KZN INTERNATIONAL ARTS FESTIVAL LAUNCH

 

(Above: Xola Nxasana and Sibusiso Sthole, festival organisers. Picture by Artivist Media)

 

A bold new chapter for the province's creative (Review by Akhona Jr Mhlungu)

On a busy cultural, artistic, and sporting weekend, one marked by Amakhosi bending the knee to the Buccaneers, I found myself at the Courtyard Theatre on Sunday for the launch of the inaugural KZN International Arts Festival. While stadiums echoed with football chants and venues across the province hosted artistic gatherings, this event felt like the beginning of something that KwaZulu-Natal has long needed: a flagship arts festival capable of standing alongside the country's most recognised cultural celebrations.

From the moment guests arrived, the festival's ambitions were evident. Media houses moved through the venue capturing interviews and documenting the occasion, while exhibitions by Isizotha Arts and Design, Wushwini Arts Gallery, and Xola Arts transformed the space into a vibrant showcase of visual expression. The displays served as a reminder that the festival seeks to embrace the full spectrum of the arts rather than privileging a single discipline.

The programme began with Usiphetho by Sabelo Jili, setting an engaging tone for the day.

This was followed by a range of poetry and musical performances that created an atmosphere of celebration and artistic fellowship. The diversity of the programme quickly became one of the festival's defining strengths.

The Paramathman Dance Theatre Company's Indian dance performance brought elegance and cultural richness to the stage, while the Batswana Musical Production reinforced the event's international aspirations. The inclusion of a sign language performance further demonstrated a commitment to accessibility and meaningful representation.

The launch balanced performance with meaningful engagement through presentations by Dr Disi Sindo, who emphasised networking and collaboration; Zawadi Yamungu, who spoke on cultural preservation and representation; and Saliwa Seyntombi, who explored emerging artistic traditions and trends and their impact on society.

What I appreciated most was that this was not merely a gathering of theatre practitioners. Visual artists, musicians, poets, performers, cultural practitioners, media professionals, and arts administrators occupied the same space. It felt less like a theatre event and more like what an arts festival should be: a meeting place for artistic communities.

Radio personality Thulani Zondo highlighted the role of radio and media houses in supporting artists and creating visibility for creative work. The formal programme then closed with Senior Citizens by Edmund Mhlongo, a fitting theatrical conclusion before audiences moved into an evening of jazz and poetry.

Among the highlights were reflections by Festival Director Xola Nxasana and Festival Manager Sbusiso Sthole, who shared the journey of bringing the festival to life and the vision behind its creation. They addressed a significant gap in South Africa's festival landscape: despite KwaZulu-Natal's rich cultural heritage and tourism appeal, the province has never enjoyed a flagship arts festival on the scale of the National Arts Festival or the Vrystaat Arts Festival.

Their vision was bold. Rather than positioning the KZN International Arts Festival as a small local initiative, they presented it as a festival capable of standing alongside South Africa's leading cultural events. They painted a picture of an annual platform that would attract artists, audiences, and cultural tourists from across the country and beyond, contributing meaningfully to artistic development, collaboration, and cultural tourism in KwaZulu-Natal.

For a first launch, the event succeeded in creating excitement, fostering dialogue, and showing a clear sense of purpose. As the evening concluded with jazz, poetry, and conversation, there was a feeling that this was more than the launch of a festival. It was the beginning of a movement determined to secure KwaZulu-Natal's place on South Africa's cultural map.

Rating: ★★★★★

The inaugural KZN International Arts Festival launch was a confident and inspiring statement of intent, celebrating artistic diversity while presenting a compelling vision for the future of arts and culture in KwaZulu-Natal. - Akhona Jr Mhlungu

THE BAMBOOZLED BREAK-IN: REVIEW

 

(Above: Marion Loudon & Cara Roberts )

 

(“The Bamboozled Break-in” is a fast-paced, light-hearted caper of sheer, rollicking fun Review by Shannon Kenny)

The Bamboozled Break-in - The Seabrookes Theatre, DHS: Friday October 30 - Saturday October 31, 2026. - The Seabrookes Theatre, DHS:

Two strangers meet at the site of a burglary - the house they both intend to burgle.

Sophisticated and notoriously elusive Vivian (Marion Loudon) is there for items of great worth, while small-time crook, Zanie (Cara Roberts), is working “the kitchen department” for fence, Dougie, in hopes of a promotion to cellphones.

The audience is swept along in a high-energy comedy filled with all the chaos and mirth that accompanies the collision of two worlds, two very different personalities, two sets of plans - and Alexa. There are flared tempers and fights; flights of fancy and commiseration - and all the while we get to love and root for our burglars as they reveal their dreams, aspirations and what it means to really get even.

This quirky two-hander is based on Jacolien Lüneburg's Dubbeldief. The play is translated from the Afrikaans and adapted by first-time director, Ilana van den Berg, and produced by AfriArtsConnect.

The set is a decidedly less-than-tastefully-decorated room, replete with gold-trimmed, purple velour curtain; dodgy art; a couch that sees a lot of action, and Alexa (every home needs one) - in the opulent abode of fabulously wealthy Jordan Jacobs, our protagonists’ intended victim.

The incidental music is wonderfully tongue-in cheek and the sound-scape includes news inserts (voiced by Bryan Hiles) and telephone messages delivered by Alexa.

Stars of the show, Loudon and Roberts, fill their roles and maintain a peppy pace, delivering effervescent performances throughout the 80-minute show. Kudos to their focus and meeting the demands of roles that are both physical and emotionally nuanced.

Along with hilarious, rapid-fire lines, some delightful moments include Zanie’s reverie in a Top Billing-worthy celebrity wedding and the best ever “Dear John” letters, that had the teenager in stitches. We laughed.  A. Lot.

As a first outing, Ilana van den Berg and AfriArtsConnect deserve every plaudit for this project - and especially for highlighting just how an art project is more than just “the feels” - it is collaboration, it is sustainability in action, it is livelihoods - and it stays with us long after we’ve left the art space.

The Bamboozled Break-in is a fast-paced, light-hearted caper of sheer, rollicking fun! May it see many more performances in the future. – Shannon Kenny

 

NAINA

 

Based on a true story, Naina is a Bollywood dance drama.

Back by popular demand, this breathtaking dance theatre journey celebrates resilience, love, and human connection.

At its heart is Naina, a young girl born blind and deaf, whose life unfolds in a world that often overlooks difference.

Through friendship, courage, and the struggles of addiction, disability, and hope, Naina reminds us that kindness and strength can transform even the darkest challenges. Artistic, moving, and unforgettable, this is a story where every step dances with possibility…

From the laughter of childhood to the struggles of disability and addiction, Naina celebrates courage, kindness, and the power of human connection. A story that will move your heart, lift your spirit, and remind you that hope always finds a stage…

Naina runs at the Elizabeth Sneddon Theatre from October 26 to November 1, 2026.

Booking is through Webtickets at any Pick 'n Pay outlet, or online at

https://www.webtickets.co.za/v2/event.aspx?itemid=1601885206

WOZA ALBERT! AT THE BAT CENTRE

 

Award-winning theatre company Menzi M Creations is producing a comedy, satire play for Durban.

Woza Albert! written by Mbongeni Ngema, Percey Mtwa and Barney Simon is being produced by Menzi M Creations at the BAT Centre on October 31 at 15h00 at R120 a ticket.

Menzi Mbuli, the director and founder of Menzi M Creations, says “We have produced and staged over 15 productions in KZN for numerous districts for our database, but this year we are moving from schools to producing work for the public.”

Menzi M Creations has a database of over 1000 schools and has done many stage performances of setworks but the public has never seen these productions.

“The only time we get to produce work for the public is at the Hilton Arts Festival,” says Mr Mbuli.

Menzi Mbuli directed Master Harold…and the boys by Athol Fugard produced by his company Menzi M Creations and was sold out. This gave him the push to move into producing work for the public.

“We spend lots of money on these productions and the public never gets to see them I have great actors working in my company that deserve to be showcased,” says Menzi. The production is performed

The production tells the story of Jesus Christ coming back for his second return but landing in South Africa during apartheid in the 80’s. It has tones of humour, it contains sharp and skilful character transformations, excellent performances that show dark and light tones of South Africa in the 80’s.

The piece is performed by live singing and unbelievable performance energy carried by two actors who play over 20 characters together.

It is an excellent production for the whole family as well as those who are fascinated by our history as a nation that had to overcome tremendous oppression to become a democracy.

There is also a bar for drinks at the BAT Centre for those coming to sit down for a drink before and after the show. 

Tickets are sold at the door.

 

HOW TO COOK YOUR HUSBAND

 

Rhumbelow Theatre will present How to Cook Your Husband, direct from the Hilton Arts Festival and starring Lisa Bobbert and Darren King.

Performances take place as follows:

Saturday October 31 at 15h00 and 19h30

Sunday November 1 at 14h00

Running time: 60 minutes

 

(Venue opens 90 minutes before show for snacks/drinks)

 

Magdelena discovers her husband's infidelity and has only one solution - he must die!

But how to cover her tracks and dispose of the evidence - that is the question?

Influenced by Sweeny Todd and inspired by Gordon Ramsey - This Michelin star chef is not for the faint of heart or for the strictly vegetarian.

Written by the multi-award winning, Janna Ramos-Violante, this hour long dark comedy cabaret looks at the themes of Marriage, Infidelity, consequences and solutions. Including such popular songs as Chicago’s - He Had it Coming, Crazy, I Will Survive, Something Stupid and Sondheim’s, Worst Pies in Bloemfontein (London).

Tickets R180.

Bring food picnic baskets or buy at the venue

Bar Available - (no alcohol may be brought on to the premises)

Limited secure parking available

 

Booking is essential on email: roland@stansell.co.za or WEBTICKETS

 

More information on 0824998636 or visit http://events.durbantheatre.com/

Rhumbelow Theatre is located at 42 Cunningham Rd off Bartle Road, Durban.

GEE JAYS AT THE NUTCRACKER

 

(Above: Grant Bell, Marion Loudon & John Didlick)

 

Nutcracker Theatre, Macnut Farm Assagay: November 7 & 8, 2026.

Durban legends, The Gee Jays: Marion Loudon, John Didlick and Grant Bell, will be performing at the Nutcracker Theatre at Macnut Farm in Assagay on November 7 and 8.

The Gee Jays are probably Durban's longest-running comedy cabaret trio, performing across KwaZulu-Natal since 1985 playing a mix of music from the 1950s through the 1990s, paired with tongue-in-cheek comedy, satire, and interactive sing-alongs.

On offer is a sublime experience of music, food, and good times! Get ready to tap your feet, sing along, and create unforgettable memories with friends and family to the tune of great music - a musical extravaganza like no other!

A delicious two-course meal will be served as part of the experience: mouth-watering oxtail, chicken curry and vegetarian moussaka. All meals are served with a selection of side dishes. And for dessert there is Cheesecake.

The Nutcracker Theatre at Macnut Farm is a proud member of 1000 Hills Tourism.

 

Good to know:

Dates: Sat November 7 at 17h30 and Sun November 8 at 12h30

Venue: Nutcracker Theatre, Macnut Farm, Lello Rd, Assagay.

Tickets: R395 – show and meal. Cash bar on site

Book Hannah – 074 603 0000

 

 

 

MAYIBUYE DOC LAB OPENS CALL FOR SA DOCUMENTARIES

Applications close November 13, 2026, at 23h59SAST

Mayibuye Doc Lab opens call for compelling South African documentaries

NFVF-backed film development lab offers six documentary teams a route from a concept to an investment-ready project - and onto the world stage at documentary markets.

Mayibuye Doc Lab has announced its call for projects for the 2026/27 South African edition, inviting South African filmmaking teams to submit compelling documentary projects in development or early production. The second edition of the lab is hosted by Ehozini Retreat (Durban) and funded by the National Film and Video Foundation (NFVF) PESP. Applications are now open and close on November 13, 2026, at 23h59SAST.

Mayibuye Doc Lab is a hands-on development lab for creative documentaries:  films with a strong authorial voice, a compelling narrative with a clear dramatic arc, and the potential to move audiences at home and abroad. Six projects will be selected. Over four months, each team - writer/director, producer and impact producer - will move from concept to a complete, investment-ready project package: a narrative treatment and draft script, a production and financing plan, and a distribution, marketing and impact strategy.

The Lab combines online workshops, a story writing residency and group sessions to strengthen each project's story and visual approach, producing and financing strategy, and distribution, marketing and impact strategy. The mentorship in the lab will be guided by an experienced mentorship team and guest facilitators from the local and international industry.

Completing the Lab is the beginning, not the end. Through the Post-Lab Alumni Programme, Mayibuye alumni can network with colleagues across the continent and carry their projects to the international industry via partnerships with numerous documentary markets in 2027.

Tiny Mungwe, Programme Manager, Mayibuye Doc Lab, says: “We are looking to support filmmakers with character-driven stories, innovative approaches to documentary filmmaking and new perspectives. Our lab will create space for the key creative team on the project to invest time into deepening their storytelling, strengthen their project package and connect with collaborators to take the films to audiences.”

Mitchell Harper, Project Manager, Mayibuye Doc Lab, added: “We welcome applications from filmmakers with some experience or training in filmmaking. Applicants should have at least a completed short film (fiction or non-fiction) even if it hasn’t been screened at a festival or broadcast.”

The call is open to South African projects with South African key creative teams. It targets filmmakers at NFVF Tier 2 or Tier 3 looking for accelerated growth, and first-time documentary filmmakers with a track record in other formats - fiction, commercials or episodic - are welcome and encouraged. Each project must be ideally represented by a writer/director, a producer and an impact producer, available for the full programme.

Applications can be submitted through the online application form: https://tally.so/r/Z952M0

and close on November 13, 2026, at 23h59 SAST.

Participants will be expected to be available on the following dates: Online workshops: December 1–11, 2026; eHozini (KZN) Writing residencies: January 2027 and online· Group sessions: January–February 2027  Mayibuye Doc Lab covers the cost of travel, accommodation and food for the on-site residency.

PALESA KADI NEW CEO OF THE NATIONAL ARTS FESTIVAL

 

(Above: Palesa Kadi - image by Mark Wessels)

 

Earlier this month, Palesa Kadi began her first days as the National Arts Festival's new CEO, meeting the NAF’s partners and stakeholders and preparing for her move to her new home in Makhanda. She brings a deep love of the Eastern Cape to her role, including family ties to the region, and says her early days are about listening and getting to know "this very unique and special institution."

Board Chairperson, Professor Siphiwo Mahala, says: "Palesa's appointment marks an exciting new chapter for the National Arts Festival. We’re confident in her leadership and excited about the direction she will take the Festival in."

Her path to the NAF has, in a sense, brought her full circle. Palesa's career in the arts began nearly two decades ago as Head of Arts and Culture for the Nelson Mandela Bay Municipality, work that first rooted her in the region she returns to. From there, she moved through senior roles at the Film and Publication Board, the Independent Communications Authority of South Africa and, most recently, the National Heritage Council, building a reputation for steady, principled governance along the way. She's also chaired the board of the Mandela Bay Theatre Complex, served on the board of the National Council of Libraries and Information Services and Cricket South Africa and is currently an SABC board member.

Her appointment also lands during Women's Month, something she notes is "particularly meaningful": "Women have always been central to cultural production and community life, and I'm committed to ensuring that women's voices, creativity and leadership continue to shape the Festival's direction."

DUBIOUS GURUS: THE ART OF LISTENING

 

(Above: Anton Cawthorn-Blazeby, Logan Byrne, Iain ‘Ewok’ Robinson & Daniel Sheldon)

Theatre review by Akhona Jr Mhlungu

 

By the time I reached DUT’s Courtyard Theatre for the final afternoon of Backstage in Action, a six-hour workshop had left me mentally spent. I had little energy left for another performance. Yet the stage seemed to invite rather than demand attention: microphones, chairs and instruments stood beside a flask and a potted curry plant, beneath a projection of distant stars. It suggested a conversation waiting to happen.

That conversation was Dubious Gurus, a meeting of spoken word, jazz and hip hop led by Durban artist Iain ‘Ewok’ Robinson. The October 16 performance brought Backstage in Action to a close after The King of Broken Things and a Wellness Activation. I had also seen and reviewed the protest-centred History Is a Home Address the previous week. Each encounter had asked something different of its audience. What would this one offer?

Robinson appeared alone, opening with a poem concerned with provocation and response. His delivery was conversational without losing its precision, allowing humour and reflection to share the same breath. Daniel Sheldon joined him on trumpet, followed by Logan Byrne on upright bass and Anton Cawthorn-Blazeby on violin. The ensemble assembled gradually, each arrival unforced.

Once together, they did more than accompany a poet. Byrne’s bass gave the words weight and warmth; Sheldon’s trumpet and percussion shifted their pace and texture; Cawthorn-Blazeby’s violin could extend a thought or gently unsettle it. Sound and speech took turns leading. The musicians listened to Robinson, and he listened back.

Karen Logan’s vlog visuals deserved equal attention. Set against the intimacy of live instruments and a speaking body, the projected imagery opened another way of encountering the material. Its screen-based perspective joined the exchange between what was said, heard and seen. The images were part of the work’s thinking, not simply its atmosphere.

Dubious Gurus resisted easy classification as a poetry reading, concert or theatre piece. Robinson’s writing moved between wit, lived observation and social commentary without insisting on a single conclusion. There was an improvisatory freedom to the performance, but that freedom was not a matter of making things up. It required trust and discipline: knowing when to lead, respond or leave silence.

For me, that was also where the learning happened. Backstage in Action, convened by Dr Clare Craighead through DUT’s Higher Certificate in Performing Arts Technology, brings industry practitioners into direct engagement with students and their developing practice.

These are not classroom demonstrations. The performances must stand on their own before a public audience, while giving students opportunities to study professional choices, develop their practice and produce learning that can be reflected on and assessed.

There is something distinctively DUT about that relationship between making and learning. The theatre becomes a place where artistic and technical decisions have consequences beyond a mark: they must communicate with an audience. Live work also invites critical reflection on collaboration, timing, sound, visuals and professional responsibility. Education meets practice as it unfolds, rather than explaining it from a distance.

I arrived at the Courtyard Theatre exhausted. I left thinking about what artists can make through listening, and what students can learn from that discipline. As a finale, Dubious Gurus avoided the tidy goodbye. Its conversation remained open, and so did the questions it left behind. - Akhona Jr Mhlungu

 

GOD OF CARNAGE

 

(Above: Damien Butt, Skhulile Gwala, Jenna Van Eyssen & Khethukuthula Ngcobo. Pic by Val Adamson)

 

When Good Manners Go Bad

Durban Macbob Productions in association with The International School of Performing Arts (ISPA) third-year students bring Yasmina Reza’s acclaimed dark comedy, God Of Carnage to the Seabrookes Theatre on DHS campus, on November 4 and 5 at 19h00.

What begins as a civilised meeting between two sets of parents quickly descends into an hilarious and increasingly chaotic battle of words, egos and accusations in God of Carnage, the award-winning dark comedy by acclaimed playwright Yasmina Reza translated by Christopher Hampton.

ISPA presents this razor-sharp comedy featuring four of ISPA’s talented third-year musical theatre students: Damien Butt, Jenna Van Eyssen, Khethukuthula Ngcobo and Skhulile Gwala, under the direction of Aaron McIlroy.

The play begins when two couples meet to discuss an altercation between their young sons. Determined to handle the situation like reasonable, well-adjusted adults, they attempt to resolve the matter politely. However, as the conversation unfolds, civility gives way to confrontation, old grievances surface, and the carefully-constructed façades of adulthood begin to crumble.

With biting wit, uncomfortable truths and laugh-out-loud moments, God of Carnage explores the thin veneer of civilisation and asks just how far people will go when their pride, prejudices and personal frustrations take centre stage.

For ISPA’s third-year students, this production offers an opportunity to showcase their acting skills in a fast-paced, character-driven play that demands precision, timing and emotional depth.

God of Carnage promises an entertaining evening of dark comedy that will leave audiences laughing, squirming and perhaps questioning their own behaviour when civility goes out the window.

This amateur production of God of Carnage is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd.

Come and witness what happens when four adults discover that good manners have their limits.

 

Good to know:

- Dates: November 4 and 5, 2026

- Time: 19h00

- Venue: Seabrookes Theatre, DHS, Musgrave, Durban

- Tickets: R150 (R120 students and pensioners)

- Booking: Available through Webtickets

- Running format: No interval

 

ELCIDES CARLOS & DURBAN FRIENDS

 

Elcides Carlos & Durban Friends at the Centre for Jazz and Popular Music

 

The Centre for Jazz and Popular Music is proud to present Mozambican jazz guitarist, composer, lecturer and researcher Elcides Carlos on Wednesday, October 28, 2026, at 17h30.

Returning to the UKZN Centre for Jazz and Popular Music for his third performance at the venue, Elcides Carlos presents Elcides Carlos & Durban Friends, featuring fellow Mozambican musicians Lelas Mavie on bass and Vando Infante on drums, alongside Durban-based keyboardist Shemuel Mahabeer.

The concert celebrates the musical friendships and artistic collaborations that have developed between Elcides Carlos and Durban’s jazz community through his previous visits and tours in the city. It highlights the connections between Mozambican and South African musicians, with jazz serving as a platform for cultural exchange and creative collaboration.

The repertoire will feature Elcides Carlos’ original compositions alongside selected classics from African and American jazz. Drawing on African musical traditions, contemporary African jazz and the broader language of jazz, the performance promises an engaging exploration of the musical connections that unite artists across borders.

Rooted in Afro-jazz, Elcides Carlos’ work reflects the rich musical heritage of Southern Africa while embracing the diverse influences of the wider jazz tradition. His debut album, Sense of Presence, released in 2022, featured collaborations with musicians from Italy, Russia, the United States and South Africa. In 2025, he published A Mente de Um Grande Guitarrista (The Mind of a Great Guitarist), a book exploring the mindset, musical development and creative process of the guitarist.

His return to the UKZN Centre for Jazz and Popular Music marks another chapter in an ongoing artistic relationship between Mozambique and Durban, celebrating the power of jazz to foster collaboration, cultural exchange and lasting musical connections.

 

Event Details

Concert: Elcides Carlos & Durban Friends

Date: Wednesday, October 28, 2026

Time: 17h30

Venue: UKZN Centre for Jazz and Popular Music, Durban

 

Performers:

Elcides Carlos — Guitar (Mozambique)

Lelas Mavie — Bass (Mozambique)

Vando Infante — Drums (Mozambique)

Shemuel Mahabeer — Keyboard (South Africa)

 

Venue: Centre for Jazz and Popular Music, Dennis Shepstone Building, Level 2, Howard College Campus, UKZN, Durban.

Tickets: General admission R130 (R100 Pensioners, R70 Students)

Payment: Cash at the door

Campus access: Gate 3 or Gate 8, off Rick Turner Road.

 

 

THE WITCHES OF CAMBRIDGE: REVIEW

 

(It is a long time since I have read an Alice Hoffman novel, and there is no doubt that she can tell a pacy, clever story. Review by Margaret von Klemperer, courtesy of The Witness)

 

If you are born with an extra finger on one hand, your blood is black, you can’t drown and you are being followed around by crows, then, in Alice Hoffman’s world, you are a witch.

Fans of the author of her The Witches of Cambridge will of course know this. Hoffman has made the witchy world her own in fiction, and here she is introducing a new cast of witches in a novel which is set in the 1950s world of Radcliffe College, now a part of Harvard but at the time an adjunct where women could receive a university education but without distracting the men. However, of course, Massachusetts had an earlier history with witches, having been the site of the notorious witch trials of the late 17th Century.

One of the residences at Radcliffe is Lilith House, a very secret society where only witches go. And when the novel opens, two new students are invited to join – Ava, a country girl from Maine and Lauren, a wealthy local. Their backgrounds are very different, as are their characters, but of course they have one major similarity. And they become close to each other – at least for some of the time – and their lives become intertwined.

Lilith House may be a comfortable bolt hole for the young witches, but not all goes smoothly. Like most university students, their love-lives take up quite a lot of their time, and do not always go according to plan. But things also seem to be going strangely at Lilith House when senior students suddenly vanish just before their graduation. And they all had some part of their studies in common.

Then Ava finds diaries that date back to the time of the witch trials of the 17th Century, which seem to have links to the 1950s witchery of Ava and Lauren – and show that being a witch may well be a genetic inheritance. These historical sections add an interesting dimension to the novel. However, Hoffman’s linking of the early witch trials to the McCarthy witch hunts of the 1950s sometimes seems a little clumsy. Lauren’s brother – also a witch, of course – is gay, and in Senator McCarthy’s world, gay people had to be hunted down and dealt with. And so that becomes a dimension of the plot as well.

It is a long time since I have read an Alice Hoffman novel, and there is no doubt that she can tell a pacy, clever story, though I am not sure I would describe it as bewitching. Her fans will probably love it, but I’m still not going to be checking out people’s hands when I meet them for signs of an extra finger.- Margaret von Klemperer

The Witches of Cambridge is published by Scribner: ISBN 978-1-3985-6530-2