Tag: review

SINGING THE BLUES

~ debeernecessities ~ Leave a comment
REVIEWED BY DIANE DE BEER

BLUES IN THE NIGHT

Presented by Joburg’s Market Theatre in partnership with Hattiloo Theatre from Memphis Tennessee

CAST: Chastity Alliston, Zan Tarria Edwards, Jamille Hunter and Grant Kee

DATES: Until February 22 at Joburg’s Market Theatre

This Tony-nominated musical states that it celebrates blues, jazz and gospel classics, and their connection is with love, resilience and especially the emotional lives of Black women.

It is described as a scorcher in which the soul of the blues wails out full and strong through hot and torchy numbers. It also weaves the sweet, sexy, and sorrowful stories of three women entangled with a lying, cheating man.

For the record, songs by legends such as Bessie Smith, Duke Ellington, Johnny Mercer, Harold Arlen, Alberta Hunter, Jimmy Cox, Ida Cox, and more feature but probably what surprised me more than anything was how little I knew of any of the music performed.

It’s as if we (or perhaps that’s simply the shows I saw) focused on only a few familiar numbers like the title song as so much of the music was unfamiliar to me. But, instead of this being a negative, I found that exciting.

The performers are perfect for this musical challenge. The powerhouse Edwards, with a voice that seems to go on forever, is masterfully complemented by the sweet-toned Hunter and the smoky Alliston, while the solo male singer Kee, carrying the burden for the rest of his absent gender, uses his voice and jaunty presence to do the talking.

Not only was I witnessing an unfamiliar cast, it was also the music that overwhelmed me from start to finish. The first half felt a bit like a journey through the world of blues music, while the second half upped the rhythm as well as the vocals, which gave the audience a nudge to swing with the party.

This is music that was created to illustrate the pain of oppressive times, and like here, music was usually the platform where artists could express themselves. This show was picked specifically for Black History Month, which marks its 100th year in 2026.

The centenary calls for “an honest reflection on memory, healing, culture, as well as the condition and position of Black bodies in a still increasingly divided world.”

This milestone further coincides with The Market Theatre’s 50th anniversary, a powerful connection that presents a rich opportunity for representation and amplification of unheard voices.  It is directed and choreographed by Emma Crystal, with musical direction by Dr. Ashley K. Davis.

And while on relevant dates, this is also the 70th anniversary of the historic August 9,1956 Women’s March, focusing the spotlight even more sharply on that especially neglected group, Black women.

Founder and CEO of Hattiloo Theatre, Ekundayo Bandele, and Artistic Director of The Market Theatre Foundation, Greg Homann, recognised and embraced the common histories between the two theatres in staging socially engaged works that prick at their respective nations’ collective conscience.

“From South Africa to the US, generations of oppressed people have sung their way up against discrimination, racism, subjugation and dispossession as an unstoppable wave. This year as we proudly present Blues in the Night for its African premiere, we also celebrate music’s ability to remind us of our shared humanity despite our fractured times,” shares Homann.

They aim to keep this exchange going – both to the advantage of performers and audiences.

*Playing alongside also at the Market is our own musical theatre classic Marabi, which will be reviewed later this week.

SIMPLY LEAN IN

~ debeernecessities


Review by Diane de Beer

Gerard Bester (left) and Alan Parker

Photographs: John Hogg

SOMETIMES I HAVE TO LEAN IN
Choreographer & Performer: Alan Parker
Director & Performer: Gerard Bester
Dramaturg: Gavin Krastin
Text (“Wallflower”): Gwydion Beynon
VENUE: POPArt Theatre
DATES: Today at 3pm

It’s difficult to let people know in time to catch one of the shows at Joburg’s POPArt, because they have short runs, but that’s also the purpose of their theatre.
It’s for an easy yet discerning theatre crowd who like seeing something unusual and probably not available at a more traditional theatre.
It’s one of the delights of theatre that it offers such diversity. And this particular venue is a great example.
This present production has been around for a while starting as a commissioned work for Dance Umbrella in 2018 before playing at the Live Art Festival in Cape Town and most recently in 2024 for the National Arts Festival in Makanda.
Gerard Bester and Alan Parker created this delightful physical theatre piece playing with ideas that possibly featured in their own lives as ageing performers which begins as soon as you pass through that first theatrical endeavour.
Rather than focusing on age, it’s looking at two performers who have been in the industry for some time and are leaning in to find not only themselves and each other but also a way to be creative – not only on stage but also, hopefully in the world.
There’s a sweetness and a melancholy to their approach which might seemingly come across as quite lowkey, yet delivers a strong emotional punch.
It’s the unusual way they both move, sometimes leaning against a wall or in-between each other or simply trying their best to lean over while being held tightly by the ankles.
It’s about bringing those emotions into the light so that you cannot resist embracing the storytelling as well as the performers.
Perhaps co-director of POPArt, Hayleigh Evans says it best: once she saw it a few years back, she knew she had to present it at POPArt. It’s exactly right for this neighbourhood venue that’s easy to access, casual yet professional in its approach and yet another fabulous way to experience theatre at its most pleasurable.
With Bester and Parker’s experience, their easy approach and their individually original style, it’s yet another way to access life and all the challenges thrown our way.
Simply lean in!

To check out upcoming shows and events:

https://popartcentre.co.za

or

CONTACT:
General: +27 83 245 1040
email: popartjhb@gmail.com

ADDRESS:

POPArt is now located at 59 Dorset Road, Parkwood / Greenside East

INDIVIDUALLY AND AS AN ENSEMBLE THE CATS PERFORMERS PURRED PERFECTLY

~ debeernecessities

By Diane de Beer

CATS

Music by Andrew Lloyd Webber

Based on Old Possum’s Book of Practical Cats by TS Eliot

Associate Director and Choreographer: CHRISSIE CARTWRIGHT

Musical Supervisor: PETER MCCARTHY

Assistant Choreographer and Director: MATT KRZAN

Musical Director: LOUIS ZURNAMER

Resident Director: DUANE ALEXANDER

Sound Designer: DAVID GREASELY

Lighting Designer: HOWARD EATON

Cast: A MARVELLOUS ENSEMBLE OF 20 PLUS PERFORMERS with a FANTASTIC BAND OF MUSICIANS led by LOUIS ZURNAMER

It’s pretty much a flawless production, this latest version of CATS, which has been staged 25 years after the first production was showcased locally.

How far we’ve come and how much we’ve seen and yet, this remains one of the best musicals staged locally with much of the praise due to a fantastic cast and production team including the musicians.

In a production of this size, it takes the very best to pull it off and that’s exactly what we have here. When looking through the cast list I was surprised that I didn’t recognize too many familiar names and yet the full ensemble was phenomenal with not a weak link to be seen.

I’m not going to single out any names because they simply all shone from start to finish and this is not an easy show to pull off. Not a paw or a whisker out of place. And the magnificent, choreographed movement and music sung to perfection made you part of this feline gang revitalizing and reimagining their lives.

Further enhancing the production is the dazzling lighting, which in turn enhances solo performances, spotlights sudden appearance or embraces the production full on.

But the clutter of classy cats are the centre of the attention and this clever musical based on TS Eliot’s poems adds innovative flair to this most unusual musical performed by cats.

That is what makes it so intriguing and mesmerizing and as this production pulls you in, it’s easy to see how hard these performers have worked to get this one right. It’s not an easy ask but they have met the challenge full on and we, the audience, are the winners.

I can hardly remember the production all that time ago but I do know that this is perfectly staged, with a cast that leaves you breathless. As someone remarked, they have been rehearsed to an inch of their lives.

It does, however, take that kind of performance to make this work. If we don’t get swept away by the performances and the music, it simply won’t work.

It is a young cast but one that has mastered the skill of presenting a show that never flags for a second. From the first furry paw and big back-stretching arch, we’re right there in the junkyard where this scrappy yet classy coterie entertains us with their memories and magical mysteries.

Pieter Toerien has long been the puppet master of local musical standards with shows that equal the best in the world. This one does his own high expectations proud.

Don’t miss seeing this breathtaking cast give a dazzling display of how to manage one of the toughest theatrical endeavours with ease. And as much as you admire the ensemble that makes it happen, it is also that the production team have encouraged each individual performance to be a standout.

It’s a musical put together of many magical moments with each individual performer creating their own gold standard. It starts with brilliant casting, young performers who achieve magnificence and breathe life into every move their feline characters make and a production team who reached for the stars.

With these performers grabbing the opportunity to show their best, it also looks towards the future of local musical theatre.

Here’s to the next 25 years!

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

~ debeernecessities

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.

MAGIC ON STAGE IN THE MOON LOOKS DELICIOUS FROM HERE

~ debeernecessities

REVIEW BY DIANE DE BEER

Pictures: Hoek Swaratlhe

THE MOON LOOKS DELICIOUS FROM HERE

WRITTEN AND PERFORMED: Aldo Brincat

DIRECTOR: Sjaka September

VENUE: Market Theatre

DATES: July 27

DURATION: 70 minutes

In the programme notes online it says that this play is a masterclass in writing and performance – and that is exactly what it is. And the aspects that I found most intriguing as being a born South African, I have been dealing and watched others sharing their trauma in this country for many decades.

Some similarities especially in text will occur, but I am passionate about people creating theatre – especially solo theatre.

Having to travel from Pretoria for most of my theatre, I consider very carefully which plays I want to see whether good or bad, just work that will appeal to me. And this is where theatre sometimes becomes problematic. If you are going to see a play that is 70 minutes long, it becomes a money issue. It has to. Time and travel become a worry.

So I have started coming up with fresh solutions to make my choices easier. With this one, I had already booked for a new musical opening and I thought I could slip this short prodcution into the mix without any difficulty. I see many more plays on one day when attending a festival. And that is what I did and will do more of in the future when the problem rears its head.

Brincat, who is a first generation South African, is described in many different ways and with many accomplished skills from acting, juggling and magic artistry to fine art, chef, writing and producing one-man shows, it seems.

But this is my first encounter as far as I can tell with this versatile artist. As he’s based in Cape Town and visits the National Arts Festival, while I am based in Pretoria and cover the Afrikaans festivals around the country, his work is unfamiliar to me.

The Moon Looks Delicious from Here is a man’s struggle with identity and finding his own place in what should be his world but isn’t always that straightforward is what he shares and struggles with.

It is familiar territory stretching from the ‘60s tot ’94, but it’s always interesting to discoverhow other people deal with issues that come up for many of us in different ways. It is also fascinating to see how others approach their work, especially when at play, as solo shows  can be limiting, depending on the content and how familiar you are with the subject.

He had me from beginning to end; engaging with his audience wasn’t an issue for him even with a most unusual mix on a Sunday afternoon. Half of the 100-plus theatre audience (and I’m guessing numbers) were elderly white couples and the other half were young (between 20 and 35) Black men and women. And throughout there was laughter from different quarters. It was a journey of remembrance for oldies and probably one of illumination for youngsters.

It would have been fascinating to have an audience talk after the show in this instance. This is Brincat sticking his toe in the water and it feels good. Hopefully he will be back so that we can get to know more of his work and his content.

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

~ debeernecessities

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!

TEEN TRAUMA EXPOSED AND EXPLORED

~ debeernecessities

REVIEWED BY DIANE DE BEER

Stuart Brown as Evan Hansen

DEAR EVAN HANSEN

MUSIC AND LYRICS BY: Benj Pasek and Justin Paul

BOOK: Steven Levenson

CAST: Stuart Brown, Léa Blerk, Charlie Bouguenon, Keely Crocker. Kent Jeycocke, Shelley Lothian, Ntshikeng Matooane, Arno Meyer, Sharon Spiegel Wagner, Michael Stray, Justin Swartz, Lucy Tops

SET AND LIGHTING: Niall Griffin

MUSICAL SUPERVISOR: Charl Johan Lingenvelder

CHOREOGRAPHER: Louisa Talbot

SOUND DESIGNER: David Classen

RESIDENT DIRECTOR: Shelley Lothian

DIRECTOR: Greg Karvellas

Producers: Showtime Management and How Now Productions

VENUE: Montecasino Teatro

DATES: Until 13 April

PICTURES: Daniel Manners

Charlie Bouguenon (Charlie Murphy), Stuart Brown (Evan Hansen),Sharon Spiegel Wagner (Cynthia Murphy) and Keely Crocker (Zoe murphy).

WHAT struck me instantly while watching this musical was that being young a few decades ago was much easier.

No social media, less scrutiny, much less peer pressure because it had to be done person to person rather than through technical means or phones  – it was just a much simpler and less stressful life.

What young adults have to contend with at that vulnerable age when you start transitioning into adulthood is quite monstrous. One would think that the huge physical upheaval would be enough to deal with, but now there’s so much more.

It’s a musical with an intimate if weighty story as it deals with depression and hiding from the world at a time when you should reach out rather than go into hibernation, yet it has huge heart.

It’s not often that musicals deal with  mental health issues especially targeting teen and young adult audiences, who are particularly vulnerable. These aren’t issues readily discussed and this offers an amazing opportunity to ignite sensitive conversations.

Griffin, who is known for his ingenious designs, has hit the brief spectacularly. It’s all high-tech and could be quite alienating and overwhelming but also allows for the cast to flow in and out of the grand and gleaming structure (above) quite seamlessly.

It also allows the high tech environment we live in to dominate and underlines the world we cannot escape – even if that is exactly what Evan Hansen is trying to do.

That is the genius of the musical. It all feels quite overwhelming, almost as though you have to fight your way to the heart of the story, yet this is where the magic lies. At that centre is a timid and rather terrified young boy who can hardly get out from under the covers.

His way of communicating is to write letters to himself, hence the Dear Evan Hansen title. Many people, young and old, could identify at some stage in their lives with his struggle of dealing with life. His is the universal struggle to be seen.

His mother, a single parent, is so stretched to keep them afloat that she hardly notices her son or witnesses any of his anguish. He feels he has no one to turn to until an incident allows him to find a different persona and a family to hook onto.

This particular production has been gifted the perfect package in Stuart Brown, who engages with the audience and embraces his persona in the title role of Evan Hansen. The way he commands the stage and fills the auditorium with an emotional sensitivity that’s quite astonishing in such a huge space is extraordinary.

There’s nothing showy or superfluous in his approach to the role, he simply is Evan Hansen, which draws even those few souls  –  including myself  –  who don’t instinctively engage into the angst-ridden universe of a teenager whose whole being is fearful of the outside world.

Justin Swartz (Jared Kleinman), Keely Crocker (Zoe Murphy) and Stuart Brown (Evan Hansen) in conversation.

That and the music written by an experienced team of songwriters, Benj Pasek and Justin Paul, who are best known for their Oscar, Grammy and Tony-winning work on La La Land, The Greatest Showman and now this, each of which spawned albums that landed in the Top 10 on the Billboard 200. That’s hard to beat and you could pick up from the audience that many of them knew the music and the lyrics, which would really add to a fuller experience.

There really isn’t much to fault in this production guided by the genius musical instincts of Karvellas supported by Lingenvelder’s music know-how, with a marvellously clever ensemble cast, all with voices that carry the music, it is a story well told.

It’s not just teens but also families that would benefit from the show. Communication, real person-to-person contact and, in this instance parents and children, is the other issue that is explored. These are not traditional topics for musicals and that is what makes this one so intriguing.

It also one of the finest shows to target the teen audience. At their most susceptible to be groomed as future theatre fans, this one ticks all the boxes. There’s a hero who explores and explodes, a story that ventures into almost forbidden territory and a production that unfolds beautifully with many different characters who find what they are looking for, a variety of issues to mine, and for those who want a softer landing, a story of romance.

But more than anything, there’s the glorious music and the explosive performances by an exciting ensemble who push the energy with joyful enthusiasm. You simply have to let go and engage.

PAUL SLAB’S NEW LOCAL PLAY, BITTER WINTER, CELEBRATES SCRIPT, DIRECTING AND ACTING

~ debeernecessities

PICTURES: Regardt Visser

BITTER WINTER

PLAYWRIGHT: Paul Slabolepszy

CAST: André Odendaal, Oarabile Ditsele, Chantal Stanfield

DIRECTOR: Lesedi Job

VENUE: Pieter Toerien’s The Studio at Montecasino

DATES: Until March 16

Everything to my mind seemed aligned for this one. I found the casting as well as the director intriguing, a new local play is always something to be excited about and Paul Slab has a way of climbing into a story.

At the same time, it also makes me nervous. I don’t want to raise my expectations by thinking ahead, but one can hardly prevent it.

Ensemble cast (Chantal Stanfield, André Odendaal and Oarabile Ditsele) and playwright Paul Slabolepszy

Either way, I was quick to exhale once the actors found their way on stage. One feels it immediately. It’s two actors in a room waiting (rather like a doctor’s waiting room) to be auditioned.

 Anyone who knows anything about theatre knows that this is both an exhilarating and a scary experience. Not many of us have to sell ourselves in such a public way each time when applying for a new job. And like most things in life, there’s not really anything that can be done to alleviate the nerves crashing into one another at high speed in these circumstances.

Not only that. If there’s something Paul knows everything about, it’s this. Both as a writer and an actor, it’s a scenario that he has lived most of his life – and one feels all of that when watching the play.

The two hopeful actors (the one at the end of his career, the other excited about the life ahead) who don’t know one another are sitting in a room checking each other out. Times are tough – not only for actors – and this is not a friendly space. There’s no one around trying to soften the gig they’re waiting for.

Every once in a while, a rather officious woman enters and, while she’s charming to the one actor, she bristles when the other asks anything. The tension is palpable.

Already a scary space for all involved, it is also heightened in the South African context. And this is what the playwright handles so well. He plays the moment and not the context, which he leaves to the audience to experience.

It’s subtle yet clichéd but with this clever script and a team who works with everything they’re given, it sweeps you along.

The title could work in two of our languages, English and Afrikaans, and that’s another trick up Slab’s sleeve. He has both languages (as well as three more indigenous languages inluding Sesotho, isiZulu and Tsotsi) flowing throughout and, in this instance appropriately and with some delicious irony in hand as he points to the state of the arts in general.

The choice of actors and director, novel and genius, adds to the grit and weightiness of what we’re dealing with. It’s not an easy world to navigate in current times and if your particular career choice constantly also takes you to the edge of life’s challenges, it can be excruciating.

And yet, that is where these people involved choose to play. That is exactly what this play explores. It’s part of who they are and what they have to do.

Bitter Winter is a fantastic vehicle for someone who has been in the game for some time and knows the territory, the people and their insecurities, and the fears involved. But then he also knows how to capture the magnetism of live theatre, how it cherishes the soul, captures our imagination and makes you think.

It works because everyone pulls together. The acting, the directing and the text all play their part.

I can hear Paul say Local is Lekker in his exuberant manner. And he’s right. When it works this wonderfully, it’s a joy to behold.

Bitter Winter is donating a portion of ticket sales to the Theatre Benevolent Fund and every cent counts.

WORDS OF WONDERMENT FOR THE QUEEN OF PANTO

~ debeernecessities ~ 1 Comment

BY DIANE DE BEER

BEAUTY AND THE BEAST

DIRECTOR/SCRIPTWRITER: Janice Honeyman

ASSISTANT DIRECTOR: Timothy le Roux

SOUND DESIGNER: Akhona Bozo

PRODUCTION MANAGER: Sandy Dyer

LIGHTING DESIGNER: Johan Ferreira

COSTUME DESIGNER: Mariska Meyer

CHOREOGRAPHER: Khaya Ndlovu

PRODUCTION DESIGNER: Andrew Timm

SET DESIGNER AND BUILDER: Enos Ramoroko

MUSICAL DIRECTOR: Dale Ray

THE CAST AND THE BAND: Too many to list

VENUE: Joburg Theatre

DATES: Until December 22

Dear Janice,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thanks for the magic and the memories!

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

FROM A FAN

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

~ debeernecessities ~ 4 Comments

Review by DIANE DE BEER

Aspoestertjie and the ensemble.

ASPOESTERTJIE DIE PANTOMIME presented by OAK ENTERTAINMENT

DIRECTOR: Ferdinand Gernandt

MUSICAL DIRECTOR: Jaco Smit

CHOREOGRAPHY Tarryn Botha

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

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

VENUE: Afriforum Theatre

DATES: Until December 13

PICTURES: Supplied by OAK Entertainment

The scheming step-mom and a forlorn Cindy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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