A WOMAN APART: REVIEW

 

(Kajal Maharaj)

This was a successful debut and I look forward to the production fulfilling more of its vision. Well done! (Review by Shannon Kenny)

A Woman Apart: starring Kajal Maharaj - written and directed by Naresh Veeran - Seabrooke’s Theatre @DHS

The multi-hyphenated Naresh Veeran - author-theatre producer-director-musician - brought his one-woman show, A Woman Apart, to the Seabrooke’s Theatre stage this weekend.

Kajal Maharaj, in a return to the stage from her work in film and TV, portrays successful corporate lawyer, Natasha (Tash) Deokaran, who is married to the ostentatious, solipsistic Dr Suvaan Singh FRCOG (Zahid Shaik), matching Porsche and all. Tash is at a crossroads.

The director’s note reads: “This production embraces simplicity - one performer, one moment in time, and a lifetime of choices unfolding through memory and reflection. By stripping theatre back to its essentials, and re- presenting it against the backdrop of social media, AI and virtual technology.”

Maharaj holds the sparsely-set stage and we are introduced to the people, influences and influencers in her life through a series of text messages; video calls; voice notes; video reminiscences and social media reels (real and AI generated), projected up-stage. Tash interacts with the people in her life through her mobile phone - a portal to the real and the artificial. And it works!

When the audience is introduced to Tash, she is dressed in baggy track pants, sweat-shirt and sneakers - a clear break from her corporate lawyer image and role as trophy-wife to Suvaan. She is waiting for an Uber to take her to the home of her school-friend and new flame, Advocate Ryan Reddy (Rahul Brijnath). Uber driver Sazi (Vukani Cele, Esq.) calls to alert her that he has been delayed because of a march/protest of sorts. The wait provides Tash the opportunity to reflect on her past and present choices and to take ownership of the trajectory of her life.

Maharaj makes for a very believable Tash who is grappling with major life choices, who must discern the authentic and genuinely constructive advice from the drivel, the trite aphorisms and AI slop that come her way via well-meaning friends, colleagues and family and the less than sincere algorithms that power social media feeds.

In his writing, Veeran skilfully weaves in ideas about the permissible and the ethical, and has Tash consider not only her career choice, but what it means to be successful, to be content, to be free.

While the play is a one-hander, a significant part of its structure is Maharaj’s interactions through video calls and text chats with more than 10 other characters (in pre-recorded inserts) - and the ubiquitous scroll through social media that has become a pattern of many of our lives.

Maharaj handles the delicate nature of this technically ambitious work with aplomb. The timing in her live performance opposite the other characters’ virtual performances is spot-on - and kudos must go also to the various artists in their video and voice over cameos. Actor-director Darren King appears as Tash’s steely boss, John Pearce, Illa Thompson as therapist, Dr Elaine, and Suria Govender as Tash’s mercenary Mum.

No matter her existential crisis, we never get the sense that Tash is spiralling out of control. Rather, Veeran/Maharaj have Tash firmly in the driver’s seat experiencing frustration and indecision, yet still resolute and at times vulnerable. Maharaj is skilled in sensitively navigating her character’s emotional shifts - and the writing keeps well away from old tropes about the hysterical woman in crisis.

Through the other characters we are given insight into the world Tash inhabits and like a clever algorithm, Veeran’s writing and Maharaj’s performance work to nudge the audience in the direction of team Tash. We root for her; we get annoyed; we are surprised; we laugh and all the while we want her to make the right decision “for Tash.” Maharaj’s performance is engaging, sensitive, subtle.

While certainly a drama, there are some notable comic vignettes amongst the seriousness: BFF Divya (Shika Budhoo) who keeps it real and rolling (IYKYK); the Estate Trustees (Daisy Spencer); driver Sazi; Didi the Stylist (Rudy Cupido); Krystal from Vintage Investments (Kristina Andreas); Tradesmen Boetie and Lighty (Andries Botha and Robin Moodley respectively) and the potty-mouthed AI chill guy.

A number of audience members commented on Tash’s relatability - not because they and their partners had matching Porsches but because of the kinds of choices Tash is faced with. They felt the story reflected much of what they, or people they knew - wrestled with: the opportunities that may or may not have passed them by; questions about identity and agency; societal expectations and personal responsibility to oneself and others; and the everyday, ordinary and extraordinary stresses and stressors that make life variously interesting and exhausting.

The director’s note goes on to say “…we hope to create a shared space where audiences can listen deeply, laugh honestly, and perhaps recognise fragments of their own journeys.” Judging from the audience’s response, I would say that Veeran and Maharaj certainly achieved just that.

Well done to the entire production team, including Ethan Sicard (Videography, Animation and Final edit - and candidate attorney Mathew), Zahid Shaik (AI visuals), Ross Hatcher (Theatre Sound and Lighting), Shane Naidoo (Design and Animation). This was no small feat. I do hope that more producers are encouraged by Prakash Naidu’s bold step to support new, ambitious theatre projects (and all theatre projects are ambitious), so that theatre-makers can do exactly what AI cannot - be live, be present and engage meaningfully, in person, with a real live audience. This was a successful debut and I look forward to the production fulfilling more of its vision. Well done! – Shannon Kenny

 

The Risk Lab launches 8-week Improv Basics Course for Durban’s actors and creatives

A playful invitation to step beyond the script and rediscover joy, spontaneity, and connection

This June and July, Durban’s creative community is invited to step into the unknown—in the best way possible. The Risk Lab, a new Durban-based creative company, is launching its 8-week Improv Basics Course, designed for actors, performers, and creatives looking to expand their craft, challenge their instincts, and reconnect with the joy of performance.

While open to complete beginners, the course is also geared toward actors and creatives who want to sharpen their skills or try something completely new. Improvisation is not just about being “funny” or quick-witted—it’s about presence, playfulness and trust – allowing yourself to let go of overthinking and embracing the unexpected.

Over eight weeks, participants will be guided through the foundational principles of short-form  improvisation, developing skills that are invaluable for any performer: active listening, spontaneity and ensemble awareness The course is facilitated by Roberto Pombo, a theatre-maker, performer, and educator who brings a process-focused approach to training—encouraging artists to take creative risks, embrace vulnerability, and move beyond perfectionism in their work.

The Risk Lab itself is rooted in the belief that meaningful, engaging theatre emerges when artists are given the space to experiment, fail, and discover. Alongside producing original performance work, the company offers training and development opportunities aimed at nurturing a more open, connected, and adventurous creative community in Durban.

This course marks the beginning of that vision in action—creating a space where artists can step out of their comfort zones, rediscover play, and build new creative muscles in a collaborative environment.

Course Details:
Dates: Tuesdays, 18h30 – 20h30
June: 2, 9, 23, 30
July: 7, 14, 21, 28
(No session on 16 June)

Venue: Kloof Civic Centre
Cost: R2000 (limited reduced-fee spots available)

Applications and more information: www.therisklab.co.za
Enquiries: risklabkzn@gmail.com

 

THE STORYTELLER’S SERIES GOES COASTAL!

An intimate night of real stories, hearty laughs, and human connection at Seabrooke’s Theatre.

This May, the Seabrooke’s Theatre at DHS will host a special one-night-only edition of The Storyteller’s Series, presented by The Risk Lab in collaboration with Johannesburg’s POPArt Theatre.

Following its origins and growth in Johannesburg since 2016, this marks the first time the acclaimed storytelling platform comes to Durban—bringing with it a powerful mix of vulnerability, humour, and unfiltered human experience.

The Storyteller’s Series is not your traditional theatre experience. There are no scripts, no characters, and no pretending. Instead, our performers step forward as themselves, sharing true stories from their lives—moments that are funny, chaotic, tender, and sometimes devastating. The result is an evening built on authenticity and connection, where storytelling becomes a shared experience between artist and audience.

(Right: Roberto Pombo)

Hosted by Roberto Pombo, the Durban edition features a remarkable line-up of voices from across the theatre landscape. Audiences can expect unforgettable stories from theatre legend Toni Morkel, celebrated Durban performers Blessing Xaba and Straw Nzimande, the dynamic Andiswa Ngcobo, and Pombo himself.

This event also marks an exciting step for The Risk Lab, a new Durban-based creative company focused on both producing original live performance and offering theatre and performance training. With its stripped-back format and focus on truth, The Storyteller’s Series is The Risk Lab’s first creative offering - bringing something refreshingly different for Durban audiences—a night that invites reflection, laughter, and perhaps a few unexpected moments of magic.

Audiences are encouraged to bring a friend—or a date—and settle in for an evening that promises to linger long after the final story is told.

Event Details:

Date: Thursday May 14, 2026, at 19h00

Venue: Seabrooke’s Theatre, DHS, Durban

Tickets: R120

Booking: https://www.quicket.co.za/events/370120-the-storytellers-series/#/

 

THE TRAMP

 

(Right: Daniel Anderson)

 

“He’s a gentleman, a poet, a dreamer, a lonely soul forever hopeful of romance and adventure. He would have you believe he is a scientist, a musician, a duke or a polo player. Yet he is not above picking up cigarette butts or stealing a baby’s candy. And, should the moment demand it, he might even kick a lady in the rear but only in extreme anger.”

The Tramp, a new mini-musical and winner of the Naledi Theatre Award for Best Performance in a Cabaret, Revue or Small-Scale Musical (Daniel Anderson), tells the story of Charlie Chaplin through the eyes of his most beloved creation, the Little Tramp himself.

In this imaginative and poignant production, the Tramp reflects on Chaplin’s rise to fame, their symbiotic relationship, and the betrayal that ultimately led to his exile.

Blending humour with pathos, the show explores themes of identity, loyalty and the blurred line between creator and creation. Through evocative storytelling, music and movement, The Tramp offers a fresh and deeply human perspective on one of cinema’s most iconic figures.

There is only one performance: May 9, 2026, at 14h00 in The Playhouse Drama Theatre.

Tickets: General Admission - R150

Book now to experience this award-winning theatrical gem.

Limited tickets available at Webtickets.

NICOLE MONROE’S MISSION TO SHOWCASE SA TALENT

 

(Nicole Monroe. Pic supplied)

 

From Playhouse Passion Play to London's West End: Nicole Monroe's mission to showcase South African talent

The toddler who appeared in the 2000 Durban Passion Play is now a professional performer in London - and building bridges for KZN artists.

Twenty-six years ago, when the Durban Catholic Players' Guild staged their millennium Passion Play at the Playhouse Drama Theatre, few in that remarkable cast of 130+ volunteers would have imagined that one of the toddlers in the crowd scenes would one day be working professionally in London's theatre district. But that's exactly where Nicole Snell - now performing under the stage name Nicole Monroe — finds herself today, and her story represents something significant about the calibre of talent the KZN arts community continues to produce.

Nicole's journey from that 2000 Passion Play to London's immersive theatre scene reads like a testament to the kind of thorough, multi-disciplinary training that has always been a hallmark of Durban's performing arts education. After graduating from Maris Stella (where she won Best Actress for the House Plays in 2015), she read Live Performance at AFDA Durban, graduating Cum Laude and winning dual Best Actress awards — for both film and stage — in her graduating year. That kind of recognition from AFDA, South Africa's premier performance school, doesn't come easily.

But it's what happened next that makes Nicole's story particularly relevant to our theatre community. Rather than seeing her AFDA success as the endpoint, she used it as a stepping stone to postgraduate conservatoire training in the UK, earning her Master's degree from Leeds Conservatoire.

(Right: Nicole’s first stage appearance as a baby in the Passion Play)

Now she's working professionally with major UK producers like Selladoor Worldwide (known for touring West End productions) and Immersive Everywhere, in productions including The Paddington Bear Experience and The Traitors: Live Experience.

What strikes one most about Nicole's approach is how deliberately she's building not just her own career, but pathways for other South African performers. She and her collaborators have established UK production companies — Nicole Monroe Ltd and Flyinghippocrockaduck Ltd — specifically focused on developing projects that can showcase South African talent in the international market in the future. This isn't just career ambition; it's the desire to foster a cultural ambassadorship of the kind our arts community has always prided itself on.

The timing is significant. There are over 235,000 South African-born residents in the UK, yet their stories remain largely untold on British stages and screens. Nicole represents a generation of SA-trained performers who recognise this as an opportunity rather than an obstacle. Her background — from competitive choral singing (she won first place at the Summa Cum Laude Festival in Vienna in 2019 as part of the KZN Youth Choir) through to her work at the Durban Playhouse in productions like August: Osage County — gives her the credentials to open doors for others.

What is particularly impressing is how Nicole navigated the pandemic period. While many performers simply waited for the industry to reopen, she pursued what she calls "purposeful parallel development" — teaching English online, training as a bodybuilding coach, and even competing in IFBB bodybuilding (achieving second place in KZN). This might seem tangential to theatre, but anyone who understands physical performance knows that this kind of body discipline and stage presence under scrutiny directly translates to professional performing skills.

Her recent return to Durban to speak at Maris Stella about her London experience wasn't just a nostalgic homecoming — she was ‘giving back’ and maintaining a connection with the community that shaped her while building international bridges. The girls she spoke to aren't just learning about career possibilities; they're seeing first-hand that the training they're receiving right here in KZN is internationally competitive.

Nicole's professional registration with Equity and her listing on Spotlight — the UK's primary casting database — represent something more than individual achievement. They signal that South African-trained performers can take their place as equals in the UK industry, not as novelty acts or typecasts, but as versatile professionals with distinctive training and perspective.

What is most exciting about her story is the forward momentum. The production companies she's establishing suggest she's thinking beyond individual roles to creating content that can employ South African artists and tell South African stories for international audiences. That's the kind of cultural export strategy our arts community has always needed more of.

From that first stage appearance as a baby in the Passion Play to her current work developing prospective productions in London, Nicole's journey exemplifies something essential about KZN's contribution to the performing arts world. We don't just train artists; we develop cultural ambassadors who carry our stories, our training methods, and our collaborative spirit to stages across the globe.

The little girl who appeared in the crowd scenes of the 2000 Passion Play is now creating space for the next generation of South African performers to find their own international stages. That's a legacy the Durban Catholic Players' Guild — and all of us who've been part of this community over the years — can be genuinely proud of.

GEORGE MARI PRESENTS MILES DAVIS TRIBUTE

 

The legendary George Mari communicates the intricacy of Miles Davis melodies and serenading solos like no other. His career of 20+ years proves him fit to tribute Master Trumpeter Davis. George Mari (trumpet), Debbie Mari (voice), Leon Scharnick (saxophone), Melvin Peters (piano), Thuto Motsemme (bass) and Sbu Zondi (Drums) take to the stage to celebrate classic Miles.

The concert takes place on April 29 at the Centre for Jazz and Popular Music. Doors open at 17h00, music at 17h30.

Tickets R130 (pensioners R100, students R70). Cash at the door

SONGBOOK SESSION MOVES TO BEAN BAG

 

(Dr Natalie Rungan)

On Monday April 27, 2026, at 18h00, The Songbook Session departures from its regular Venue at UKZN Jazzcentre and moves to Bean Bag Jazz Lounge in 17 Lilian Ngoyi Road, Windermere, Berea, Morningside.

The session will be led by vocalist Dr Natalie Rungan, who will be joined by Burton Naidoo on piano, and Bruce Baker on drums. For audiences and musicians alike, The Songbook Sessions offers a vibrant platform for collaboration, learning, and musical exploration—continuing its mission to cultivate community through live performance and shared repertoire.

The Songbook Sessions Monday night jam session is made possible through the generous funding support of Concerts SA, Festival Enterprise Catalyst, SAMRO, and the National Treasury Jobs Fund.

ANDRE THE HILARIOUS HYPNOTIST

 

Rhumbelow Theatre will present Andre The Hilarious Hypnotist in his show Planned Pandemonium at the Northlands Bowling Club, 50 Margaret Maytom Avenue in Durban North, following his successful appearance at the Durban Rhumbelow.

 The two shows take place on Friday, June 5 at 19h30 and on Saturday June 6 at 19h30.

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

Side-Splitting Laughter Meets Mind-Blowing Hypnosis in Andre the Hilarious Hypnotist.

Get ready to laugh until your sides hurt as Andre the Hilarious Hypnotist, one of South Africa’s most beloved comedy hypnotists, brings his unique blend of comedy and hypnosis to the Northlands Bowling Club.

For over 35 years, Andre has captivated audiences across the country with his fast- paced wit, outrageous scenarios, and unforgettable onstage antics - all created with the help of willing audience volunteers.

Each show is completely unscripted and unique, making Andre the Hilarious Hypnotist a must-see experience for anyone who loves live comedy and interactive entertainment.

“People come for the hypnosis, but they stay for the laughter,” says Andre. “The real stars of the show are the volunteers on stage. I simply guide the fun - what they do under hypnosis is what makes every night different.”

From convinced celebrities to accidental rock stars, Andre’s volunteers find themselves in hilarious, yet always respectful, situations that leave the audience in tears of laughter. The show is clean, family-friendly, and suitable for all audiences.

Andre the Hilarious Hypnotist has been a household name in comedy hypnosis for decades, entertaining audiences throughout South Africa and beyond. Known for his sharp improvisation, quick humour, and 100% original audience-driven content, Andre has built a loyal fan base who return year after year to see what outrageous moments will unfold next.

Whether you’re on stage or in the audience, Andre guarantees a night of safe, side- splitting, and unforgettable fun.

Tickets R180 (Pensioners R160 and under 13 -R 150) Northlands Bowling Club Members R150-00. Booking is essential on email: roland@stansell.co.za or Webtickets.

Bring food picnic baskets. Bar available (no alcohol may be brought on to the premises)

Limited secure parking available.

For more information contact Cell 0824998636 or visit http://events.durbantheatre.com/

PALESTINE MY PALESTINE

 

(Laa’iqah Seedat. Pic supplied)

 

“Loss shaped her past. Healing defines her future.”

Laa’iqah Seedat delivers a powerful performance in this gripping one-woman play set against the backdrop of the genocide in Palestine.

Written and directed by renowned theatre stalwart Vivian Moodley (now based in Johannesburg), the production takes audiences on a deeply moving journey—first through the innocent eyes of a child witnessing unimaginable loss, and later through the resilience of an adult who returns to the frontline after being rescued from the brink of destruction.

With unflinching honesty, Moodley draws viewers into a world of despair and inhumanity, while ultimately illuminating a fragile but enduring hope: that future generations may yet find peace, dignity, and coexistence.

Moodley has invited anyone who would like to get involved in the Palestine situation to contact him on 072 567 7201.

Palestine My Palestine will be performed on May16, 2026, at 19h00 at the Patidar Hall in Lenasia.

Tickets R82.50 booked through Webtickets

 

COMEDY GAMES

 

Rhumbelow Theatre presents Comedy Games: Fast, Fearless Improv with Patrick Kenny and The ISPA Drama Students at Northlands Bowling Club and Rhumbelow Durban. 

Get ready for an unpredictable night of laughter as Patrick Kenny teams up with the talented drama students of the International School of Performing Arts (ISPA) to present Comedy Games - a high-energy improv comedy experience inspired by the hit show Whose Line Is It Anyway?

Quick-thinking, wildly creative, and completely unscripted, Comedy Games throws performers into a series of hilarious challenges where anything can happen. Using audience suggestions as the spark, the cast creates scenes, characters, songs, and stories on the spot - resulting in a one-of-a-kind performance that will never be repeated.

Led by Kenny, a master of improvisation and comedy, the show showcases the sharp wit, versatility, and fearless spontaneity of ISPA’s rising performers. From outrageous scenarios and absurd characters to clever wordplay and musical improvisation, each moment is packed with laughter and surprise.

The magic of Comedy Games lies in its immediacy — no scripts, no safety nets, just pure comedic instinct and collaboration. Audiences become part of the action, helping to shape the direction of the show and ensuring a uniquely interactive theatre experience.

Perfect for all ages, Comedy Games is a celebration of creativity, teamwork, and the joy of live performance. Whether you're a fan of improv or simply looking for a fun, feel-good night out, this fast-paced comedy showcase promises non-stop entertainment and big laughs.

Tickets R180 (Northlands Bowling Club Members R160). Booking is essential on email: roland@stansell.co.za or Webtickets

Bring food picnic baskets (Northlands & Durban) or buy at the venue (Northlands & Durban). Bar available (no alcohol may be brought on to the premises)

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

Limited secure parking available

 

Performances:

-April 24: Northlands Bowling Club at 19h30. 50 Margaret Maytom Avenue, Durban North

-May 2-3 Rhumbelow Theatre at 19h30 (Sat) and 14h00 (Sun): 42 Cunningham Road off Bartle Road, Durban

 

For more information contact 0824998636 or visit http://events.durbantheatre.com/

 

 

THE RETURN OF ELVIS DU PISANIE

 

(Ashley Dowds in Paul Slabolepszy’s iconic one-man show)

 

A Timeless Tale of Laughter and Loss.

The Return of Elvis du Pisanie - Paul Slabolepszy’s timeless tale of laughter and loss, performed by Ashley Dowds, comes to the Seabrookes Theatre at DHS for three shows only, on May 8, 9 and 10.

This masterfully-told story which moves from pure nostalgia through extreme heartache to unbridled joy, is vintage, classic Slabolepszy, given a new lease on life by Ashley Dowds in an exhilarating career-defining performance.

Who would believe that a simple act of switching on a car radio could change the course of your life? 49-year-old East Rand salesman, Eddie du Pisanie, is washed up, retrenched and suicidal. He decides life is no longer worth living and writes a farewell note to his wife, before planning to gas himself inside his car in the garage …. when he switches on the car radio.

The Elvis Presley song he hears does more than take him back 30 years – it recalls an event in his childhood that changed his life forever. Abandoning – for the moment – the idea of suicide, he drives the 200 km journey to Witbank, the town in which he grew up, and ends up opposite the ex-Carlton bioscope, alongside a streetlamp.

Tickets are through Webtickets.

 

Performance dates and times:

-Fri 8 May at 19h00

-Sat 9 May at 19h00

-Sun 10 May at 14h30.

Guarded parking and bar/snack service available at the Seabrooke’s Theatre at DHS in St Thomas Road in Musgrave..

 

GOD’S WORK AWARDED PRESTIGIOUS PRIZE

 

(Michael James with his award in Luxor - the Radwan El Kashef Prize for Best Film Addressing an African Issue. Pic supplied)

 

South African Film God’s Work awarded prestigious prize at Luxor African Film Festival

The South African feature film God’s Work, directed by Michael James and produced by Sithabile Mkhize was awarded the prestigious Radwan El Kashef Prize for Best Film Addressing an African Issue (Silver Mask of Tutankhamun) at The Luxor African Film Festival in Egypt last week.

Azza El Husseiny, Festival Director, says: “The Radwan El Kashef Prize for the Best Film addressing an African issue is not granted annually, but only when the High Committee decides that a particular film deserves this special honour, marking it as a distinction reserved for truly exceptional works that embody both artistic excellence and deep engagement with African realities.”

The prize is named after Egypt’s pioneering independent filmmaker Radwan El Kashef (1952–2002), and symbolizes cinema that elevates marginalized voices with empathy and poetic depth. The film was honoured for “its powerful artistic vision and its sincere exploration of African identity and collective struggle.”

The award was presented to the director, Michael James by Dr Hossam El-Mandouh El-Husseini, Egyptian Member of Parliament, in recognition of the enduring cultural ties between Egypt and Africa and the festival’s role as a platform for creative dialogue across the continent.

Reflecting on the honour, director Michael James said: “Receiving this award on behalf of the film, and all involved is deeply humbling. This award affirms the importance of telling African stories with honesty and empathy, and I hope God’s Work continues to contribute to the ongoing dialogue around affirming the humanity of the homeless community."

Sithabile Mkhize commented, “This award is especially important because it acknowledges one of the central intentions of the film, which is to use the power of cinema to build bridges across humanity."

Executive Producer Toni Monty says: “This recognition is a powerful validation of the collaborative effort behind God’s Work. It highlights the strength of African filmmaking and the importance of creating platforms where our stories can resonate globally. We are proud to see the film stand alongside works that embody both artistic excellence and social relevance.”

The film is supported by the Durban Film Office, KZN Tourism and Film, The National Film and Video Foundation, and co-produced with Amafrika Films and Mojo Entertainment.