mark Richardson and Luciano Zuppa who skate through a cast of characters with ease, as well as another wise and wittty veteran Tiaan Rautenbach who knows how to dazzle as Dame Arletti Spaghetti – and how could you not with a name like that! There’s also Gina Shmukler’s sassy Bella Bouboulina, the Blue Fairy, and a supporting cast who bounce with the exuberant energy that keeps the audience on their toes.

Through the years the magic tricks as well as the sparkle and splendour have doubled in size and grandeur and expanded with advances in technology, but what Janice has done so magnificently is hold onto the spirit of the traditional panto. 

Every year she enhances what could have become tired tropes. She adds all the necessary and unexpected dazzle, but her brilliance lies in her holding tightly onto the heart.

THE CENTRE FOR THE LESS GOOD IDEA STRETCHES THE ARTISTIC BOUNDARIES WITH GAY ABANDON

Photographer: Zivanai Matangi

“It’s about how we become an ensemble, whether we are performers, audience members, or neighbours. It’s how the city performs itself through us, and also how we choose to perform the city. Johannesburg is a place that requires a collective navigation, a mutual reliance, a particular call and responses.” Neo Muyanga, Impressario of the Centre for the Less Good Idea in Maboneng.

Dancer Thulisile Binda

By DIANE DE BEER

The best would have been to attend all the evenings of the 11th season to experience the full impact of what co-founder and director of The Centre, Bronwyn Lace describes as a multi-limbed, complex organism which she believes is what the Less Good Idea has evolved into. “…our arms reaching into various directions but connected to the same robust body. It makes sense for us to share a season at the end of this year, because we have an abundance of new strategies, forms, and artworks to test, show, and celebrate.”

Pianist Jill Richards with vocalist Pertunia Msani.

And it certainly was all of that, exploding with a sense of creative abandon in two hours of exuberant performance which ranged from the glorious musically driven showcase by classically trained improviser Jill Richards who performed magnificently with the Benin drummer, percussionist, composer and arranger Angelo Moiustapha accompanied by the melodic voice of Pertunia Msaniiwith Marcus Neustetter’s digital storytelling adding yet another dimension to the experience. The musicianship was breathtaking.

It set the tone for what was to come as the audience moved to William Kentridge’s studio to experience a collection of mindblowing artists, starting with the spiritually immersive Vincent Mantsoe, one of our finest choreographers/dancers in one of his rare local appearances. Translike in his movement and tearing at the soul of those witnessing his deep level of engagement, the evening merged from one artist to another as Kentridge stepped from one stage to the next as he expressed his creativity with body and soul.

It was all about the merging of art and movement, Moving the Mark, as the event was titled, exploring the relationship between visual art and dance. What they wanted to achieve was to explore the relationship between these unusual pairings and what would emerge.

Vincent Mantsoe in action with percussionist Micca Manganye

How would the pure art of collaboration determine new creative decisions for an audience to experience and absorb? What happens when a dancer like Mantsoe mimics the ink stains of an artist like Kentridge, or from a different vantage, when the painter choreographs their brushstrokes?

Artist Penny Siopis took to the air in almost trapeze-like fashion, painting her canvas on the floor from up high while choreographer/dramaturg Shannel Winlock-Pailman worked her magic below in mesmerizing fashion, the two artists in total union while expressing their heightened emotions.

All the while, the musical accompaniment captured the experience of the moment, enveloping the audience in the round, some wrapped in black bags to protect them from the explosive expression of art as artists flung paint creatively with fearsome flair.

The Centre for the Less Good Idea is all about the collective voice expressed in collaborative pairings, artists who work in different mediums but have creativity and exploration that binds them, pushing the boundaries, trying different ways of making new work to excite themselves as artists while also challenging and stimulating audiences constantly searching for art and creativity exploring the evolving world we live in.

Curator Neo Muyanga (left) and Kentridge (right, in the left corner) choreographing with brushstrokes while Mantsoe is on stage following the moves.

It’s exciting when artists go beyond the expected, and are given free rein to explore their storytelling genres. How can they beat that drum differently? Given the chance to fail is often the best way to reach excellence but the restrictions are many. And more than anything, it is the encouragement to stretch far beyond the boundaries, to take that leap and to experience the beginning of experiments which are allowed to grow and flourish.

This first sold-out performance of the 11th season proved that the audience is willing and determined to experience artists moving the mark. The rest of the season sounded as extraordinary and my wish would have been to witness the full week of extraordinary creativity encouraged to dare to go beyond the expected.

How blessed are Gauteng audiences (who showed their appreciation) to experience these glorious experiments inspired and empowered by William Kentridge who could have staged them anywhere in the world. Kentridge gives us the opportunity to grow together and to expand our idea of what anything and everything is. Step into the void and see what happens comes to mind.

MAPULA CAPTURES REAL STORIES THROUGH THE EYE OF THE NEEDLE WITH VIBRANT EXUBERANCE

A walkabout of the newly installed exhibition 2020 Through the Eye of a Needle: Remembering the Covid-19 Pandemic in 2025 curated by Julia Charlton, senior curator at WAM (Wits Art Museum), reminded everyone who was present how quickly we move on from events that change the world dramatically. DIANE DE BEER gives her impression of the way women rule the charity world:

 As Professor Brenda Schmahmann — South African art historian and current South African Research Chair in South African Art and Visual Culture (SARChI) at the University of Johannesburg’s Faculty of Art, Design and Architecture (FADA) — was in conversation with Julia, I was again reminded of women and the way they participate in the world where people are negatively impacted simply because of their circumstances, not because of anything they did wrong.

Julia (left) is the one who put the exhibition together, starting with some of the Mapula hangings which had previously been bought for WAM; Brenda (centre) has done research and written a book about the Mapula embroiderers as well as commissioned the first 14 Covid hangings on behalf of SARChI; and Janetje van der Merwe (left) is one of the founding members of the project (instigated by the Pretoria Soroptimists) and someone who is still involved with keeping the project going many decades on.

Living in Africa has many advantages, and for me, one of them is the constant reminder of how the real world functions. Privilege is usually something that is bestowed on you at birth and in a sense with the roll of the universal dice, it could just as well have been the other way.

But listening to these women as they share reflections and insights into the embroideries on exhibition, created by members of the Mapula Embroidery Project, a community art collective of women embroiderers based in the Winterveld and Hammanskraal, I again witnessed the part three women played and in the process changing the lives of many families in the Winterveld.
 
It’s as though the time since Covid passed in a flash, but this year marks five years since the World Health Organisation declared Covid-19 a global pandemic.

We all know how the disease has devastated the whole world. There was the astronomical  loss of life, terrible emotional strain, extreme social disruption and economic devastation. We were also reminded of the impact of so many things in personal lives: first year students who in the end never had the opportunity to experience campus life and live lectures; exacerbating the horror of the high number of deaths, no one could attend funerals which had to happen in isolation; and following that time, we’ve simply had to get on with recapturing some of the life we had lost.

This exhibition on the five year anniversary offers an opportunity to reflect on that time by considering an interactive exhibition of embroidered textiles dealing with Covid-19 and its impact on a community. Without the Mapula project, it would have been an even worse catastrophe for this community and other groups also part of the Mapula family.

When engaging with the exhibition it is clear that the women use these hangings to depict their own lives. One of the first things you notice in the Covid panels for example, are the people featured all wearing masks, a vivid reminder of a time we had to  isolate from others.

The hangings also serve as an historical document of a specific time. Whether it is the floods in Mozambique, the pandemic or even the tsunami in different parts of the world, these events are first captured by different artists in the group and then the individual women get sewing to create these artworks, hence the title Through the eye of the needle.

Other themes that pop up are food parcels during the pandemic, which were made up out of samp, rice and sugar, the absolute basics. Many of the cloths are also inspirational, not depicting what their lives are, but what they would like them to be.

What would we be as human beings without dreaming? “There’s always a focus on positive things,” noted Brenda

Janetje, who is involved with the embroiderers on almost a daily basis, explaining the logistics of keeping this group going. Because distances are sometimes huge due to the past, it takes planning and organizing to purchase the raw materials, get them delivered and establish pathways amongst the women to make it all work and come together.

In today’s hectic lives with family demands another obstacle, many women would have thrown their hands up in the air.

But these three are amazing examples of how women often work tirelessly to improve the lives of people who, but for the grace, might have been any of us.

Go and remind yourself in the coming months. Entrance is free and no booking is required.

It’s an enriching experience which the whole family can witness and enjoy. And along the way, a few lessons are imparted with quite a few fun interactive features, which will get everyone participating.

Museum hours: Tuesday – Saturday 10am to 4pm with the exhibition on until 13 September 2025.Physical address
University Corner, Corner Bertha (extension of Jan Smuts Avenue) and Jorissen Streets, Braamfontein, Johannesburg.
011 717 1365 (Week-days) and 011 717 3158 (Weekends)
E-mail: info.wam@wits.ac.za

WITH A ROBUST PRODUCTION TEAM AND VIBRANT CAST “JOSEPH” IS A RADIANT REVIVAL

BY DIANE DE BEER

JOSEPH AND THE AMAZING TERCHNICOLOR DREAMCOAT BY TIM RICE AND LLOYD WEBBER

DIRECTOR: Anton Luitingh and Duane Alexander

CHOREOGRAPHER: Duane Alexander and Jared Schaedler

MUSICAL SUPERVISOR: Charl-Johan Lingenfelder

MUSICAL DIRECTOR: Amy Campbell

SET, COSTUMES AND PROP DESIGN: Niall Griffin

LIGHTING DESIGN: Oliver Hauser

SOUND DESIGN: David Classen

PRODUCERS: Pieter Toerien and Lamta

CAST: Lelo Ramasimong (narrator), Dylan Janse van Rensburg (Joseph), Chris Jaftha (Jacob/Potiphar/Pharaoh)

DATES: Until the end of September

This iconic musical had its first performances 50 years ago and if we take the current revivals, it’s still going strong. And with reason.

It’s always worth watching what Luitingh, Alexander, Lingenfelder, Griffin and Hauser are doing. They know how to breathe new life into what might have become a tired musical without losing its soul.

It’s a young and exciting cast who are being given wonderful opportunities to shine but they have also been gifted the tools to make it work.

From start to finish, the clarity of what they wanted to present and achieve was clear and that’s a joy to behold.

From the clever and uncluttered design which works in these smaller theatres to the choreography which flows and adds to the energy, everything is thought through and then executed to perfection. There’s just no leeway for things to go wrong.

Even when it comes to the look, it’s the way they have selected the costumes. Many were bought rather than freshly designed and, in this instance, a good choice not opting for the traditional dungerees the brothers more typically used to wear.

The only one that had me flummoxed was the narrator. Ramasimong’s blue jeans and shirt with the oddest jersey/jacket was an eyesore rather than using some imagination. Perhaps just a simple flowing robe would have had more impact. She plays a major role, is probably the one who has the most stage time and yet, she sticks out for the wrong reasons visually.

Fortunately she’s a marvelous performer and soars in her role as narrator. She has an unusual voice and a lovely stage presence. She knows this is where she belongs.

And so do the rest of the cast. One has to start with Janse van Rensburg’s Joseph, after all he is in the title role. It’s quite a responsibility on young shoulders in such an intimate large theatre. There’s nowhere to hide and if you don’t bring the goods as well as the charm, you’re in trouble. Janse Van Rensburg has already proved himself in challenging shows like Spring Awakening and he does it again here. He has a strong voice and a vulnerability that works in this part.

And someone who played his part in stealing some of the limelight is Jaftha, who had fun with his trio of roles as Jacob, Potiphar and in particular Pharaoh, the rocker who has a large moment in the musical which has rocketed other local actors (think Alvin Collison) to fame.

It’s a tricky role, but Jaftha has charisma and sass and was more than willing and able to step into any large shoes.

But as much as there are solo moments, it is a musical that involves the full cast because of the nature of the story – a bunch of brothers, for example – and then you have to balance that with the other roles.

If you’ve lived with a musical as long as I have with this one, it’s not easy to catch my attention. But I was stunned. I have seen a few musicals by this production team and I know they usually deliver. From the casting to the costume (bar one!) to the ensemble performances, the singing, the cast in full, it had a joyous feel about it in what can only be described as difficult times.

As well as the music, which was spirited into the new millenium as only Lingenfelder can do. “It was my third production of Joseph and I really didn’t want to do it,” he says. But when he was given the chance to pull the emphasis back to the story and to make sure everything worked for this time, he stepped on board. And it shows, with a score that’s as familiar as it is musically edgy. It’s something he achieves with astonishing regularity.

With the right people, that’s what entertainment can do in times of trouble. It offers respite and has you singing along with a bunch of brothers who hatch a plan to get rid of their father’s favourite son. An unlikely story but many decades ago a clever collaborating team started a much-envied partnership with this one as their first worldwide success.

And if you get it right, it still works. As it does in this latest version.

THERE’S NO WAY OF STOPPING THE CREATIVE NATANIËL, AN ARTIST CONSTANTLY ON THE MOVE

Nataniël is on the go – again – and it was time for DIANE DE BEER to pop in and find out more about upcoming shows, events and anything else happening in this prolific artist’s life:

What is keeping him up at night and awake at the crack of dawn is the work on his latest podcast series, which has become yet another of his performance features since his first series a while back. Kwessie van die Dag, his brand-new video column, starts on August 4 on Netwerk24.

As with anything he does, Nataniël approaches these latest podcasts with everything he’s got. “It’s as much work as a TV series,” he notes. And for this perfectionist, it is. He simply cannot do things haphazardly, with quality a constant taskmaster.

He is aware that everybody has turned to podcasts and his will be the best. This isn’t boasting because he is genius when it comes to storytelling. There’s no competing with this conversationalist.

It is all about the words which he has to learn by heart – 3 000 a week! They are his words, he has written each one, but then he has to get them tripping off the tongue. While it comes easily, he believes in scripts and knows exactly what he has to do and how he wants it to sound. So while there are many copycats, few can master him at his craft.

I often see pieces written by “Nataniël”, but it’s easy to spot when someone tries to capture his style because it is so unique. And this is where his podcast will pass with flying colours. “I don’t like waffling,” he says as he launches an attack on what he has labelled “electronic pollution”!

“There’s enough rubbish around.” He has an opinion which his followers will be familiar with, but he also loves facts when he is dealing in a specific subject. One of the many hurdles is the battle of language. He will be speaking in Afrikaans and to capture a language in this way is fraught with many pitfalls especially the way we mix our languages in our daily conversations.

It is clear that this is his latest challenge but also part of the excitement that charges his existence.

He is always busy creating and many of the things might seem as though they have a familiar pattern which, if you study them, they don’t. Into that mix, he is also constantly injecting new accomplishments which keep him on his toes.

“Everyone invites me to be a guest on their podcasts.” But for him there is a specific reason to engage with people in this fashion. “I want to address issues and for me it is about inspiration.”

BOEK • BYBEL • BIOSKOOP is the title of the show he is doing with organist Zorada Termmingh, a friend from varsity, together with his accompanist, pianist Charl du Plessis. Knowing something about his creative mind, he will be pulling all their respective talents together in a spectacular bouquet.

We’re in August and it is all about women. Composers, writers, singers, designers, as well as timeless characters from movies, classic literature, Biblical tales, art and theatre are their inspiration in this colourful show full of stories and songs. Zorada and Nataniël have performed on stage many times, starting during their student years. Charl has been his accompanist (apart from establishing his own career as a solo artist and performing with the Charl du Plessis Trio) for the past 25 years. And this is not the first outing for this trio of consummate performers.

It is a one-off in the capital city on August 13 at 7pm and the Ned Geref Universiteitsoord Kerk. The show is 90 minutes (more or less) long.

In September he returns to one of his most ambitious projects, Mass for the Good Princes (recently released on CD), which will be performed in the Cape for the first time thanks to the goodwill of the Atterbury Trust.

It’s a double whammy for Nataniël –  one of both joy and hysteria. This was one of those accomplishments he had dreamt of for a very long time. Writing it was an almost impossible feat with his kind of schedule, and with each performance he has to once again memorise the Latin text, which is a killer.

This will be the 3rd time that he attempts this daunting exercise and while it stretches even his seemingly limitless determination, he can’t resist it. It is based on the classical structure of a Latin church mass with a sacred composition by Nataniël in six parts which includes a prayer for goodness, new leadership and the hope of a new generation. It will be sung in English and Latin with descriptions and translations in Afrikaans.

It will be presented at the Ned Geref Welgemoed Church on Saturday September 20 at 5pm. He will be joined by the Charl du Plessis Trio (Charl with Werner Spies and Peter Auret) as well as organist Ockie Vermeulen, guitarist Luke van der Merwe and the Akustika Chamber Choir led by Christo Burger.

In March this year, Nataniël and Charl celebrated 25 years on stage together and they seal this with a Gala Concert at Aardklop – on October 7 (7pm) and October 8 (10 am) in the University of Potchefstroom Auditorium.

This won’t be an ordinary concert. These two artists haven’t only shared 25 years on stage and many kilometres of travel through the South African countryside for one-off shows, but this was also the start of Charl’s stage career, which has been quite stunning to witness from the start – one he has since established both nationally and internationally – a feat for someone who started out as a classical pianist (one of the most difficult careers to pursue) and accompanist. Today he has a doctorate and is celebrated as both a classical and jazz artist. I can’t wait to see these two face off on stage on equal footing. For those fortunate enough to see one of these concerts, I predict something unique.

Nataniël is already making promises that this won’t be a rundown of what they have already accomplished. They will be celebrating today and tomorrow. “Who are we now and how do we see the future” will be their aim.

“Why would we return to the past? That’s done and we have all been there.” And in typical Nataniël fashion he predicts: “I want to hear an intake of breath when I walk on stage!”

As he so astutely confirms, it will be 70 years of experience when the two of them mark their stage partnership.

While talking partnerships and friendships, one of his closest friends, actress/comedian Marion Holm, will be interviewing Nataniël on his latest book of short stories titled Sweetie. Book discussions aren’t his favourite, but if he has to do it, Marion would be his choice. “She can physically shut me up just by barking.” You’ll have to be there to understand exactly what that means. They go way back and to experience these two like-minded actors sparring verbally, you don’t want to miss that. They’re a scream individually, together it’s an exuberance.

Your ticket will be a copy of Sweetie which can either be bought before the time or at the Exclusive Pop-Up in the book tent. The first 200 people with a book in hand will be allowed into the space, which will be closed off for this event. You won’t be able to listen in on the sidelines. The Sweetie discussion is going to be that exclusive and is happening on October 8 at 3pm at Aardklop.

And it’s not over yet by a long stretch. A photographer who for more than two decades documented Nataniël’s career, Clinton Lubbe, who immigrated a few years back, is back in town for an exhibition of life-size Nataniël pictures titled Parade, another first for Aardklop. Their collaboration has also been running for more than two decades and Nataniël describes Clinton’s camera as a paintbrush, because of the way he creates pictures. They’re not simply pictures, they’re artworks, he notes. “I’m going to be the Naomi Campbell of Aardklop,” he says with a smile and a wink.

Finally, but just for the moment, there’s his latest production, Catch Me, Love, which will be staged at Artscape from November 13 to 16. He is already busy writing, which is unheard of. He usually works on his scripts much closer to his performance than a few months, but looking at his schedule, he knew he had to get ahead.

This one is going to be visually and structurally different to his former shows, he says. And although it is still early days, I know he has already dreamt and planned it in detail. It will only feature in Gauteng in the New Year because in-between there’s the promise of a French countryside holiday, his annual escape (when he can manage) to one of his favourite places, which is what motivates him these days.

Watch this space for fresh announcements or changes. They will be coming …

FRIEDA VAN DEN HEEVER IS A BRILLIANT ARTIST WITH A MISSION WHO KNOWS HOW TO STAGE A MESMERISING SHOW

Frieda van den Heever is an artist who understands how to communicate and how best to express herself and show her world on stage. DIANE DE BEER shares some of the artistry of this amazing woman who will be performing in Pretoria for the first time this week

“What we love about music is not that it sounds good. What we love about music is that it sounds inevitable. It’s playing the thing that we all know is unfolding. Whether we want to accept it or not …”

Jon Batiste (American Symphony)

This is the quote artist Frieda van den Heever sent me when we started a conversation on email.

I became aware of her as a producer. She was mostly involved with poetry-driven productions, but what I noticed was the sensibility of what is a very tough stage production.

How do you get people to attend poetry productions at a festival where there is so much on the go? But she did and she knew how.

She describes herself as a novice who preaches, because she studied drama not theology. She explains that in Springbok, where she grew up, they called it people’s church when a normal person preached because the preacher couldn’t be there.

“I have been doing it for almost 14 years, and no one has ever asked for my credentials,” she says. Having encountered her on stage, I understand why.

She is part of InVia congregation in Cape Town and describes this community as a group of people who love music and people. Her father was a minister and while she spent most of her free hours as a child in his study rather than on her own, she never thought that she would either enter the church or become a musician like her mother. “I had spent enough time in churches with music in my ears for a lifetime,” was what she thought.

Still, when she read something impactful she always caught herself speaking rather than just reading that passage. She simply couldn’t escape and then there was a time when she didn’t want to any longer. It has always been a juggling game, because it wasn’t something she could practise fulltime. But she missed theatre.

She believes in the power of stories, fables, poetry and metaphors. “Both theology and theatre navigate a place beyond knowledge, something like mysticism, and tell stories that often hold warm truths rather than cold facts,” she explains.

The part of her work that she favours most is what she describes as “accompanying rituals”, including marriages, funerals, christenings and the like. She regards it as her calling to add to the honouring of these events. It’s not that she participates only in religious ceremonies; she is often involved when people aren’t particularly interested in a church but still have a need for some kind of ritual which they share with their loved ones.

She also presents talks and retreats for congregations or groups of people who approach her. These are creative workshops specifically for women, but she stresses, “it has nothing to do with pancakes, crochet and tea parties.”

She knows these certainly have a place, but for her it is about togetherness, breathing, chanting, laughing and crying.

That’s just the beginning of all her activities. She is also involved in yoga and the transformation that ensues and has a deep fascination with people and how they struggle and survive. And while she would have loved to study psychology, a lack of time made her opt for an intensive 14-month course in integral coaching which will be incorporated in her other work.

And still, she keeps going. Once a week, she travels to Stellenbosch, her alma mater, and teaches cabaret facilitating the practical execution and texts of the honours students in the US Drama Department . As a student of the legendary Marthinus Basson, she is delighted that she can pass on her experience to a younger generation.

There’s also her radio work which started on small scale, but her talents were quickly recognized. And she still benefits from her innovative moves during Covid which resulted in her producing programmes in the basement of her home.

That led to her producing most of her radio and television work in her home. It means that she doesn’t have to spend too much time away from her children and allows her to do much of that work early in the morning. “It all happens before the children and the cars have to wake,” she says.

I’m breathless and haven’t yet come to her performance, which is really what I want to promote.

On Wednesday at 7pm, Frieda will be performing at the Fairtree Atterbury Theatre in Lynnwood, Pretoria for the first time in a magnificent production, Spoorsny (tracking) .

“I really went into grief. I sensed that I had to go in if I wanted to come out. I don’t mean that I’m perfect now, but I’ve been through the perfect storm and that moulds one to find more light because I was mining the darkness. I can sense, I almost want to say I can smell light and when I sense it I look for it everywhere. The material for my debut album came from a show I did on what would have been the night of Leon’s (Kruger) 50th birthday. (He had died very suddenly in 2021) I saw the Woordfees was during that time and I didn’t know on which date I was going to perform and then when they sent me the date, I went for it to really celebrate him with this work and this script. I could have gone to sit somewhere in the quiet and the dark which isn’t wrong, I have done it. But for that night I wanted to share what was left of me, so that it could multiply and I’m grateful for that.”

Frieda van den Heever – Spoorsny: Frieda van den Heever – Spoorsny – Seatme

Her previous productions as director, Die Poet – Wie’s Hy?, Die Oerkluts Kwyt and Met Woorde Soos Kerse all shared a particular sensibility that made me aware of a rare director at work. She knows she didn’t have the technical experience, but her affinity with poetry and performance outweighed anything else. I didn’t notice any imperfections with any of those mind-blowing shows.

She works with love, a fine-tuned ear and excellent evalution. Also, part of the package was a childlike “unknowing”, an unwavering belief in the collective intelligence and the process, endless curiosity as well as an excellent production team and artists. Her motto was to always be present in the process. Whatever the requirements, it worked.

If you’re crying halt, there’s more. For 10 years she has been involved in a process with farm workers who boast magnificent voices. Each year she selects 10 of the best and offers them the opportunity to learn and to show off their talent. “I try to bring each individual something, give some of my experience, but I can’t teach them anything about singing. I have worked with voices that compare with the best in the world and it is a burning passion to create more platforms to showcase these voices.”

Her own musical talent, writing and composing songs and performing, has never been the only thing she wants to rely on to make a living. She wanted to be a free spirit when going on stage.

She is much more of a homebody than someone who wants to be out there but she also has a need to be challenged by the alchemy of a live performance. She obviously has a blueprint when she goes on stage, but she also reads the room and has the talent to shape her performance in different ways.

If she had a choice, she would write songs, play music, dance and jam with other voices and instruments all day long. “That feels like the best and most unvarnished version of myself,” she concedes.

To my mind, that is exactly who we watch and listen to during a performance of Spoorsny.

But let me give wordsmith Frieda van den Heever the last word: “The sudden death of my husband in 2021 and the impact of mortality and loss give perspective to everything I do and am. I am much more than a widow and single mom, but it gives context to my decisions and relationships, the spaces I find myself in and how I engage with people. The raw material which emerged in my debut album Skoonveld and formed the platform for the stage show Spoorsny as well as the anthology (published by NB) ‘n Asem Lank says everything about my search for meaning and light.”

ANTJIE KROG, AN AUTHOR WHO SPEAKS HER MIND

When you have one writer in the family, I would imagine you feel blessed. Two? Perhaps not so much but someone who makes a meal of this is ANTJIE KROG who in her latest memoir writes about the relationship between her and her mother, the author Dot Serfontein. DIANE DE BEER started out reading the English version, followed that with the one in Krog’s home language and then listened to her talk about the book:

It’s a personal thing, I know, but if I can read a writer in her home language, I do. And again I was proved right with Antjie Krog’s latest offerings, Blood’s Inner Rhyme or the Afrikaans version Binnerym van die Bloed, which she describes as an autobiographical novel.

Because I write in English, I thought it might be easier to read that version, but after hearing her speak, I knew I had to get my hands on the Afrikaans book. It’s the way she Krog uses the Afrikaans language which enriches the reading.

If I didn’t have the option, I would have given the English a similar review, it’s simply that the Afrikaans introduces a different heartbeat.

Even in the best pairings, mothers and daughters have complicated relationships. When you are competing with one another even if that’s not the intention, which I’m sure it wasn’t, it’s going to be tough. Add to that two headstrong women who arguably stand on opposite sides of the political spectrum, expect fireworks – and that’s what you get.

Women all have mothers, that’s obvious, and some have their own daughters. All of us know the intricacies of that relationship – and that is when it isn’t public. Writing for an English newspaper, I wasn’t part of the Afrikaans writers’ circles and even I, not your natural gossip girl, heard rumours. And that’s where I admire Krog for doing this extraordinary book.

Antjie Krog, author extraordinaire.

Both of these women are celebrated writers who lived their lives in the spotlight. To then delve even more publicly into that life must have been an excruciating decision. And then to travel the country as one does to promote the book – what extraordinary courage. It reminds me that artists sometimes don’t have a choice, it has to come out. And usually it is the reader who benefits.

Thanks goodness Krog decided to write about this often fraught, sometimes fragile but also intense relationship. I can only guess that while sometimes devastating it must also have been therapeutic and the way to mourn and celebrate what she once had. Death has a way of shining a new light on something that was just too overwhelming to observe as it was happening.

For those of us ageing ourselves who have also shared a close relationship with a mother in her last years, it is especially meaningful. My eldest sister booked my parents into a retirement home which was on the way home from my work and I could pop in as often as possible without any inconvenience. I coped with the sometimes-daily trauma of witnessing this ageing process by communicating with a third sister who could only get the news via whatsapp or email. It was a lifesaver.

I could appreciate the daily diary of Krog’s mother’s most basic needs. That is in fact what happens when people age as we are forced to focus on the brutal minutiae of their lives. For example:

Night report:

20.00 Medication. Pt (patient) didn’t want to drink half a sleeping pill. Wanted a whole one

22.45 PT said her toes hurt. Applied Turlington + gave another half sleeping pill

00.30 Pt wanted another half sleeping pill. She was uncomfortable. She wanted to get up, I had to hold her by the sides. Pt wanted to make food. Pt was angry that the freezer had no meat.

These diaries were kept day and night – every day and night. It constantly reminds one of the process that is unfolding. As Krog tells it, focussing on her mother’s “excrement which happens daily is to own that which is being rejected, that which is such a part of her waning existence, her body’s extremities.” Krog who tells things exactly how they are explains: “There’s actually a very profound thing about shit,” she says as she captures the importance of change as life starts running out.

In full flow.

Yet there’s so much more happening around the family. It is an especially fraught time for farmers and for Dot Serfontein the family farm represents who she is. It was her inheritance. For Krog, even though she has similar bonds to the farm, she also knows and is burdened by the privilege it represents – something in this country that was often at the cost of someone else.

It is fascinating to read and witness the lives of different generations, especially in that time when everyone in the country knew things were going to change dramatically. She acknowledges that the relationship between mother and daughter is complex. In this family and between this mother and daughter perhaps even more than most.

While Krog is at pains to write about this sometimes combative relationship, it is also a celebration of Dot Serfontein, who she was and what she achieved with her writing. This is where and how Krog first discovered her words and both she and her readers have benefited.

There are so many stories captured in what can be described as a memoir. Having lived through the ageing process of my parents, that is what drew me to the writing. One learns so much about your own mortality, growing old gracefully and celebrating life whatever your age.

And thus her mother concludes only a couple of chapters into the book: “I keep all your letters,”  she writes to her daughter. “One day you can compile us in a plundered book like Audrey Blignault’s daughter. Initially I wondered whether the sudden revival of my oevre was thanks to you, but when I saw so many Dot Serfonteinisims in your work and some of our private family phantom(b)s, I thought we constitute each other.”

Having lived in each other’s shadow most of their lives, it couldn’t be any other way. That is what this astonishing writer captures so magnificently. Yes it is about a mother and daughter, but there is so much more. It’s insightful, entertaining, both sad and extremely funny, and even historical in many instances. But what captured my heart was Krog’s writing. She has a way with words that is unequaled.

THE GOOD WHITE IS THEATRE THAT TELLS IT LIKE IT IS, WHICH IS THE MIKE VAN GRAAN WAY

DIANE DE BEER reviews the latest Mike van Graan play

THE GOOD WHITE

DIRECTOR: Greg Homann

PLAYWRIGHT: Mike van Graan

CAST: Shonsani Masutha, Russel Savadier, Vusi Kunene and Renate Stuurman

SET DESIGNER: Patrick Curtis

LX DESIGNER: Themba Stewart

COSTUMES: Nadia Kruger

VENUE: Market Theatre

RUNNING TIME: Until June 1

Pictures: Ngoma Ka Mphahlele

Pair the title with the four characters on stage – Vusi Kunene (Black, pictured right), Russel Savadier (White), Renate Stuurman, (Coloured, pictured left) and Shonsani Masutha, (Black, centre front), — and, in the South African context, sparks will fly.

That is what Mike van Graan’s latest play leans into. He says in the programme notes that he hasn’t written anything but solo shows since 2018 and it feels as though this one has been bubbling under and then just exploded – in the best possible way. It’s an epic piece of writing which will have you gasping as he appeals to each one in the audience, whoever they are, to grapple with the issues – our inner core – of South Africa.

While Nelson Mandela did many things for this nation, coining the phrase Rainbow Nation was arguably not one of them. It is as though he constantly reminds us what we are not, but if you were part of the opening audience on what seemed to be a quiet Sunday afternoon in the theatre, you would have witnessed that we could be.

The perfect quartet: Vusi Kunene, Shonsani Masutha, Russel Savadier and Renate Stuurman.

The audience pretty much reflected the mixed bunch we are and from the deadly silence following the first poem of strength recited by the astonishing Masutha to the immediate participation during the rest of the play, it was as though there was another solo performer on that stage – the audience.

It captured the heartfelt emotions Van Graan has always been able to harness as he tackles the South African nation. And no one does gloves-off like this playwright. Setting the play in academia, he has chosen his boxing ring and then selected his characters to represent every foible in the human race, it felt like. And then he lets them rip.

As always, he doesn’t hold back, everyone and each weakness is held up for scrutiny and the constant audience gasping and finger clicks told you how he hit the mark throughout the play.

Through the years Van Graan has been honing his very own way of dealing with what he views as our fatal flaws and this time it feels as though he has unleashed it all in glorious colour. 

It might sound like something you don’t want to hear or see but, because South Africans will all relate to everything, it’s like witnessing the full South African story from Once Upon A Time …Prejudices in all their pitiful hostility, power plays, colour bashing, gender gore, poor vs privilege and the list is endless. He plays all those cards to their fullest.

Those who know his work, also know that he can write and he has never been scared to speak his mind. He does it to the Department of Arts and Culture and he does it on stage. When he has a platform, he steps up and tells it like it is and believe me, he is one of the few who speaks his mind unabashedly whenever he can.

He has been maligned to the high heavens, but nothing has stopped him. And finally, to my mind, here is his magnus opus and it is flawless and delicious to witness. And when (not if) you go and see it, I hope you have the same audience we had; it added to the fun and spectacle of the drama.

Add the director and the cast to complete the perfect coming together. Homann allowed the Van Graan words to do the work, which was the best thing to do. It should be unfettered because you really have to engage and listen to get the full extent, which here you do.

The cast delivers magnificently. I didn’t know Masutha’s work but she made sure I would never forget her. What a performance! From start to finish she’s there with all her energy and might and that’s what her volatile character needs. Stuurman is an old favourite and to my mind, this is her best performance yet. Savadier and Kunene also fit the bill and, as seasoned actors, they never put a foot wrong.

It’s a play I will try to see again towards the end of the run, because there’s just too much to take in at one sitting. It’s something — even though it doesn’t sound like it — that gives hope. If, as Van Graan suggests, this is exactly who we are, at some stage togetherness will take hold. As for now, we are still that dysfunctional family who needs a stern word to set us on the right path – and this is it.

We want more Mike please!