ALADDIN AND THE PIRATES: A PANTOMIME

Westville Theatre Club presents its annual year-end family pantomime with Aladdin and the Pirates, written by Brian Luff and directed by Jill Sysum. The show runs from December 4 to 14, 2025.

The story follows the villainous pirate Abanazer, who schemes to steal Aladdin’s magic lamp, unleashing trouble for the young hero. In classic panto fashion, Aladdin overcomes every obstacle, defeats the baddie, and wins the heart of Princess Eugenie

Evening show dates are December 4 to 6 and 11 to 13 at 18h30 for 19h00 pm. Matinee show dates are December 7 and 14 at 14h00 for 14h30.

Patrons to bring their own eats and drinks (picnic style). Tickets prices are R120 (R100 for pensioners, members and students).

Contact Dorothy on 083 776 1754 or dorothyannoneill@gmail.com to book.

4TH FLATFOOT ACCESS FESTIVAL

 

Feast of Dance for All Abilities

Flatfoot Dance Company, in partnership with Stable Theatre presents its fourth annual edition of the Flatfoot Access Festival, offering a week-long engagement of workshops, panel discussions, and performances from December 1 to 6 during the tail-end of South Africa’s National Disability Rights Awareness Month, and celebrating Flatfoot’s 22-year history of encountering disability through dance education and development work.

 The festival features Amanuel Solomon from Ethiopia. Based in Addis Ababa. Amanuel is a professional dancer and choreographer and founder of Katim Disability Dance. 

He performs a solo as well as conducts a workshop on Ethiopia’s traditional and cultural dances to be held at the Stable Theatre on Wednesday December 3 from 14h00 to 15h45. Places are limited so booking is essential via Lootsl@ukzn.ac.za

Flatfoot dancers Sifiso Khumalo and Jabu Siphika will create – and premiere - two short new works. Also on the programme are integrated dance programme working with dancers with Down Syndrome the “Flatfoot Downie Dance Company”, and the “Flatfoot Access Panthers” which features dancers with intellectual disabilities.

Performances are on Friday, December 5 at 18h00 and (repeat) Saturday December 6 at 14h30. Tickets are R85 (scholars/students @ R65). The Stable Theatre is wheelchair friendly. There is safe parking on site.

Bookings are through Webtickets:

https://www.webtickets.co.za/v2/event.aspx?itemid=1580082901

IMBEWU ARTS FESTIVAL

 

(Right: Anele Nene. Pic supplied)

 

A decade of Imbewu Arts Festival honouring creativity and artistic growth.

Presented by MagentaPro, the Imbewu Arts Festival is proud to celebrate its 10-year milestone with an exciting programme that places young artists and community development at its core. 

Ahead of the main festival, Imbewu will host a special build-up weekend, known as “Fringe”, on November 29 and 30 at KCAP, featuring a brand-new addition to this year’s line-up: a dedicated film screening segment.

As part of its commitment to giving back, the festival has partnered with Sibalikhuli Development to offer a community workshop focusing on lighting, sound, stage management and proposal writing. These skills play a crucial role in empowering emerging creatives to navigate the arts sector with confidence and professionalism.

Festival director Fezeka Shandu says the partnership reflects Imbewu’s long standing mission to strengthen the artistic ecosystem: “As we mark a full decade of Imbewu, it felt important to invest directly in the young people who keep our industry alive. These workshops are practical, they are relevant, and they are exactly what many aspiring artists need to take their craft to the next level.”

The 2025 festival will officially open at the Courtyard Theatre at DUT on December 11 with Sullied, a critically acclaimed work that has travelled across the globe, including performances in the United Kingdom. Choreographed by Kristi Leigh and Sandile Mkhize, Sullied brings an international standard of dance theatre to local audiences while setting an inspiring tone for the festival’s 10-year celebration.

Central to Imbewu’s vision is the belief that young creatives deserve platforms that recognise their ambition and originality. Over the years, one of the biggest challenges facing new graduates has been the lack of opportunities to showcase fresh, boundary pushing work.

The Imbewu Arts Festival which runs from December 11 to 14, 2025, continues to address this gap by motivating emerging artists to build their skills, tell their own stories, and produce work of a high standard.

“Our goal has always been to make space for new voices,” adds Shandu. “When young artists feel supported, they create boldly, and that is exactly the kind of energy we want to see on our stages this year.” As Imbewu celebrates 10 years of nurturing talent and championing local content, this year’s programme promises to be its most impactful yet.

 

MZANSI PHILHARMONIC TOURS TO DURBAN

 

(Left: Marin Alsop. Pic supplied)

Where South Africa Finds Its Harmony: Inside the Mzansi Philharmonic

South Africans have never needed permission to express themselves. From the pulsating rhythm of Amapiano to the soulful legacy of jazz and the choral harmonies that shaped our liberation, music has always been the heartbeat of the nation.

Rooted in historical milestones such as the 1994 Freedom Day concert, when the power of music united our diverse voices in a new era of hope, that heartbeat can today be heard reverberating through a different kind of venue: the concert hall. The Mzansi National Philharmonic Orchestra brings a distinctly African voice to the world of orchestral music.

Unlike traditional orchestras, which are rooted in European history, Mzansi Philharmonic brings classical music back to something far more powerful: home. The performances don’t merely showcase culture; they erupt in emotional, homegrown celebration. The orchestra infuses symphonic expertise with the voice, identity, and heritage of South Africa. Imagine marimbas conversing with violins in a piece where indigenous rhythms meet classical form, and so is born the acclaimed rendition of 'Marimba Echoes Symphony.

What makes Mzansi Philharmonic even more remarkable is its commitment to showcasing South African excellence to the world. Internationally-renowned conductor Marin Alsop and globally celebrated cellist Abel Selaocoe, share the spotlight not as outsiders, but as collaborators in a proudly local piece. Every performance is a reminder that greatness has always lived here, and sometimes it just needed a bigger stage.

At the heart of Mzansi Philharmonic’s mission is a commitment to making orchestral music accessible and inclusive for all. Their initiatives include bringing full orchestral performances to hospitals, hosting music workshops in schools, and partnering with community centres for hands-on programmes that reach over 2,000 students across eight provinces. Through mentorship, instrument loan programmes, and scholarships for emerging talent, they provide tangible channels for young musicians who once felt opportunities were unattainable to step into their futures with instruments in hand and hope in heart.

The rise of the Mzansi Philharmonic speaks to something deeper happening in South Africa. It is a reclaiming of identity, a reshaping of legacy, and a celebration of who we are becoming. This cultural resurgence is not without its challenges, as the Orchestra navigates ongoing socio-economic hurdles and funding constraints. These obstacles only enrich the triumph, highlighting the strength and determination behind Mzansi Philharmonic's growth. In a time when the world is hungry for authentic cultural storytelling, Mzansi National Philharmonic Orchestra offers a sound that is undeniably South African.

This December, the Mzansi Philharmonic presents its national tour, Voices of Home, inviting South Africans to reconnect with the sound of their identity:

The orchestra performs in Durban in the Playhouse Opera theatre on December 13. (Johannesburg – December 10 & 11 and Cape Town – December 16 (Day of Reconciliation)

Tickets for all cities are now available on Quicket.

KZN Philharmonic Subscribers: Purchase your Season Tickets for the 2026 Summer Symphony Season before November 30, 2025, and qualify for a free ticket to the Voices of Home concert on Saturday December 13 at 15h00 in the Playhouse Opera Theatre.

INKOS’YAMAGCOKAMA LIVE IN CONCERT

 

Back by popular demand!

Inkos’yamagcokama Live in Concert returns to The Playhouse Company Opera Theatre for the second year in a row — and this time, it’s even BIGGER and BETTER!

Experience an unforgettable night of music, energy, and excitement with Inkos’yamagcokama performing all your favourite hits, backed by a full live band that will have you dancing all night long!

The concert will take place on Friday, December 6, 2025, at 19h00 in the Playhouse Opera.

Tickets: R300 – R450 - available now at Webtickets

Presented by Ivulandlela Holdings in partnership with The Playhouse Company.

Don’t miss out — tickets are selling fast!

 

A VERY ORCHESTRAL CHRISTMAS

The KZN Philharmonic and the Durban City Orchestra join forces for a joyous singalong concert featuring a beautiful range of festive tunes and singalong carols under the combined batons of Charl van der Merwe (resident conductor of DCO) and Chad Hendricks (resident conductor of KZN Philharmonic).

The concert will take place on December 7 at 17h30 at St Agnes in Kloof.

Tickets R130 / R110 / R90 through Quicket.

A FAIRYTALE CHRISTMAS CAROL: THE MUSICAL

Young Performers Project presents A Fairytale Christmas Carol: The Musical in the Playhouse Opera from December 5 to 21, 2025.

There will be a Relaxed Performance on December 5 at 14h30.

Charles Dickens timeless story about life’s second chances, A Christmas Carol, has been given a joyful new adaptation as A Fairytale Christmas Carol, the Musical.

This family show is full of holiday spirit! All your favourite fairytale characters take on new roles to retell this brilliant adaptation of A Christmas Carol that is surprisingly true to the original yet unlike anything you have ever seen before. 

You will never know who will show up next when the Big Bad Wolf as Ebenezer Scrooge meets the ghost of his old business partner, Jacob Midas (Marley) who could turn anything to gold. Midas warns Big Bad that we will be visited by three ghosts: Christmas past, present and future (played by a fairy Godmother, Old King Cole and the Queen of Hearts respectively). The ghosts make Scrooge realise what a scoundrel he has been. 

Presented by The Young Performers Project, The Playhouse Company and Pioneer.

Tickets: Webtickets.

 

KZNPO SPRING SEASON CONCERT 2: REVIEW

 

…The broadly felt opinion of the audiences was that these were highly gratifying evenings in the company of musicians who deserve to be supported into the future. (Review by David Smith)

With symphonic programmes telescoped by financial constraints, every venture by the KwaZulu-Natal Philharmonic Orchestra carries an increased weight of importance and expectation. Such was the feeling running through last week’s Spring Season closer which took place in The Playhouse Opera on November 13, 2025.

The charming Serenade for strings by Edward Elgar opened the programme, and proved the least satisfying of the offerings. Sometimes admirably delivered without a conductor, it requires not only sensitive chamber-style interaction, which arguably was in evidence, but also a general lightness of touch. It felt as if the conductor, Michael Repper, in his very measured speeds, was reaching for something in the music that was not there: a profundity, perhaps, or some Elgarian secret.

The presence and playing of Sandra Lied Haga, the soloist for Haydn’s Cello Concerto in D major, seemed to galvanise the ensemble, which gathered around her like a family, with Repper as the young uncle full of inspirations.

Suddenly, behind the gorgeous sound of her instrument and the poised articulation of her bow-strokes, all the voices gelled, and the subtlety of the technical writing that ranged through the compass of the cello but lodged especially in high ‘thumb-position’ passages was consistently noticeable. Within this musical world of graceful and polished ideas laced with moments of symphonic traction, Ms Haga paid out the winding thread of the concerto with a bold address and a refreshing lack of affectation. There was no holding of breath for the tuneful cadenzas, which flowed out of and back into the fabric of the piece with a completely secure mastery.

Felix Mendelssohn’s Symphony No. 1 was the culmination of his ‘apprentice’ years which occupied his early teens. It brought to a close a spate of ‘string symphonies’ that splendidly reflected the influence of his teacher, the redoubtable Carl Zelter and - via him – of J S Bach, in the context of the Mozartean and Beethovenian ascendancy. Rather than whistleable tunes, it trades in fields of orchestral energy that are highly satisfying.

Here, Mr Repper was like an electrical source pouring current into the ensemble. This encompassed both the telling details and the broad style of a prodigiously talented fifteen-year-old’s claim to fame. The string foundation responded to his convinced direction with some superheated playing in the outer movements, and genuine tenderness and earnestness in contrast. Equally positive were the glowing results elicited from the woodwind group that achieved some of the finest tuning and precision that we have heard from them in a long time. The efforts invested in rehearsing this flower of early Romanticism paid off handsomely.

It is all too easy to direct attention to the musical ‘leaders’ and to applaud their endeavours. In looking back over the four concerts of the early-plus-mid-spring season, the sterling work of conductors and soloists has certainly warranted our gratefulness and kudos. Yet, they elevate, or obscure, the beauty of the music largely by their partnership with the orchestral team. In this, we have been unusually lucky; the broadly felt opinion of the audiences was that these were highly gratifying evenings in the company of musicians who deserve to be supported into the future. - David Smith

KZN Philharmonic Subscribers: Purchase your Season Tickets for the 2026 Summer Symphony Season before November 30, 2025, and qualify for a free ticket to the Voices of Home concert on Saturday December 13 at 15h00 in the Playhouse Opera Theatre.

The KZNPO Summer Season Concerts will take place on March 5 and 12, 2026, at 19h00 in the Playhouse Opera. Tickets available nearer the time at Webtickets.

To link direct to the KZNPO website, click on their advert at the top right-hand side of this article.

THE LONELINESS OF SONIA AND SUNNY: REVIEW

Desai’s clever humour, sharp observations and skillful writing made it a pleasure to read.  (Reviewed by Margaret von Klemperer, courtesy of The Witness)

 

Kiran Desai’s novel The Loneliness Of Sonia And Sunny was shortlisted for the Booker Prize, and although she was not this year’s eventual winner, Desai knows what it is like to win one of literature’s most prestigious awards – she won in 2006 with The Inheritance of Loss. But it has been almost 20 years since she published a novel – a long wait for her readers.

When I tackled The Loneliness of Sonia and Sunny from my reviewing pile, I have to admit to being a little nervous. It is daunting to pick up a book of almost 700 pages, because, if it doesn’t hook you in, it is going to be a very long slog to the end. But I need not have worried. Desai’s clever humour, sharp observations and skillful writing made it a pleasure to read.

When the novel opens, both Sonia and Sunny are in America where they have gone to study – both have aspirations to be writers. Their families back home in India know each other slightly, and their grandparents cook up a plan to arrange a marriage for them – not something they have any interest in and that they find embarrassing. Both are soon in relationships with other people – in Sonia’s case with a considerably older artist who is controlling, abusive and ultimately destructive. Sunny meanwhile also has an American girlfriend, and here Desai deals cleverly – and very amusingly - with the clash of cultures. But the conundrums she raises are very real, and are central to the book.

Throughout the novel, both main characters and their wider families are coping with issues of belonging, exile and the inner alienation that comes from having two sides to your life that will never quite synchronise. For Sunny, working as a journalist in America, there is an added problem – how can he write as a brown person in a white world, and if he returns to India, has America not skewed his perceptions? Cultural appropriation is an issue South Africans are very aware of, but it is a universal problem.

Both Sonia and Sunny have wider families, often difficult, often embarrassing, but always very much there. And when the pair do finally get together, things are never going to run smoothly. The novel is a love story, but not a tale of star-crossed lovers who will eventually ride off happily into the sunset. Maybe they will, but they are going to have to face down their demons for ever.

And that raises another question, and one that I was not entirely comfortable with. Desai adds a component of magic realism to her writing, which, while it is interesting in itself, sits a little uneasily with the convincing reality and humour of the characters and situations she creates. But, taken as a whole, The Loneliness of Sonia and Sunny is a great read. - Margaret von Klemperer

The Loneliness of Sonia and Sunny is published by Hamish Hamilton: ISBN 978-0-241-77084-9

DFMI CALL FOR SUBMISSIONS FOR TALENTS DURBAN

 

Submission deadline: February 9 2026.

 

The Durban FilmMart Institute (DFMI) is thrilled to announce the official Call for Submissions for the 19th edition of Talents Durban, set to take place in conjunction with the Durban FilmMart (DFM) in Durban, South Africa, from July 24 to 27, 2026.

As the official African satellite programme of Berlinale Talents, the Berlin International Film Festival's talent development platform, Talents Durban is the continent’s premier platform for up-and-coming film professionals to network, learn, and collaborate. The programme offers an intensive, hybrid experience designed to foster creative development and industry connections.

This comprehensive structure includes an eight-week online mentorship, a four-day in-person event, culminating at the 17th Durban FilmMart for sustained growth and collaboration.

DFMI Director, Magdalene Reddy says: "African storytelling is experiencing an unprecedented global surge, and Talents Durban is right at the heart of nurturing the next generation of industry leaders. We are actively seeking bold, innovative, and distinctive voices across all disciplines. Whether you are a filmmaker with a compelling project or an emerging critic ready to shape the narrative, this is your opportunity to join a vibrant pan-African community and take your career to the global stage. We encourage all eligible applicants to seize this opportunity and submit their work."

 

Programme Overview

Talents Durban is inviting applications from all emerging film professionals and critics from the African continent and diaspora who have completed a minimum of two professional projects (e.g., short films, features, documentaries, or published reviews). The programme covers several core disciplines:

 

Filmmaking: Fiction Features, Documentary Features, Shorts, Series, and Animation.

Film Criticism: Talents Press

 

The selection process is highly competitive, and applicants are encouraged to ensure their submissions are polished and reflect exceptional potential. Last year’s edition saw over 500 applications, resulting in a highly curated cohort.

Selected Talents will participate in a series of project-oriented, hands-on skills development programmes, including masterclasses, one-on-one mentorship with established industry experts, and the crucial Story Junction sessions, where participants get to present their projects to producers and potential financiers. The experience is designed to turn promising concepts into screen realities.

Nikola Joetze and Tobias Pausinger, Programme Manager and Project Manager of Berlinale Talents, added: “The calibre and determination of the cinematic voices emerging from Africa never ceases to impress. The partnership between Berlinale Talents and the Durban FilmMart Institute is vital in strengthening the international community and supporting those voices. We are already eager to meet the 19th edition’s cohort, with the fresh perspectives and powerful stories they will bring to light. We enthusiastically encourage all talents to apply and become part of this essential network.”

 

Application criteria:

Emerging filmmakers, animation directors, series creators, and film critics are invited to submit their applications online. Full submission requirements and eligibility criteria can be found on the Durban FilmMart Institute’s website.

You have submitted a complete application, including a sample of past work and a project in development.

Please note that the application is based on individual submissions and we cannot accept team applications – you may apply as a screenwriter, director, animation director or film critic.

You must have obtained the written consent of the other copyright owners for the use of the work sample and project submitted.

You work in one of the following areas: screenwriting, directing, film criticism and animation.

You are an emerging film professional OR student in the final year of your studies, OR film school graduate, OR have comparable work experience in the film and media industry.

You have worked on at least one short/feature film that has been screened at a recognized film festival, OR you have worked on a TV drama series that has aired widely, OR you have worked on a web or mobile drama series that has around 5,000 views OR (for the Talent Press programme), you have at least one-year experience as a film critic/reviewer/journalist/vlogger/podcaster.

You must be a citizen of an African/Caribbean country, residing in Africa/Caribbean.

You must be at least 18 years of age by July 1, 2026

For more information about the terms and conditions, visit the DFM website.

Submission deadline: February 9 2026.

 

Apply here:

https://durbanfilmmart.co.za/talents-durban-application/

SINBAD THE SAILOR FOR KICKSTART

 

KickstArt presents their 2025 Durban festive panto which is Sinbad the Sailor, a riotous romp over the Seven Seas, in the company of the famous sailor, Sinbad, and his madcap crew and family, which comes to the Elizabeth Sneddon Theatre on UKZN campus from December 4 until January 11.

With gloriously colourful sets and costumes that evoke the exotic mystery and magic of the Arabian Nights, and exciting music and dance, inspired by Bollywood, this is a unique, unforgettable pantomime experience for the entire family.

Sinbad the Sailor is written and directed by Steven Stead, and designed by Greg King, with spirited choreography by Evashnee Pillay.

Sinbad the Sailor runs from December 4 to January 11 at the Elizabeth Sneddon Theatre. Performances are Tuesday to Sunday at 14h30 and 11h00 and 15h30 on Saturdays.

Running time is 2 hours 25 mins (including a 20-minute interval).

No under-three’s permitted. More information at https://kickstarttheatre.co.za/Booking through Webtickets

MiTH – 19 NOVEMBER 2025

 

Where can you meet with friends, enjoy great music in a beautiful environment with roaring fires, hearty food and a cash bar – all for just R50? Music in The Hills (MiTH) at The Knoll Historic Guest Farm in Hilton every second Wednesday! Your best bet for an affordable, soul-stirring musical experience with your friends.

The next Music in the Hills takes place on November 19 at The Knoll Historic Guest Farm

Entrance: R50.00 (cash or zapper at the door). For more information contact 082 331 7271.

 

20h30: Tongue-in-Cheek

Born out of a one-night-only tribute show that refused to stay a one-night-only tribute show, Tongue-in-Cheek is a playful, high-energy quartet celebrating the greatest music ever written - with a wink, a grin, and harmonies that hit you right in the nostalgia.

What began as “A Tribute to the GREATS in GREYTOWN” - a themed night honouring icons like The Beatles, Koos Doep, CCR, Theuns Jordaan, and Simon & Garfunkel - revealed a chemistry too good to ignore. The crowd dressed up, sang along, danced, laughed, and the performers discovered they had stumbled into something special.

Formed by the charismatic blend of Charles Webster, Grace Botha, Rebecca Webster and Rudi Engelbrecht, Tongue-in-Cheek delivers a warm, witty, and wonderfully crowd-friendly performance style. Their shows mix heartfelt musicianship with a sense of fun that invites every audience to let loose, sing loudly, and enjoy a night of pure musical joy.

 

19h45: Bruere Venter

Blending folk and indie influences from artists like Jack Johnson, Mumford & Sons, and The Beatles, Bruere brings a warm energy to the stage, drifting between easy-going grooves and heartfelt melodies. Performing familiar covers with his own distinctive touch, he creates an atmosphere that feels both relaxed and genuine. Having played in various bands and duos, he now performs mostly solo — with the occasional duet alongside his partner, Ellena. For Bruere, music is a space to express, connect, and share moments that are honest and full of heart.

 

19h00: Skippy Kubheka

Skippy Kubheka is a local musician from Hilton who has been performing since 2014. He’s been seen performing with out-of-this-world musicians, like bass with Mali Zulu, and drums for Matt Gardiner. He’s the current front-person for the MMM…Band, and has been known to appear in an occasional collaboration or two.

But this time around, he’s about to do something rare; something that hasn’t been done in quite some time… He will be performing a solo act for the first time at MiTH in years. It’s gonna rock!

  

ABOUT MiTH

KZN Midlands’ favourite music venue! MiTH is a platform for beginners, pros, and music lovers to celebrate the joy of music. Every second Wednesday at The Knoll Historic Guest Farm, Hilton.

Food and soft drinks for sale. Cash bar available.

Visit www.mith.co.za for more info or email mithbookings@gmail.com to perform.

  

DIRECTIONS TO MiTH

Take the N3 to Hilton. Turn into Hilton Village and drive 5.2km along Hilton Avenue, which becomes Dennis Shepstone Drive. Look for Knoll Drive on your right; the entrance to MiTH is the second left into The Knoll Historic Guest Farm.