AFROBOER – A CELEBRATION.TEN YEARS ON.WITH AN EXPLOSIVE FUTURE AHEAD…

By Diane de Beer

When I think of Afroboer, I think about the people and the place first.

Simply the best.

It is the way owner Michelle Cronjé-Cibulka(above) has embraced her food empire or, as she names it, a baker’s café (including the deli and coffeeBAR), and grown it from its early beginnings.

It’s not a pop-around-the-corner kind of place for most people, you have to get into your car and drive there.

And it’s always busy and buzzing, but fortunately with many nooks and crannies and a spot for everyone. You can sit surrounded by people all doing their own thing or you can slip away somewhere quiet if that’s what you prefer.

We have to start with the people. From the start Michelle had a specific ethos. It’s wasn’t the easy route, but she knew it was the only way for her. She handpicked her staff and trained them to present the personalities they are today.

At work: Ignecious Makena (chef-in-training); Merveille Kapinga-Luis (Pastry Chef); Jefrey Masimula (chef-in-training)

They know what they’re doing, they do it well and this keeps the place humming. But that starts from the top with a heartbeat that has all the right rhythms.

Everyone will have their favourite spots and I will always think with fondness of a time during covid when they could start serving take-away coffees. I found a special corner in the garden where I could catch my breath and drink my coffee. It kept me sane.

My feathered friends.

Outside always steals my heart and I suspect it has much to do with the chickens who come out to gaze. They have such mesmerising impact.

The surroundings are exquisite and the atmosphere calming even though there’s a constant stream of people coming and going.

But none of this would matter if the food wasn’t their strongest feature. Everything else is a huge bonus but the menu is what truly makes a place sing.

Breakfast is king.

The name is a big clue. For breakfast I yet have to move past their Eggs Benedict, but my heart also misses a beat just from the descriptions: creamy Plain Baked Whiskey Oats or Plaasbrood French Toast, for example.

Michelle has learnt to bake bread from the best (in Knysna!) and her imagination keeps you intrigued as she is always thinking ahead with plans that reach for the stars – as they did right from the start.

Croissants freshly baked.

In the winter chill, Ertappel Sop or Lamb-shank and Tomato are equally enticing, but when I glance at the salads, Oh my Goodness Grain and the Rainbow Plant also grab my attention.

You have to be extra hungry for a hearty Pulled Pork Panini or Shredded Lamb on Whole-wheat.

And if you haven’t yet landed in trouble with their sweet delights, you’re stronger than most. Stay away from the baker’s café if you don’t want to indulge but make the time to discover your own favourites. It’s also ideal for gifts, beautifully presented, there’s much in the deli which can be collected for friends and family who need a special something.

Afroboer is where I come when I want good food, comfort, and the best place to have a conversation with a friend. Your time can be as long as you want it to last. In today’s fast world, it’s lovely to find that sweet spot where people welcome you to stay as long as you wish and to linger to your heart’s desire.

Do I know and adore Afroboer and Michelle. Of course I do. She easily won me over these past 10 years. She and her place stole my heart because of what she does and how she does it – all of it. And I’m constantly surprised at how she has expanded and grown her vision.

I also know, for her this is but the beginning. There are many plans on the cusp of being implemented and there are ideas still swirling around as they’re being fine tuned for the eventual reveal.

In the meantime, if this is what the first decade has delivered, I can’t wait for the next one!

THE DELICIOUS TEAM HAVE THEIR IMAGINATION AND CREATIVITY IN FULL SWING FOR THEIR SPECTACULAR LANDJE 46 SEASONAL LUNCHES

By DIANE DE BEER

PICTURES: Your Chapter Photography

If you haven’t been to a Landje 46 lunch magnificently presented long table placed under trees, get together a party of friends or family and go.

The chefs are Rachel Botes assisted by Lulu de Beer, and these two women are magicians in the kitchen.

Whenever I read a Rachel menu, I’m already intrigued. She has an imagination when it comes to food that gets those tastebuds jumping.

Let me tell you about the last one. Always held on a Sunday (starting at noon) Landje 46 is out Lynnwood way almost opposite Lombardis, 2 kilometres on the right hand side from the Solomon Mahlangu crossing.

This time the delicious team started with a first course of what might have read like nibbles, but there were four of them, each with a different Creation wine which was the beverage du jour

In fact, on arrival, the welcome drink was the celebratory Elation Cap Classique (MCC), a real treat.

There was a degustation of macaron with a papaya filling (trust Rachel to set the tone of the day with a splash of her favourite colour) paired with sauvignon blanc; followed by a curry meatball flavoured with Cape spice and enhanced by the Viognier; and then a Norwegian salmon fishcake with wild mushroom ragu and a pinot noir; and completed perfectly with a crusted beef fillet carpaccio and a swish of merlot.

Rachel has always been a pairing queen, and this was no different. In fact, each event is with a different winemaker which then also determines that particular meal.

Thick roasted pear soup, a fruit she favours, was the star of the second course served with a chardonnay which worked extremely well. And then followed the yummy warthog tagine with flatbread with Syrah Grenache and what I found fascinating was the gentle taste of the warthog, which should be popular with even those who aren’t adventurous carnivores.

In conclusion, she served an apple cake with a slice of brie with a Creation Blend. It was a perfect meal with a slight Malay theme going and every mouthful was delicious.

Personally, I always grab the opportunity to sample a Rachel taste explosion.

I have always liked the way she does food. She’s adventurous without being extreme and her flavours are always so intriguing.

One of the joys of her cooking is that you’re constantly learning, which is something that I have always cherished when it comes to food. Macaron with papaya filling? Really? Not only pretty, but once you taste, also delicate and delightful. And then to serve it as part of the starter course? Genius!

Here are the details of the next event, this coming Sunday. You won’t be sorry:

Tables

Marliese van der Linde whose brainchild the glorious Landje 46 events are, with a niece and a few gentle family friends.

Every first Sunday of the month

SEASONAL MENU designed by Rachel Botes from @original.delicious finely curated to enjoy with wine recommendations by Vergelegen Wine Estate.  

6 AUGUST at 11:30 FOR 12:00 

Live acoustic music 

R 650 per person R 200 for children under 12 (Margarita pizza & ice cream)

Limited space available

BOOKINGS ESSENTIAL
Email: landje46ongraham@gmail.com
Whatsapp: 083 250 4007
CASHLESS OR SNAPSCAN
BAR AVAILABLE to buy WINE, SODAS and BARISTA Coffee (from their famous coffee truck)

With this event’s wine partner, Vergelegen, it is part of Rachel’s challenge, but also the fun part of the event, when she starts working and playing with her imagination to come up with yet another perfect meal – and believe me, she always does.

This time the starter consists of shredded duck confit rolled in vine leaves, baked in pizza oven and drizzled with lemon sauce. (I could go just for that.)

Ice cream for the young ones and coffee for from the coffeetruck for the others as the perfect finalé.

The second course is a Mediterranean-style fish soup with the classic combination of fennel and orange served with a red pepper rouille and baguette (contains no shellfish).

Main or third serving of the day is African chicken cayenne served on spicy eggplant purée, oxtail pie with warm aromatic spices, red wine, orange and dark chocolate with seasonal vegetables.

If this doesn’t get all the juices flowing, her fourth course is one of Rachel’s magnificent specialities: a tasting of goat’s cheese nougat made with nuts and apricots.

To conclude what sounds like fantastic fare, a red wine cake will be served with guava ice cream.

Having been to two of these lunches, I know the quality of the space, the food and wine, and the ambience. It is something extraordinary, in my book. Gather a few of your favourite people and book. Take the day off, go and have a leisurely lunch under the trees, and get the uber ahead of time because the wine will be flowing – and enjoy.

We are blessed in Tshwane to have a handful of excellent chefs and Rachel Botes with her creativity and imagination in full swing (assisted by Lulu de Beer) is one of those.

WHILE SHIMMERING IN GLITTER AND GOLD NATANIËL WILL BE TRIPPING THE LIGHT FANTASTIC

DIANE DE BEER talks to Nataniël about the few weeks ahead…

After an absence of several years from any Johannesburg theatre stage, Nataniël brings his award-winning show, Prima Donna, to the Teatro at Montecasino for five performances only from August 17 to 20 at 8pm, with a matinee included on the Saturday at 3pm.

And while this is a show which he has performed before, it is a new staging with new stories or old ones updated and even the old songs have new arrangements.

Over  the past few years Nataniël has written and staged more than 13 productions not seen in the Johannesburg area, and extraordinary moments from these shows as well as brand new material has been put together for five unforgettable gala concerts.

And, if you should wonder, naturally the costumes are all new, created by Floris Louw.That’s just who Nataniël is. But he’s nervous. This is a huge theatre, and even if it is similar to the seasons he used to stage annually at Emperors, he was familiar with the audience.

This time he doesn’t know because he hasn’t been in Joburg for some time. But those who know his work, won’t want to wait to buy tickets. His trademark stories will be in English and Afrikaans with songs in English.

(Book at SeatMe).      

In this tale as the title suggests, he is dealing with prima donnas. It’s a touch of fantasy, a dash of humour, some sadness, and as a reality check, a take on history, family, failures, hope  and modern society.

“We all know these drama queens, know how they operate and what they’re capable of. But we indulge them, their behaviour becomes worse and only death can release us,” he warns.

Charl du Plessis Trio will join him on stage for both shows with other musicians in tow. Pictured are Werner Spies (bass), Charl du Plessis (piano) and Peter Auret (drums).

He knows he also has that reputation, but his demands are about performance and what he knows he needs on stage. “I never fight, because I don’t like confrontation,” he says.

Never able to resist raising an eyebrow, he adds that he always believed one of the perks of success was being difficult!

“We hate them so we would rather do without them,” he says. But, in case you start taking all of this seriously, he says he chose the title because it looks good on the poster!

See what an interviewer has to contend with.

Vocalists Dihan Slabbert and Nicolaas Swart

But before you lose patience, he includes one of his elaborate and irresistible descriptions: “If Sarah Bernhardt, Maria Callas and Isadora Duncan had a child, it would resemble my costumes!”

And, he adds, a touch of Florence Foster Jenkins.

His music he describes as a combination of the dramatical and accessible. “I sing many of my own songs and familiar old songs.”

With him on stage is Charl du Plessis who now travels with his own Steinway piano (and that’s a whole other story) Luke van der Merwe (guitar), Marcel Dednam (keyboard), and Werner Spies (bass), as well as Dihan Slabbert, Wiehahn Francke and Nicolaas Swart on vocals.

Having a final word, Nataniël notes that the show is vocally driven. “That’s what a prima donna does!” He’s been waiting for this one for 12 years. “I’m ready for that farewell concert,” he says.

And the force with which he speaks is almost persuasive, but I know about his addiction – performance –  and he’s so good at that!

For those who are looking for something completely different, there’s a second concert of Afrikaans in Styl on September 9 presented at Sun Bet Arena in Times Square.

This time the artists included on the bill are Spoegwolf, Elvis Blue and Corlia.

“I’m the headgirl,” says Nataniël who will be staging the show. “It’s rare that artists are given a free hand to stage their own shows on this kind of platform,” he says, excited by the prospect.

Nataniël and Spoegwolf in a different kind of performance.

And if you’re not familiar with some of the performers, he explains it thus: Spoegwolf brings the war, Corlia brings the notes, Elvis, the smoothness and blues, and he brings the sequins.

The performers will almost exclusively be performing their own songs. “I love that. It’s rare that someone like Corlia who has such a huge voice is allowed to get away without singing Barcelona.”

Perhaps this time. It’s up to each one individually what they wish to perform.

He is also thrilled that this is a once-off. It won’t be filmed. If you’re not there, that’s it.

“The performers are all people who regularly perform in theatres.

“People must come and see. It will be new and not commercially driven. The artists will be adventurous with their performances and the staging will be daring.

“As artists (and audiences) we need to step out of our comfort zones when we go to shows. It’s a time for rebirth and venture.”

He always keeps in touch with what is happening in the rest of the world because it takes a time to reach our shores.

“We’re all ready to try new things!”

And why not.

“This time my brother won’t be hiding backstage. But we might have one or two surprises up our sleeve.”

Book NOW at www.webtickets.co.za

And talking about that, Nataniël also has a new Christmas book in shops in October.

The title is Help, Help, it is beautifully packaged with a special cover for the festive season, and once you’ve seen it, packed with unpublished Afrikaans and English short stories, your Christmas shopping will be done.

And still there’s more: Rome 62 will be staged at Atterbury Theatre later in the year, a new Mis will be performed at Aardklop Aubade in Pretoria and there’s the annual Christmas season also at the Atterbury Theatre.

And even then he’s not done. But we will wait for the final conclusion to his year.

In the meantime,  he’s busy on stage – performing.

ARRESTING PORTRAIT OF A WOMAN OF SUBSTANCE WITH ACTOR MPUME MTHOMBENI AND DIRECTOR NEIL COPPEN THE PERFECT TEAM

DIANE DE BEER reviews:

Mpume Mthombeni as Zenzile Maseko

PICTURES: Val Adamson

Isidlamlilo/The Fire Eater

Presented by The Market Theatre in association with Empatheatre and the National Arts Festival

Workshopped by actor Mpume Mthombeni and director Neil Coppen from an oral history project on migration

Dates: Sunday 30 July at 3pm, 2, 3, 4 August at 7pm and 5 and 6 August at 3 and 7pm

Our first encounter with Zenzile Maseko (Mthombeni) is in her women’s hostel room. She is a grandmother, partially disabled, who has just discovered that Home Affairs declared her dead two years ago. That’s why she hasn’t been receiving her grant, which would enable her to build her dream house in her childhood village, iPharadise.

What might have seemed to those of us looking at a woman, ageing, alone in a room with probably all her worldly possessions, as a small life is given towering proportions as this magnificent Shakespearean monologue starts spilling forth. All of this takes place in the midst of a nightmarish storm, which recalls the recent KwaZulu-Natal floods as well as the stormy life of Zenzile, who is being purged through this devastating, often delirious unfolding of a life of one of millions of similar women in similar circumstances in this country.

Few of us would even handle one of these events that seem to consume her whole being as the disasters roll in and out with regular intervals. Just the word Home Affairs is enough to draw sighs of despair as we think of the rows and rows of people seen in a distance on a monthly basis as they wait to collect their grants, which is often the only lifeline for an extended family.

But Zenzile has courage to fall back on and draw from as her life could not have been more dramatic.

And that’s just the broad strokes.

Yet, more than this epic life story that seems to span many lives, generations and cycles of violence that feel never-ending, is the performance by the magnificent Mthombeni. She transforms Zenzile in a matter of minutes as she draws on all her skills to explore this heart wrenching embodiment of a woman whose life depended on her being a warrior.

And that she is as she rises through each crisis that becomes her life. She simply has to survive. Nothing has been brought on by her own actions or even who she is. It is simply the way people are discarded and ignored as they battle their every daily task.

Few of us have any idea how most of our people live. We think loadshedding is our biggest struggle. For many electricity is but a dream.

Zenzile brings all of that to the light as she creates her own Lear, battling her fraught life as well as the elements. It is an awe-inspiring performance which takes you on an emotional endurance race that’s hugely exciting to witness but also daunting to compute.

Brilliant lighting design by Tina le Roux

Her performance is enhanced by the text and the way she grabs hold of it, workshopped by Coppen and Mthombeni, who never lets up, as well as the staging which is achieved with spectacular lighting that brings a magnificent intensity.

In the publicity it is said that some have referred to this as a modern day South African classic, I can see why. It’s startling yet stunning theatre which explores invisible South African lives and gives one such woman a platform.

THE RISE AND FALL OF PHYSICIST OPPENHEIMER FROM HERO TO HINTS OF BEING A SPY AND TRAITOR

DIANE DE BEER

The stars of Oppenheimer, director Christopher Nolan and Cillian Murphy in the title role

OPPENHEIMER

DIRECTOR: Christopher Nolan

CAST: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey JR, Florence Pugh, Josh Hartnett, Casey Affleck, with Rami Malek and Kenneth Branagh

VENUES: Check the IMAX cinemas in your vicinity

It’s been quite a happening at cinemas around the country (and I think the rest of the world.) It’s even been given a name – Barbenheimer. That refers to the two new movies recently opening on circuit, Oppenheimer and Barbie.

And yes, they couldn’t be more different but for some reason they have both gripped the imagination of cinema goers. Having just seen Oppenheimer, I can see why. Barbie is a more obvious box office hit because apart from a particular phenomenon, the producers have embraced a huge audience with the choice of Greta Gerwig who is regarded as one of the smartest young directors around.

Cillian Murphy is brilliant as Robert Oppenheimer.

Oppenheimer is the one that interested me first and perhaps as much because of the hype but also the director Christopher Nolan. And this was to me the biggest surprise.

In short, the film focusses on physicist Robert Oppenheimer, the man leading, cajoling, inspiring the scientists taking part in the top-secret Manhattan Project where years were spent developing and designing the first atomic bomb. What makes this so fascinating is that the film deals with the man who lead the team rather than spotlighting the bomb and how that was developed.

But also, Nolan’s approach caught me by surprise. There are challenges which includes the length of the movie which is three hours. That’s quite an investment – but take it.

Cillian Murphy and Frances Pugh in the roles of Robert Oppenheimer and his passion Jean Tatlock

More even than the facts surrounding the film, it is the film itself and how it was made that truly knocked me sideways. Sometimes the frames move so fast that one conversation moves to a few destinations in one sentence. And it happens seamlessly.

Nolan must have done a ton of work before filming even started. Every frame is a small artwork and the whole rushes by without time being an issue. It’s magnificent.

It’s also a huge bonus if you could see it in an IMAX because of the way it plays with the enormity of the first atom bomb , the explosion and the sound that all of that will produce. But everything with the emphasis on the enormity of the event and how it will reverberate through time. Robert Oppenheimer was always aware that once the first atom bomb was exploded you couldn’t turn back. That would be the start of the biggest arms race …

Emily Blunt as Oppenheimer’s wife

And think of current atomic threats in the hands of leaders many take seriously.

But also what draws the crowd I think is a spectacular cast starting with Cillian Murphy as Oppenheimer. Not only does he look like the real man, he embodies him in every nuance of his movements and thoughts. It has Oscar written all over it as he holds you in the palm of his hand throughout. Oppenheimer was a maverick, an outsider but also someone who initially liked the celebrity that came with his success of exploding the first bomb – until he didn’t. And that’s where the performance holds sway, a man with many sides and shades. Murphy captures all of that.

Cillian Murphy as Oppenheimer watching the first explosion

The supporting cast is no less impressive. Robert Downey Jr plays the protagonist Lewis Strauss, Matt Damon the general, Leslie Groves (and I was again reminded of his strong acting ability) and there’s Rami Malek, Jack Quaid and Josh Hartnett, as well as Emily Blunt as Oppenheimer’s wife and Florence Pugh as his passion Jean Tatlock. Tom Conti does a glorious turn as Einstein, an inspired choice, but then all of them are. And the film needed that.

I could go on and on but rather see it. It was a wonderful unexpected magnificent experience because of a director who told the story with such a good hold on all the larger themes and did it in a way that was so deliciously creative.

THE IMAGINARIUM OF THE RELUCTANT ARTIST

DRIES DE BEER

PICTURES: ALET PRETORIUS.

Art exhibitions come and go, with some pieces remembered, some purchased and others touching your heart. When the event features the work of someone who has turned himself into your personal artist yet has decided to show his work for the first time, the feelings all round are overwhelming. For me, it was the gift of sharing the art of Dries de Beer and the emotional impact it has had on our lives. DIANE DE BEER gives her biased opinion of an artistic celebration:

Invite designed by Ursa Engelbrecht Curator Carla Spies

When architect/gallerist/curator Carla Spies suggested that her gallery, The Guildy, curate an exhibition for my husband, the reluctant artist (as I have dubbed him), I knew this was the perfect space and opportunity.

No pressure, no sales and for one day only with people we invite who we think will enjoy the work. And that is exactly what Carla and her gallery represent. As an architect, her work is not on the creative side and through the years she knew she had to find a way of scratching that itch.

Even the guests looked like artworks

The gallery was her solution and, having just gone through the whole process of an exhibition, I understand how this works as I do a similar thing by writing about the arts. There’s no direct renumeration, we’re not driven by money but rather by a passion for the arts and how it affects, touches and changes people. It’s the creativity – the process and the outcome and, finally, the joy.

But I knew my artist would feel differently. NO! was the immediate response, but I worked my cause and finally he conceded.

The fabulous thing about this exhibition, which Carla named The Imaginarium of Dries de Beer, was that all the art was there. That is what interested Carla in the first place. She had seen especially his series of faces and was intrigued. It’s her gallery and like me, who only writes about the art that inspires me personally, she only shows work that moves her.

And I was quite clear that the thing I really wanted Dries to showcase was the diversity of his art. Because he has always been compulsive in a constructive way about his art, moving from one thing to the next, exhibiting a theme, yet in very different ways. He has played around in ceramics, cartoons (which he still does daily), scrapyard found objects, which would result in anything from a small human figure to huge installations, and glass tiles in which he made pictures with objects of lesser desire found on his daily walks and changed it into something exquisite.

On the ceramic side, it all began with handmade ceramic zebras painted and then fired for the final result. Thery were unique and each one individual but labour intensive. To really make money – if that were one’s goal – it would have to be mass-produced and then lose that artistic quality that each one displays.

This led to masks and hanging faces which started out as a mass of small and larger cement and ceramic balls which all found a place in our garden. Today those hanging installations, sculpted into different faces and fishes of different kinds are on window sills, against outside and inside walls, hanging outside from poles and trees and even in the shape of gargoyles, each at the end of a pergola pole as decoration. It’s the way he changes and enhances what would just have been another ordinary garden structure. Instead a secret world of chattering ceramic faces and masks emerged

I have written about the work of many artists in an introductory rather than critical fashion. Fine art is something I had to give exposure to because as times grew tough, newspapers and magazines featured less and less specialist writers. Mine was the performing rather than the fine arts, but I knew we had to embrace as wide a range of the arts as was possible – and that’s what I still try to do.

Ceramic gargoyels.

But with this artist’s work, because he and his work are mine, working at a formal institution I couldn’t focus on any of his work. That’s why this exhibition was so important to me and gave me such pleasure. To do it with Carla and her crew, was a dream come true.

Dries, who slowly warmed to the idea of showing his work, and I made the initial selection of what we wanted to show and then Carla and her musician/entrepreneur husband Werner arrived a week before the showing to look at the final selection and help us move the work from home to gallery.

Then the fun really began, as we started hanging the work. This is where Carla and Werner took over while we helped on the side. It’s no easy thing to physically do the hanging and even more specialised is to decide how and where to display each single piece. This is where, I suspect, Carla’s creativity kicks in – and she knows what she wants. We could just stand smiling at the results.

I suspect for Dries it was a new way of experiencing his work. In our house the effect is diminished by it being all over the place. Here it was Dries de Beer in full force – and whether you like it or not, which is a personal choice and what art is all about, this was a special display and one of which even the reluctant artist approved.

I appreciated once again what inspires me most about his art. It comes from within, it’s who he is and how he has conversations with himself and the world – and me.

Also on board were a group of special friends who gathered around me and took over when I really needed help. Writing about the creatives in the food world as well, I have my own favourites and Alicea Malan of Lucky Bread Company https://www.luckybread.co.za/ and Elze Roome of Tashas, Menlyn Main feature on that short list.

I simply asked Alicea about some produce and she said “Leave it to me.” She pulled together a spread with the amazing breads from Lucky Bread https://www.luckybread.co.za/ and then, as importantly, showcased it at the gallery in a way that just adds that edge to any event. Elze Roome https://www.tashascafe.com/locations/pretoria/menlyn-maine/ jumped in with the sweet stuff which was melt-in-the-mouth.

To add yet even more sparkle to the event, Werner on bass and Rynier Prins made exquisite background music, often I think one of the more thankless jobs and yet it fills a room full of people with a sound that’s embracing.

Also part of the picture was one of Carla’s most recent employees, Ursa Engelbrecht. She’s a young woman with artistic flair, was immediately excited, designed the invite and helped out everywhere and anywhere she could. She and Estevan Kuhn also provided music when the first duo needed a break.

So when people ask me about the worth of a single day showing which is what The Guildy specialises in, I can only underline how it brings a group of creatives in different fields together to create a little bit of magic in the world of those who share this kind of passion.

Ursa and Estavan (left) andRynier and Werner (right) making wonderful music.

I know my artist looks at Carla and Werner with eyes that appreciate how they approach life and the world they hope to create. I know he saw how people like Alicea, Elze and Ursa all stepped in to add their special icing to this magnificent cake.

And more than anything, it gave my reluctant artist the chance to see how others viewed his work, to inspire fresh and novel ideas, and to view the future in a way where he shares his work with more people than just me. This was his chance to shine brightly.

Mission accomplished!

AUTHOR MICK HERRON’S SLOW HORSES OF SLOUGH HOUSE ARE AS DELICIOUS ON SCREEN AS ON PAPER

If you haven’t heard of the author Mick Herron and the imaginary men and women who are all part of Slow Horses, it’s time to find those books and to stream the first two seasons of Slow Horses which can be seen on Apple TV now. DIANE DE BEER reveals more:

If you have Apple TV, this is one to see.

Those of you who loved the intrigue of John le Carré’s spy novels, lost your heart to his characters with George Smiley leading the pack and still remember Alec Guinness’s portrayal of the seemingly distracted, downtrodden spymaster, will be pleased to know there’s another spy series available to both read and catch on a streaming service.

With a gaping hole left behind by the Le Carré absence,  just in time, in steps author Mick Herron. I was told by a friend about the new arrival a few years back, and my husband and I jumped in immediately to tackle the series.

That was a while before the television series was even on the cards.

We were immediately hooked, but for me it was slow going because I had to catch up first with some other freshly published works waiting for review. I was even sent one of the books in the Slow Horses series along the way and quite recently I decided it was time to spoil myself and tackle the last four in the series. And I did so with glee.

Herron is a fantastic writer. His language often has your toes curling, and his characters and their ticks, especially the motley crew who make up the Slow Horses and quickly rule the roost.

Herron’s first thriller, aptly titled Slow Horses, was immediately shortlisted for the CWA Ian Flemming Steel Dagger as well as named one of the 20 best spy novels of all time by the London Daily Telegraph. The second, Dead Lions, won the CWA Goldsboro Gold Dagger, and so the list reads on and on with the awards and praise growing with each new novel in the series.

Once you’ve met the reluctant leader of the pack, Jackson Lamb, you won’t stop smiling at all his antics. He must be one of the most reviled bosses ever created and yet, while he is constantly deriding and humiliating his underlings, he is also first on the scene at any sign of trouble and the one to think up some terrible revenge when even a hair on the head of one of his spooks is pulled out of place.

Slough House, the name of the unappealing offices (if you could reasonably call it that), is where spies from MI5 are sent when they’ve messed up. No one cares what happens to them, borne out by the fact that their boss seems no more than a slouch who has been put on this earth to torture those who are unfortunate enough to serve under him.

While all this might be painting completely the wrong picture, it is difficult not to shout from the rooftops about this exhilarating spy writer who seems to have silently (and sometimes unobserved) risen to the top of the all-time best spy series list. It would be tough to find a reader who disagrees.

What more can one ask for than a spy novel written in a way that’s character-driven yet has a story unfolding which not only keeps you up at night, but also boasts a plot that will keep you engaged as you puzzle your way through the world of espionage?

In the end, if I had to pinpoint the most appealing aspect of a Jackson Lamb novel, it would be the language. To prove my point, a small extract which offers some kind of description of Slough House: “Heat rises, as is commonly known, but not always without effort. In Slough House, its ascent is marked by a series of bangs and gurgles, an audible diary of a forced and painful passage through cranky piping, and if you could magic the plumbing out of the structure and view it as a free-standing exoskeleton, it would be all leaks and dribbles: an arthritic dinosaur, its joints angled awkwardly where fractures have messily healed; its limbs a mismatched muddle; its extremities producing explosions of heat in unlikely places; its irregular palpitations a result of pockets of air straining for escape.”

And then about the ethos: “Slough House was a branch of the Service, certainly, but ‘arm’ was pitching it strong. As was ‘finger’, come to that; fingers could be on the button or on the pulse. Fingernails, now those you clipped, discarded, and never wanted to see again. So Slough House was a fingernail of the Service: a fair step from Regent’s Park geographically, and on another planet in most other ways. Slough House was where you ended up when all the bright avenues were closed to you. It was where they sent you when they wanted you to go away, but didn’t want to sack you in case you got litigious about it.”

And then finaly, just something about the feared leader Jackson Lamb: “Breakfast was two pints of water and four Nurofen. Shaving was out of the question, but he released himself from yesterday’s tie with the kitchen scissors and found a fresh suit, which meant one that had been in his actual wardrobe, if not on a hanger”… and it goes on.

I am now waiting patiently for book no ten in the series. In the meantime I could revisit the television series, two seasons of which have been released on Apple TV and are still available to watch with the promise of a third coming later this year.

When you have lost your heart to a series of books, it’s with trepidation that you watch the live version, the characters and stories you have invested in. But with this one, it’s all systems go. While Gary Oldman didn’t pop into my mind as Jackson Lamb, once the actor had inhabited the man, there was no one else who could have stepped into those slippery Lamb shoes with such relish and robust. And ditto to Kristin Scott Thomas in the role of Lamb’s nemesis as she plays his arrogant and disdainful boss at MI5. There are few actresses who can play elegant haughtiness with such ease. And the rest of the cast complete the picture magnificently.

Mick Herron must be thrilled with this adaptation which so sharply captures the essence of both the people and the place of this much loved series. And hopefully we will be able to catch up on the full series – and a few yet to be written, in the years to come.

If any of the above appeals to you, don’t hesitate. It’s a glorious addiction and one I plan to hold onto for as long as possible!

  • Published by John Murray, it is distributed by Jonathan Ball locally.

AUTHOR SIHLE KHUMALO KEEPS IT LIGHT WHILE SPEAKING HIS MIND ON SERIOUS ISSUES

With his latest book Milk The Beloved Country (Umuzi), author Sihle Khumalo speaks his mind on many issues, and with the focus on local, it gives readers the chance to reflect on what they have and what the future holds for this country and its people. DIANE DE BEER spends some time with the man who has much on his mind and likes to share:

At our first meeting I realized that it would be impossible to try to give a summary of who this man, Sihle Khumalo, is.

I culd capture more of this prolific writer by giving you the titles of the books he has already written: Dark Continent – My Black Arse; Heart of AFRICA; Almost Sleeping My Way to Timbuktu; and Rainbow Nation My Zulu Arse.

And then the one I will focus on most sharply here, his latest, Milk The Beloved Country. He tells that the first book was  the result of his travels from Cape Town to Cairo using public transport. This was also to celebrate his 30th birthday.

In 1999, to celebrate his 24th birthday, he bungee jumped at Victoria Falls in Zimbabwe; for his 25th he ran the Comrades Marathon (11hours 40 minutes); for his 27th birthday, in 2002, he started parachuting (on static line) at Pietermaritzburg’s Oribi airport ; in 2003, he did aerobatic flying (as a passenger) at Rand airport.

He currently lives in Johannesburg with his wife and two children. And the two women he dedicates the book to is his mother and his mother-in-law. For me that also speaks volumes and probably more revealing than anything I could add.

Perhaps this is not the kind of book that would have caught my attention if I didn’t have to speak to Sihle publicly – twice – which also meant I read the book twice. That in the end was a good thing, because it was with the second reading that I realised exactly what he was doing. It seems to be all over the place and yet, after a more careful reading, I was starting to get the drift of this very active mind.

Sihle Khumalo will have you thinking. With this smartly tongue-in-cheek book, what had me doing just that from the start, was wondering how he comes up with the concept. And even now I’m still not sure he knows. He has an active mind and personality (if that’s possible) but once you pin him down and start taking his words seriously, he has some very interesting stories to tell and points to make.

Myself (Diane de Beer ) with authors Sihle Khumalo and Deborah Steinmair at the Vrye Weekblad Book Festival at Cullinan earlier in April.

But take note, there is sleight of hand, because it might all seem frivolous, yet it’s anything but.

His previous books are travel-driven, so the research was done while visiting different places, but in this instance, the research had to come in more traditional fashion; libraries for example rather than the excitement of travel.

But he wanted to do it this way and it will be interesting to watch his future adventures to see whether they will be of the physical or mental kind.

The book is neatly divided into three sections, starting with the names of especially smaller towns and villages and where these come from. It’s intriguing and something all of us might have thought of or even discussed with children during tedious journeys, but he makes a study of it. And while there’s much to smile at, he also makes sure to spotlight some sharply observed issues, as this following notice in https://theconversation.com/africa daily email reaffirms:

“Today marks 60 years since Kenya attained internal self-rule from the British colonial powers. Names of places and other urban symbols were used as tools of control over space in many African countries during the colonial period. This strategy was epitomised by the British, who applied it vigorously in the Kenyan capital Nairobi from the late 1800s. Street names celebrating royalty and officialdom dominated the central part of the city, while African names were relegated to peripheral neighbourhoods. Melissa Wanjiru-Mwita explains the ways in which this strategy actively alienated the native African majority while promoting the political, ideological and racial dominance of the colonialist.”

What tickled me though is remembering the fuss from the white population about changes to the names of towns and provinces, for example when we were just staring out on our democracy in the early 90s. I can remember the anxiety expressed while wailing about their heritage ….

Much of the name changing has happened without fuss but, as Sihle reflects, many more changes wouldn’t be a bad idea – including the name of our country which to his mind, points to a destination rather than something which would reflect the people living there. I still have to scratch my head to remember and hold on to some of the name changes, but they do make sense and feel much more part of the continent, the country and all its people.  It is the diversity of the country that is our strength and it should be reflected in as much as possible publicly so that it becomes commonplace.

The second section starts with the intriguing quote: You’ve got to find some way of saying it without saying it (Duke Ellington) and this is something that I personally think drives Sihle’s writing.

Titled The Power Brokers he dives right in, exploring our very own secret society, the Broederbond. He starts with the role players and their influence and then moves on to the private sector and intelligence.

As with the names of towns, which most South Africans might say they’re familiar with, the Broederbond because of its secrecy was intriguing to many, but for those of us not invested in the politics of the apartheid state, we thought we knew more than we actually did. And this, coming from an outside point of view as well as after the fact (or so we hope!), reminds us where we come from when we start pointing fingers.

Politics has always been about power and we can only hold thumbs that it comes from a good place – even if just most of the time.

Drawing a line through all that secrecy, he moves to different groupings of people including the freemasons; the unions and then couples the taxis, religion and traditional leaders together concluding with The Masses and sadly, the fact that we the people warrant less than a third of a page, says it all. That and the first sentence: There is nothing significant to report here.

What I also like about this particular section is the comparison of the past with the present. Corruption for example, we all speak about it as if it’s something new. Read on …

And in conclusion, Sihle tells us to Pause and Ponder:

Two weeks after the 2021 insurrection, The Washington Post described our “celebrated rainbow nation” as the “global poster child of economic inequality where deep poverty sits in the shadow of astronomical wealth.” If that doesn’t make you weep, nothing will.

He sums up the apathy by focusing first on the Feeding frenzy on state resources. I know that surprised me most post 94. I didn’t think that the leaders would turn their back on the very people who needed their assistance most. (And I do understand that they had the best examples in the former white regime).

For those of us puzzled by the ruling party’s elective conferences, he takes a closer look at: 2007, 2012 and 2017.

The Constitutional Court and the judiciary also come into play. It’s under attack in so many countries, the US and Israel, to name a few? It’s always been my beacon of hope, and I do still in spite of, believe that our people, our strength will pull us through. Sihle speaks his mind as he does on the following hair raising issue: Is South Africa a failed state? And when exactly was it captured?

And then finally, on a second reading, this lucky packet of a book truly spoke to me. Not just about what he was writing about but also learning more about this man with his wandering mind. I have heard different opinions about his writing. I cannot speak to any other than this latest book.

Some could argue that Sihle Khumalo is a man of too many seasons. But he speaks his mind and where that takes us is what appealed to me. As a fellow South African, I want as many opinions as are out there because in the end, most of us just want to be left to get on with our lives. And, if possible, to have a government that lends a helping hand. Life is tough enough without any extra hindrances.

And while some might be milking the beloved country, we should remember what we have and that the people and the place are real strengths and not something to mess with.

LAST CHANCE TO CATCH THE GLOWING FIREFLY WITH SYLVAINE STRIKE, ANDREW BUCKLAND AND TONY BENTEL AT PIETER TOERIEN THEATRE

Sylvaine Strike, director/actor/playwright and any other creative word one can dream up, teamed with three other brilliant creatives, Toni Morkel (director), Andrew Buckland (fellow actor) and Tony Bentel, musical genius to create the dreamily magical Firefly currently in its last week at the Pieter Toerien Theatre at Montecasino. Having seen it for the third time at the weekend, this is a copy of my original review to encourage anyone who hasn’t yet seen it, to go. It will warm your heart and the glow will last for the longest time.

DIANE DE BEER reviews: 

Scenes from Firefly with Sylvaine Strike and Andrew Buckland:

Pictures by Nardus Engelbrecht

I was blessed to see Firefly at Cape Town’s Baxter Theatre with the emergence of live theatre following the pandemic.

The bewitching Firefly, which as one of the first Covid-19 impacted productions saw light of day as a Woordfees digital production, made a magically mesmerising transition. I had lost my heart earlier to the filmed production and was excitedly inquisitive at how that particular story – with many filmic tricks up its sleeve – would translate and transform on stage.

But this particular creative quartet (Strike, Andrew Buckland, Toni Morkel as director and Tony Bentel on piano) are the perfect combo. This is their theatrical landscape. Give them a stage and they will be telling stories in such an imaginative way, it becomes a visual feast.

Because they have all worked together, they understand each other’s strengths, and Morkel could stretch that piece of string intuitively with fantastically imaginative and explosive pyrotechnics.

Buckland and Strike are a brilliant blend of artistry with an instinct for detail that holds your attention gently yet persistently. Storytelling is their forte, aided by the fact that they have an endless supply of tools to draw on to embellish a wink or the final lift of a foot to express and underline the tiniest emotion.

It is theatre at its best when it has you smiling from start to finish because of the artistry, the wizardry of the production, the perfection of the coupling, and just the sheer audacity of the storytelling.

No matter how or why, just immerse yourself and see what happens when Saartjie Botha commands two artists to give her a production in the purest style of theatre.

If you have seen the digital version that’s  a bonus, because to witness how one story can be told in such magnificent splendour in two completely different approaches is truly special and quite rare. The one had all the bells and whistles and worked like a charm. But here, with Strike and Buckland live on stage with just themselves to grab hold of their audience and cast that spell, the essence of theatre comes into play – and again I willingly lost my heart.

Add to the two artists on stage, the magnificence of Wolf Britz’s set and props as well as starstruck-inducing lighting and the keyboard genius of Bentel’s soundtrack that holds every emotion so thrillingly in a familiar yet completely Bentel-constructed composition.

If you want to see how the best make theatre with their instincts, intuition and imagination, don’t miss the sparkling Firefly. Yet don’t think for one second that the miracle unfolding on stage didn’t come with buckets of blood, sweat, tears and ENDLESS talent. Part of the theatrical trickery of this foursome is to present something that is this skilled as seemingly effortless.

It’s brilliant and personally I hope to see this travel around the country casting its spell throughout. We are desperately in need of this kind of adult fairy tale in these tumultuous times.

And with every fresh viewing, they’ve added fresh insight and sparkle if that’s even possible.

Book at Webtickets for any of the shows from tonight until Friday at 8pm, Saturday at 3 and 8pm; and Sunday at 2pm for their final bow.

AUTHOR JONNY STEINBERG CAPTURES THE FORCE BEHIND THE MANDELA MARRIAGE PORTRAIT

If you think you know everything about Winnie and Nelson Mandela, award-winning author Jonny Steinberg will probably change your mind with his insightful portrayal of a couple who held the world’s attention for the longest time. Having read the book, DIANE DE BEER listens to the author speak about his latest endeavour:

Pictures from the book courtesy of the publishers

When I first spotted the book Winnie and Nelson: Portrait of a Marriage (Jonathan Ball), it was the author Jonny Steinberg who caught my attention.

Not that the Mandelas aren’t worthy, simply that I didn’t think another book on the Mandelas could shed new light. But Steinberg changed that presumption.

From the first time I had to read a Steinberg book  –  as he was going to be a guest speaker at one of our newspaper’s book lunches  –  I was a fan.

Author Jonny Steinberg

The Number, which dealt with gangs, was the one that did it. I had very little interest in the subject, thought I knew enough, but having read Steinberg’s well-researched and analytically astute account, I wasn’t going to miss any of his books again.

And when I saw he was to be one of the speakers at the Franschhoek Literary Festival 2023 where I was invited to do an interview with the delightful Nataniël, I was sold on reading and listening to the author’s conversation with Hlonipha Mokoena, an associate professor and researcher at WiSER (Wits Institute for Social and Economic Research) where she specialises in African Intellectuals.

I picked the right one. Portrait of a Marriage should have been my clue because this is what this author does. He takes a topic which might not have crossed your radar in any sense of the word, and turns it on its head in a way that pulls you in and grabs your interest. It’s a gift and one that has turned him into one (if not the top) of our best non-fiction writers.

And one of the first obstacles he encountered was a feeling of shame because he found himself prying into the private world of these two icons – once again. Initially, he was going to write two books, one on each of these individuals, until someone pointed out that one would perhaps be more sensible and, ultimately, probably better.

This is where his own thoughts probably gathered momentum and insight. The question he wished to explore was Nelson’s sense of being and how much that was entwined with Winnie, especially while in prison – which was a punishing 27 years long.

Nelson and Winnie, 1958, probably shortly before their wedding.
Eli Weinberg, UWC-Robben Island Museum Mayibuye Archives.

What Steinberg realised was that when imprisoned, Nelson didn’t know Winnie that well. That’s when a fantasy of the woman he loved started emerging. She became the dominant figure in his head. When a great man is written about, his personal life is obscured but the opposite is true for a woman. And this is where the blessing and curse of the Mandela name came into play.

With Nelson’s incarceration, the impact on Winnie and her two daughters was intense on many different levels. For instance, Nelson understood himself as head of the family and he wanted to preserve his wife and their marriage.

But this became difficult in prison because of their compromised relationship. All their conversations were recorded and transcribed. And again, it is these transcriptions that gave the author entrée and heightened insight into the Mandela couple. Yet in some ways they also made him a reluctant participant.

Prisoners breaking stones in the courtyard outside the leadership section on Robben Island. Nelson’s cell window is on the far right.
Copyright of Cloete Breytenbach, courtesy of Leon Breytenbach.

Many issues come into play. Because they were being recorded, something they were aware of, these intimate conversations were compromised from the start. For Steinberg it became a compromising decision. Could he use these conversations without compromising the couple’s dignity? “It’s unusual to eavesdrop in this way,” he explained.

For example, the pettiness of an incarcerated Nelson was one of those situations for Steinberg, yet he knew if he wanted to write the book, he needed the information.

From very early on, Winnie used her sexuality as power, says the author. And Nelson in a similar vein was always very aware of how he looked in the suits he used to wear. Unusual at the time and with his presence, an additional bonus. “They understood that their very being was a commodity,” notes Steinberg.

Beauty complicated Winnie’s life. Right from the start, she was born into the struggle which determined her life. She understood how to pick winners and forget the losers. She also knew how to get under someone’s skin. Few people who met her could resist her and were left untouched.

In fact, it is the effect the Mandelas had individually and together that Steinberg explores and captures so well. Would life have been different if the couple had been less aware of their pulling power, their value as a commodity?

Winnie for example couldn’t be alone and always knew that she had to deliver on the expectations of others. She had to be what they wanted her to be. She even told tales about her childhood from very early on.

To protect herself, her reality often had to be concealed. Steinberg explains: she became the symbol of Black womanhood. She was able to become what people wanted and had a sense of her role in public life, believing that she was the centre piece.

For Nelson it was Fort Hare where the foundation of leadership was born.

When they came together, Winnie understood what it meant to be seen. The mission schools invested in the idea that Black men should marry Black women and the Mandelas represented that myth of the power couple. “Their marriage becomes a symbol for the struggle for freedom.”

Nelson and Winnie Mandela at the rally held to celebrate Nelson’s release at FNB Stadium near their Soweto home on February 13, 1990. nelson spent the previous night, his first bnack in Johannesburg, alone in a suburban house near Lanseria Airport.
Photo by Udo Weitz/AP/Shutterstock (7364405a)

Nelson understood the power of his and Winnie’s story with the focus on the romance between them. Their power did represent a nation and yet, they ended up being political enemies. Is there anyone in South Africa who lived through their story and wasn’t shattered by the dissolution of their marriage?

The irony of their relationship was that for Nelson his greatest fear for his country was civil war, while his wife was the embodiment of everything he feared.

Nelson Mandela speaks to boys at the historically white King Edward VII School, Johannesburg, 1993.
Photo by © Louise Gubb/CORBIS SABA/Corbis via Getty Images

He becomes a powerful person, but in prison – and out of touch with what is happening. He is locked up by and with people who hate him and when he escapes, he does so in his imagination, The essence of Winnie’s life is her internal world of fire.

I was completely mesmerised by Steinberg’s deeply felt analytical writing about South Africa’s most powerful couple. Even before the advent of social media, with Nelson Mandela imprisoned and his wife under constant surveillance, they captured and kept the attention of the world.

Steinberg tells that story magnificently and with fresh insight and focus.