What’s happening at the Tatham Art Gallery in Pietermaritzburg.
The Tatham Art Gallery is situated in Chief Albert Luthuli (Commercial) Road opposite the Pietermaritzburg City Hall:
In the main exhibition space, there’s Curriculum Curricula which displays works relevant to the Visual Art Syllabus while the Schreiner Gallery offers Into the Light: Works by KwaZulu-Natal Women Artists. Both exhibitions run until March 1.
Proposals for 2010 Exhibitions may be presented on February 10 in the Schreiner Gallery where forms will be available between 10h00 and16h00. Forms can also be downloaded from www.tatham.org.za (For more information contact Kobie Venter or Thulani Makhaye at 033 392 2801)
Art class registration takes place at the Old Presbyterian Church next to the Tatham Art Gallery on February 6 from 14h30 to 15h30. The Youth Art Classes will be held at the same venue from February 13 from 14h30 to16h30.
For more information on any of these events, contact Education Officer Thulani Makhaye on 033 392 2801 or email: thulani.makhaye@msunduzi.gov.za
The Tatham Art Gallery is closed to the public Mondays and opens Tuesdays to Sundays from 10h00 to 18h00. Contact details are 033 392 2801, Fax 033 394 9831 and www.tatham.org.za
Saturday, January 31, 2009
ABBA – THE LEGEND CONTINUES
Pic: Kerry Lee McKibbin, Ruan Geldenhuys and Kieran O’Brien
Latest show at Dockyard
ABBA – The Legend Continues, the latest show at the Dockyard Theatre at Musgrave Centre features, obviously, the music of 1970s super group ABBA.
“It’s done with amazing accuracy,” says Dockyard owner Stuart Mey who also appears in the show. “One critic who is an avid ABBA fan, having seen other ABBA imitation shows around the world, rates ours as the best he’s seen.”
The show takes the format of a present day Benny Anderssen (Stuart) at the keyboard with his old ABBA song writing partner, Bjorn Ulvaeus (Bruce Boome), reminiscing about the hay days of ABBA. Bjorn is joined by his son young Bjorn (played by So You Think You Can Sing, runner up Ruan Geldenhuys) on vocals and guitar.
Undoubtedly the stars of the show are two new Dockyard discoveries in the form of Kerry Lee McKibbin who plays Agnetha (the blonde one) and young Kieran O’Brien playing Annafrid (the auburn haired lady). “You will be amazed at how well these gorgeous 18 year olds handle the extremely difficult and complex ABBA harmonies,” says Stuart Mey. “We have even overheard patrons comment that perhaps the girls are miming/lip- synching, I suppose that is the ultimate compliment.”
The singers are backed by the award winning Dockyard Showband, with Musa Mtetwa on keyboards.
ABBA – The Legend Continues runs until February 22. Tickets R100 pp from Wednesday to Saturday (R70 pp Sundays and Tuesdays) for the show only.
Dockyard now has a new menu designed to please a wide variety of patrons. Items are individually priced and offer less expensive items such as Burgers & Baskets as well as steaks, seafood and some higher end specials. Bookings on 031 201 9147.
TOUCH OF CLASS
Westville Theatre Club gets feet tapping with show running from February 3 to 7.
The Westville Theatre Club presents a revival of their popular show A Touch of Class, for an evening filled with music that promises to get your feet tapping. Songs include titles from Celine Dion, Elton John, Diana Ross, Rihanna, Josh Groban, Shakira and many more.
In his review for artSMart (extracts of which follow) on December 14, Maurice Kort described the show as “Class indeed!”:
… “The Westville Theatre Club may be an amateur dramatic society, but their shows continue to be very professional. No wonder they are possibly one of the oldest surviving "Amdrams" in the country, certainly in KwaZulu-Natal. This is once more evident in their latest offering by first-time Director Jerryn Fosteras. He has compiled a show using a cast of eleven singers, some being Club stalwarts and others bright new talent, worthy additions to the club. The eight ladies and three men of the cast perform the well compiled programme in various combinations or in solo numbers starting with I Need a Hero by all the ladies which gives a taste of the polished performances to come.”
… “A Touch of Class certainly lives up to its title, from so many aspects. Besides the clever choice of programme and top class singers, so much is added to the classiness of the production by the costumes (Jerryn Fosteros again, Kevin Hillier and Lynda Hoddinott), jewellery (thanks to Barbara McMillan) and hair styles, not omitting the backdrop already mentioned.
The full review can be found at: http://news.artsmart.co.za/2008/12/touch-of-class.html
A Touch of Class runs at the Westville Theatre Club on Attercliff Road (next to the swimming pool) in Westville from February 3 to 7 at 20h00, doors opening at 19h00 with a matinee on February 7. Tickets R40. Audiences are encouraged to bring their own food and drinks. Bookings through Jerryn on 083 785 1489.
The Westville Theatre Club presents a revival of their popular show A Touch of Class, for an evening filled with music that promises to get your feet tapping. Songs include titles from Celine Dion, Elton John, Diana Ross, Rihanna, Josh Groban, Shakira and many more.
In his review for artSMart (extracts of which follow) on December 14, Maurice Kort described the show as “Class indeed!”:
… “The Westville Theatre Club may be an amateur dramatic society, but their shows continue to be very professional. No wonder they are possibly one of the oldest surviving "Amdrams" in the country, certainly in KwaZulu-Natal. This is once more evident in their latest offering by first-time Director Jerryn Fosteras. He has compiled a show using a cast of eleven singers, some being Club stalwarts and others bright new talent, worthy additions to the club. The eight ladies and three men of the cast perform the well compiled programme in various combinations or in solo numbers starting with I Need a Hero by all the ladies which gives a taste of the polished performances to come.”
… “A Touch of Class certainly lives up to its title, from so many aspects. Besides the clever choice of programme and top class singers, so much is added to the classiness of the production by the costumes (Jerryn Fosteros again, Kevin Hillier and Lynda Hoddinott), jewellery (thanks to Barbara McMillan) and hair styles, not omitting the backdrop already mentioned.
The full review can be found at: http://news.artsmart.co.za/2008/12/touch-of-class.html
A Touch of Class runs at the Westville Theatre Club on Attercliff Road (next to the swimming pool) in Westville from February 3 to 7 at 20h00, doors opening at 19h00 with a matinee on February 7. Tickets R40. Audiences are encouraged to bring their own food and drinks. Bookings through Jerryn on 083 785 1489.
MICHAEL GREEN’S WINE NOTES #212
Distinguished Warwick Trilogy and screwtops make better closure than corks.
For the past 25 years the Warwick estate at Stellenbosch has been one of the Cape’s major producers of top-quality red wines, its flagship being the distinguished Warwick Trilogy, which is the classic Bordeaux blend of cabernet sauvignon, cabernet franc and merlot.
This consistently fine wine, first bottled in 1986, is in the news again: it features, at number 46, in the international Top 100 wine list for 2009 compiled by the American magazine Wine Spectator. It scored 93 points out of 100, the joint highest score ever for a South African Bordeaux blend.
Wine Spectator, which is said to be the world’s leading wine magazine, has four criteria for choosing its Top 100: quality, volume, price and an “X-factor” which it defines as “excitement, the ability to stimulate and surprise …a wine that is different”.
Warwick Trilogy has also achieved success in another American magazine, Wine Enthusiast, which placed it fifth in its Top 100 wines in 2007, the highest position ever given to a South African wine.
Trilogy has a strong, luscious bouquet and a taste of ripe prunes, raspberry and blackberry, with hints of chocolate and nuts. It is available in South Africa and retails at about R180 a bottle
The Warwick estate, on the slopes of the Simonsberg above Stellenbosch, was given its name century ago. After the Anglo-Boer war Colonel Alexander Gordon of the Warwickshire regiment bought the farm and named it Warwick as a tribute to his regiment.
It was bought in 1964 by Stan and Norma Ratcliffe, who planted cabernet sauvignon vines and sold the grapes to wholesalers and other wineries. Eventually the Ratcliffes built a cellar and began making their own wine in 1984.
Today the farm is still a family affair. Stan and Norma’s son Mike, a graduate of wine marketing at Adelaide University, is managing director of the winery and his sister Jenny, a Cape Wine Master, is the farm’s brand ambassador in Gauteng.
Warwick produces seven whites, five reds and two whites. One of the reds, a 100 percent cabernet sauvignon wine, is called The First Lady after Norma Ratcliffe. Another, a red blend, is called Three Cape Ladies, after Norma, her daughter Jenny and her grand-daughter Eve Ratcliffe.
The Ratcliffes have sponsored young black winemakers on exchange programmes to France and the United States and have helped the estate’s workers to own their homes.
******************* ***************** ***************
The cool Elgin area is known for its white wines, and one of the estates there, Oak Valley, has produced a quality blend of sauvignon blanc and semillon which it calls OV 2007.
This wine retails at about R120 a bottle, and I was interested to see that it uses a screwcap closure, as does the Oak Valley sauvignon blanc 2008, which sells at about R75.
There is plenty of evidence that screwtops make a better closure than corks, especially for white wines that are not made for many years of maturation. Nevertheless there still does seem to be some prejudice against them among traditionalists who think that screwtops are used for cheap wines and corks for expensive wines.
The use of screwtops for Oak Valley wines of this price and quality should do something to dispel that wrong thinking. – Michael Green
For the past 25 years the Warwick estate at Stellenbosch has been one of the Cape’s major producers of top-quality red wines, its flagship being the distinguished Warwick Trilogy, which is the classic Bordeaux blend of cabernet sauvignon, cabernet franc and merlot.
This consistently fine wine, first bottled in 1986, is in the news again: it features, at number 46, in the international Top 100 wine list for 2009 compiled by the American magazine Wine Spectator. It scored 93 points out of 100, the joint highest score ever for a South African Bordeaux blend.
Wine Spectator, which is said to be the world’s leading wine magazine, has four criteria for choosing its Top 100: quality, volume, price and an “X-factor” which it defines as “excitement, the ability to stimulate and surprise …a wine that is different”.
Warwick Trilogy has also achieved success in another American magazine, Wine Enthusiast, which placed it fifth in its Top 100 wines in 2007, the highest position ever given to a South African wine.
Trilogy has a strong, luscious bouquet and a taste of ripe prunes, raspberry and blackberry, with hints of chocolate and nuts. It is available in South Africa and retails at about R180 a bottle
The Warwick estate, on the slopes of the Simonsberg above Stellenbosch, was given its name century ago. After the Anglo-Boer war Colonel Alexander Gordon of the Warwickshire regiment bought the farm and named it Warwick as a tribute to his regiment.
It was bought in 1964 by Stan and Norma Ratcliffe, who planted cabernet sauvignon vines and sold the grapes to wholesalers and other wineries. Eventually the Ratcliffes built a cellar and began making their own wine in 1984.
Today the farm is still a family affair. Stan and Norma’s son Mike, a graduate of wine marketing at Adelaide University, is managing director of the winery and his sister Jenny, a Cape Wine Master, is the farm’s brand ambassador in Gauteng.
Warwick produces seven whites, five reds and two whites. One of the reds, a 100 percent cabernet sauvignon wine, is called The First Lady after Norma Ratcliffe. Another, a red blend, is called Three Cape Ladies, after Norma, her daughter Jenny and her grand-daughter Eve Ratcliffe.
The Ratcliffes have sponsored young black winemakers on exchange programmes to France and the United States and have helped the estate’s workers to own their homes.
******************* ***************** ***************
The cool Elgin area is known for its white wines, and one of the estates there, Oak Valley, has produced a quality blend of sauvignon blanc and semillon which it calls OV 2007.
This wine retails at about R120 a bottle, and I was interested to see that it uses a screwcap closure, as does the Oak Valley sauvignon blanc 2008, which sells at about R75.
There is plenty of evidence that screwtops make a better closure than corks, especially for white wines that are not made for many years of maturation. Nevertheless there still does seem to be some prejudice against them among traditionalists who think that screwtops are used for cheap wines and corks for expensive wines.
The use of screwtops for Oak Valley wines of this price and quality should do something to dispel that wrong thinking. – Michael Green
JACQUELINE AND RIAAN AT HILTON
Jacqueline Wedderburn-Maxwell and Riaan Oosthuizen in concert at Hilton College Memorial Hall.
The Hilton College Music Department will present Jacqueline Wedderburn-Maxwell (violin) and Riaan Oosthuizen (vocals) in concert on February 7.
Jacqueline Wedderburn-Maxwell is the winner of the 2008 ABSA National Youth Music Competition and Riaan Oosthuizen is a 2008 Hilton College matriculant. Their programme includes works by Beethoven, Franck, Paganini, Szymonowski, Sarasate, Scarlatti, Grieg, Mendelssohn, Schubert and Nystedt.
The concert takes place at 19h00 on February 7 in the Hilton College Memorial Hall. Refreshments will be provided at interval.
The concert is free but for catering purposes RSVP Lynne Bell on 033 383 0100 extn.2364 (office hours) or e-mail: music@hiltoncollege.com
The Hilton College Music Department will present Jacqueline Wedderburn-Maxwell (violin) and Riaan Oosthuizen (vocals) in concert on February 7.
Jacqueline Wedderburn-Maxwell is the winner of the 2008 ABSA National Youth Music Competition and Riaan Oosthuizen is a 2008 Hilton College matriculant. Their programme includes works by Beethoven, Franck, Paganini, Szymonowski, Sarasate, Scarlatti, Grieg, Mendelssohn, Schubert and Nystedt.
The concert takes place at 19h00 on February 7 in the Hilton College Memorial Hall. Refreshments will be provided at interval.
The concert is free but for catering purposes RSVP Lynne Bell on 033 383 0100 extn.2364 (office hours) or e-mail: music@hiltoncollege.com
SPIRAL DANCE STUDIO
Pietermaritzburg dance studio offers new belly dance class for beginners.
The Spiral Dance Studio in Pietermaritzburg is offering a new belly dance class for beginners, suitable for women of all ages. Those interested may attend a sample class at no charge. The group meets on Mondays from 17h30 to 18h30 pm, in Boughton, Pietermaritzburg.
A more advanced group meets on Wednesdays. For more information contact Kathy on 072 125 8370.
The Spiral Dance Studio in Pietermaritzburg is offering a new belly dance class for beginners, suitable for women of all ages. Those interested may attend a sample class at no charge. The group meets on Mondays from 17h30 to 18h30 pm, in Boughton, Pietermaritzburg.
A more advanced group meets on Wednesdays. For more information contact Kathy on 072 125 8370.
WAKABA MUTHEKI AT KIZO
Kizo Art Gallery celebrates this artist in a unique exhibition.
Wakaba Mutheki continues to grow from strength to strength and his work now graces the walls of private and public collections the world over.
Kizo Art Gallery celebrate this artist in a unique exhibition that sees him exhibiting side by side with his colleagues Elga Rabe, Barbara Ploner and others. The exhibiting artists work differently in their style and medium, however they all share a common thread in their subject matter which is their love for the continent of Africa.
The work on show varies from portraiture and landscape to social and political commentary. All artists work mainly on canvas and their works differ in style and in scale.
Now residing in Johannesburg, Mutheki indicates his gratitude to be showing in KZN and his joy at once again being able to show in a province that has given him so much and was instrumental in launching his colourful career.
The exhibition runs until February 15 in the Upstairs Gallery at Kizo Art Gallery, Shop G350, Palm Boulevard, Gateway Theatre of Shopping, Umhlanga. More information on 031 566 4324.
Wakaba Mutheki continues to grow from strength to strength and his work now graces the walls of private and public collections the world over.
Kizo Art Gallery celebrate this artist in a unique exhibition that sees him exhibiting side by side with his colleagues Elga Rabe, Barbara Ploner and others. The exhibiting artists work differently in their style and medium, however they all share a common thread in their subject matter which is their love for the continent of Africa.
The work on show varies from portraiture and landscape to social and political commentary. All artists work mainly on canvas and their works differ in style and in scale.
Now residing in Johannesburg, Mutheki indicates his gratitude to be showing in KZN and his joy at once again being able to show in a province that has given him so much and was instrumental in launching his colourful career.
The exhibition runs until February 15 in the Upstairs Gallery at Kizo Art Gallery, Shop G350, Palm Boulevard, Gateway Theatre of Shopping, Umhlanga. More information on 031 566 4324.
GREEN
The KZNSA Annual Members’ Exhibition
The KZNSA Gallery’s Members’ Exhibition is a much-anticipated annual event on the province’s cultural scene. Each year, members of the gallery are invited to create a work around a specific theme.
This year, the theme is Green. Expect to see a myriad of possible interpretations:
- Never eat green tomatoes, Ferdinand, unless fried.
- The Green Party won eleven seats! Can you cope, Agnes, can you cope!
- Eat your greens young man, or no jelly for you.
- The rolling green hills gave way to a monstrously foul and spewing smokestack.
- Bumbling along merrily, the new green trainees created mess after mess after mess.
- Wait until the blinking man is green, you bloody idiot.
- Little Johnny looks distinctly green. Please hand him this puke bag.
- Supermarkets have started proclaiming the greenness of their products, but we know better, don’t we, Anastasia?
- Goodness, Deloris, where’d you get that? I’m sooo green with envy.
- La la la … happy children on the village green …
- With one masterful stroke the dashing lad wedged his ball onto the green.
- She sees her role as greening the city; we see it as getting in the way of the concrete.
There will be significant cash prizes for the winning artworks.
The KZNSA Members Exhibition runs until February 15. More information from 031 277 1705 or visit www.kznsagallery.co.za
The KZNSA Gallery’s Members’ Exhibition is a much-anticipated annual event on the province’s cultural scene. Each year, members of the gallery are invited to create a work around a specific theme.
This year, the theme is Green. Expect to see a myriad of possible interpretations:
- Never eat green tomatoes, Ferdinand, unless fried.
- The Green Party won eleven seats! Can you cope, Agnes, can you cope!
- Eat your greens young man, or no jelly for you.
- The rolling green hills gave way to a monstrously foul and spewing smokestack.
- Bumbling along merrily, the new green trainees created mess after mess after mess.
- Wait until the blinking man is green, you bloody idiot.
- Little Johnny looks distinctly green. Please hand him this puke bag.
- Supermarkets have started proclaiming the greenness of their products, but we know better, don’t we, Anastasia?
- Goodness, Deloris, where’d you get that? I’m sooo green with envy.
- La la la … happy children on the village green …
- With one masterful stroke the dashing lad wedged his ball onto the green.
- She sees her role as greening the city; we see it as getting in the way of the concrete.
There will be significant cash prizes for the winning artworks.
The KZNSA Members Exhibition runs until February 15. More information from 031 277 1705 or visit www.kznsagallery.co.za
MMINO CALL FOR APPLICATIONS
Mmino, the South African – Norwegian music cooperation which is housed at the National Arts Council in Johannesburg, announces its first funding session for the year 2009.
Mmino is linked to the NAC - but has a separate budget and funding procedure- and works in partnership with the Norwegian Rikskonsertene in Oslo. Mmino provides funding to music education and – exchange projects (between Norway & SA and SA & SADC countries) and attempts to establish and strengthen mutually beneficial relationships between Norway and South Africa.
Application forms are available at the Mmino office or can be downloaded from www.mmino.org.za, the closing date for this funding session is March 4, 2009, at 12h00. Only applications on the official Mmino application form will be considered and faxed or e-mailed forms are not accepted. The forms can be delivered to the Mmino office (66, Margaret Mcingana Street, Newtown) or sent to PO Box 500, Newtown 2113.
Projects addressing the following are invited to apply:
1. Music Education: Teaching of music in all musical styles at community-based centres especially targeting disadvantaged youth. This includes education in a professional or semi-professional context addressing issues related to the South African music industry; Music technology; Education and information geared at the youth on issues such as HIV/AIDS, women and children abuse, etc. through music, and Indigenous / South African music knowledge transfer.
2. Exchange: Interaction between South Africans and Norwegians as well as between South Africans and the peoples of the Southern African Region (SADC) within the field of music. This focuses on exchange that directly serves the needs of a project; empowerment of the South African live music scene or addresses the specific needs of the South African music industry.
Mmino’s objectives re to reach all provinces of South Africa and foster provincial and national linkages and build sustainable capacity through cooperation and exchange between South African and Norwegian institutes and/or individuals. Other objectives are to address the basic music education needs of specified target groups; develop links within the SADC countries and contribute to the social and economic upliftment of South Africans.
Mmino’s evaluation criteria are: a long term perspective and sustainability of the project; focus on strengthening African musical cultures; effectiveness on a national level, and contribution to the social and economic upliftment of South Africa. It also acknowledges the targeting of youth, disadvantaged and marginalised groups as well as a long term cooperation with Norwegian institutions and organisations. Other important criteria are the stimulation of regional and cross-cultural cooperation within South Africa and development of links with the SADC countries.
It is important to note that the Mmino Programme Committee will not consider funding the following: bursaries; musical theatre or dance productions; production or recording of commercial CD’s/ DVD’s; promotional performances; promotion or marketing of a musician, band or orchestra; talent searches and/or competitions.
Also not considered are the purchase of musical instruments, uniforms, sound or office equipment; running costs of buildings/centres; music therapy projects; teaching of music within the formal education sector; projects based upon race, religion or creed; NAC-funded projects that are uncompleted or exchange with any countries other than Norway and SADC.
Further from the project coordinator on 011 838 13 83 or e-mail janneke@nac.org.za
Mmino is linked to the NAC - but has a separate budget and funding procedure- and works in partnership with the Norwegian Rikskonsertene in Oslo. Mmino provides funding to music education and – exchange projects (between Norway & SA and SA & SADC countries) and attempts to establish and strengthen mutually beneficial relationships between Norway and South Africa.
Application forms are available at the Mmino office or can be downloaded from www.mmino.org.za, the closing date for this funding session is March 4, 2009, at 12h00. Only applications on the official Mmino application form will be considered and faxed or e-mailed forms are not accepted. The forms can be delivered to the Mmino office (66, Margaret Mcingana Street, Newtown) or sent to PO Box 500, Newtown 2113.
Projects addressing the following are invited to apply:
1. Music Education: Teaching of music in all musical styles at community-based centres especially targeting disadvantaged youth. This includes education in a professional or semi-professional context addressing issues related to the South African music industry; Music technology; Education and information geared at the youth on issues such as HIV/AIDS, women and children abuse, etc. through music, and Indigenous / South African music knowledge transfer.
2. Exchange: Interaction between South Africans and Norwegians as well as between South Africans and the peoples of the Southern African Region (SADC) within the field of music. This focuses on exchange that directly serves the needs of a project; empowerment of the South African live music scene or addresses the specific needs of the South African music industry.
Mmino’s objectives re to reach all provinces of South Africa and foster provincial and national linkages and build sustainable capacity through cooperation and exchange between South African and Norwegian institutes and/or individuals. Other objectives are to address the basic music education needs of specified target groups; develop links within the SADC countries and contribute to the social and economic upliftment of South Africans.
Mmino’s evaluation criteria are: a long term perspective and sustainability of the project; focus on strengthening African musical cultures; effectiveness on a national level, and contribution to the social and economic upliftment of South Africa. It also acknowledges the targeting of youth, disadvantaged and marginalised groups as well as a long term cooperation with Norwegian institutions and organisations. Other important criteria are the stimulation of regional and cross-cultural cooperation within South Africa and development of links with the SADC countries.
It is important to note that the Mmino Programme Committee will not consider funding the following: bursaries; musical theatre or dance productions; production or recording of commercial CD’s/ DVD’s; promotional performances; promotion or marketing of a musician, band or orchestra; talent searches and/or competitions.
Also not considered are the purchase of musical instruments, uniforms, sound or office equipment; running costs of buildings/centres; music therapy projects; teaching of music within the formal education sector; projects based upon race, religion or creed; NAC-funded projects that are uncompleted or exchange with any countries other than Norway and SADC.
Further from the project coordinator on 011 838 13 83 or e-mail janneke@nac.org.za
SHANNON HOPE AT SNAP!
Live music nights at Lower Morningside venue.
Snap Wine Bar & Cafe in Lower Morningside offers regular Live Music Nights.
Next up will be singer-songwriter Shannon Hope on February 7, who has been described as “brooding and magnetic”.
She will showcase tracks from her much-anticipated debut solo album, which is soon to be released .
The music starts at 20h00. Snap Wine Bar is situated on Marriott Road. More information on 031 309 4160 or 084 702 3075.
Snap Wine Bar & Cafe in Lower Morningside offers regular Live Music Nights.
Next up will be singer-songwriter Shannon Hope on February 7, who has been described as “brooding and magnetic”.
She will showcase tracks from her much-anticipated debut solo album, which is soon to be released .
The music starts at 20h00. Snap Wine Bar is situated on Marriott Road. More information on 031 309 4160 or 084 702 3075.
2009 WORLD AWARDS IN SCIENCE AND ARTS
World Cultural Council invites nominations of candidates.
The World Cultural Council is inviting nominations of candidates for the 2009 World Awards in Science and Arts.
The World Cultural Council acknowledges individuals or institutions that have made outstanding achievements in science, arts or education, by granting the Albert Einstein World Award of Science (awarded annually), the Leonardo da Vinci World Award of Arts (awarded every other year) and the José Vasconcelos World Award of Education (also awarded every other year) to first-class figures whose work has had a significantly positive impact on the cultural legacy of mankind. These prizes are widely recognized in the scientific, educational and arts communities.
To put forward a proposal for these awards, the nomination must be duly supported by the curriculum of the candidate whose achievements in his/ her respective field have clearly made a salient contribution to the well-being of mankind.
Nominations must be submitted in English in PDF Adobe by March 10, 2009. The nomination requirements are detailed at: www.consejoculturalmundial.org/nominations
The form can be filled in at site and send it as an e-mail attachment to wcc@prodigy.net.mx
The World Cultural Council is inviting nominations of candidates for the 2009 World Awards in Science and Arts.
The World Cultural Council acknowledges individuals or institutions that have made outstanding achievements in science, arts or education, by granting the Albert Einstein World Award of Science (awarded annually), the Leonardo da Vinci World Award of Arts (awarded every other year) and the José Vasconcelos World Award of Education (also awarded every other year) to first-class figures whose work has had a significantly positive impact on the cultural legacy of mankind. These prizes are widely recognized in the scientific, educational and arts communities.
To put forward a proposal for these awards, the nomination must be duly supported by the curriculum of the candidate whose achievements in his/ her respective field have clearly made a salient contribution to the well-being of mankind.
Nominations must be submitted in English in PDF Adobe by March 10, 2009. The nomination requirements are detailed at: www.consejoculturalmundial.org/nominations
The form can be filled in at site and send it as an e-mail attachment to wcc@prodigy.net.mx
THE ODD COUPLE II
M-Net Stars to screen reunion of Walter Matthau and Jack Lemmon in sequel to Neil Simon’s story.
M-Net Stars (DStv Channel 105) will screen The Odd Couple II on February 5 at 19h30.
Thirty years after making Neil Simon’s delightful The Odd Couple, Walter Matthau and Jack Lemmon are reunited for this sequel directed by Howard Deutch, making this one of the longest gaps between a first and a second movie.
Some 17 years after saying goodbye, slob Oscar and fastidious Felix learn that they are about to become family – their kids are getting married. They meet at the airport in Los Angeles, and set off in a hired car. But along the way, they lose their way, meet various eccentric characters, and get arrested. Now if only they could stop bickering, they may just make it to the church on time!
M-Net Stars (DStv Channel 105) will screen The Odd Couple II on February 5 at 19h30.
Thirty years after making Neil Simon’s delightful The Odd Couple, Walter Matthau and Jack Lemmon are reunited for this sequel directed by Howard Deutch, making this one of the longest gaps between a first and a second movie.
Some 17 years after saying goodbye, slob Oscar and fastidious Felix learn that they are about to become family – their kids are getting married. They meet at the airport in Los Angeles, and set off in a hired car. But along the way, they lose their way, meet various eccentric characters, and get arrested. Now if only they could stop bickering, they may just make it to the church on time!
AUTUMN IN NEW YORK
M-Net Stars to screen movie with Richard Gere and Wynona Rider.
A playboy restaurant owner starts rethinking his carefree bachelor status when he meets a beautiful hat-maker young enough to be his daughter.
This is the plot of Autumn In New York directed by Joan Chen to be screened by M-Net Stars (DStv Channel 105) on February 03 2009 at 19h30
This bittersweet May/September romance stars three of the most beautiful “creatures” in America: Richard Gere, Winona Ryder and New York City dressed in her autumn finery. Will is a 40-something playboy who has never committed to one woman in his life. Charlotte is a 20-something hat-maker who has never had a lover. When they meet, sparks fly, and they spend one glorious night together. That should be the end of it, until Charlotte reveals something about herself that changes the playboy’s life forever. Keep the tissues handy!
A playboy restaurant owner starts rethinking his carefree bachelor status when he meets a beautiful hat-maker young enough to be his daughter.
This is the plot of Autumn In New York directed by Joan Chen to be screened by M-Net Stars (DStv Channel 105) on February 03 2009 at 19h30
This bittersweet May/September romance stars three of the most beautiful “creatures” in America: Richard Gere, Winona Ryder and New York City dressed in her autumn finery. Will is a 40-something playboy who has never committed to one woman in his life. Charlotte is a 20-something hat-maker who has never had a lover. When they meet, sparks fly, and they spend one glorious night together. That should be the end of it, until Charlotte reveals something about herself that changes the playboy’s life forever. Keep the tissues handy!
EVIL THAT MEN DO
M-Net Action (DStv channel 106) to screen the movie starring Charles Bronson.
M-Net Action (DStv channel 106) will screen the movie Evil That Men Do on February 4 at 21h00.
Directed by J. Lee Thompson in 1984, it stars Charles Bronson who plays the role of Holland, a successful assassin who has retired and is living in the Cayman Islands.
He hears that a friend has been killed by a notorious South American political torturer, Dr. Clement Molloch (Joseph Maher). In order to avenge his friend's death he comes out of retirement and begins to kill off Molloch's bodyguards to get to the man who killed his friend.
M-Net Action (DStv channel 106) will screen the movie Evil That Men Do on February 4 at 21h00.
Directed by J. Lee Thompson in 1984, it stars Charles Bronson who plays the role of Holland, a successful assassin who has retired and is living in the Cayman Islands.
He hears that a friend has been killed by a notorious South American political torturer, Dr. Clement Molloch (Joseph Maher). In order to avenge his friend's death he comes out of retirement and begins to kill off Molloch's bodyguards to get to the man who killed his friend.
DEATH OF SHEILA RAYMOND-JONES
Tribute by Kevan Mardon to well-known broadcaster and radio actress who died in the UK.
Well-known broadcaster and radio actress Sheila Raymond-Jones died in the UK on December 14 at the age of 89 (she would have made her 90th birthday on April 9, 2009)
Sheila was born in England and raised in Ceylon where she met her husband Ray during the war. She had a first son who sadly was killed by a crocodile at St Lucia in December 1957. Then she had a second son Peter who lives in England with his wife Sally and two children in Plymouth in Devon.
During the war, Sheila Raymond-Jones broadcasted on Radio Colombo in Ceylon and did work for the BBC overseas service. She also taught English and Drama. She came to South Africa in 1948 with her husband who was an ear, nose and throat doctor and they settled in Johannesburg where she did freelance work for the SABC’s A Programme (English Service) in 1948. She also appeared in many commercials for LM Radio at ARP (African Radio Productions run by Charles Berman) and Gallo as well as numerous film commercials for the big screen.
Eric Egan got her her first job with Springbok Radio and – as she used to recall – she held his hand on that cold Monday morning of May 1, 1950, at 06h00. This is where Sheila’s long love affair started with Springbok Radio which continued right through until the station was closed on December 31, 1985, at 18h30.
She had the very first sponsored programme on Springbok Radio called Sunbeam Time which went on air at 09h00, sponsored by Reckitt & Colman (Rexo Floor Polish). She wrote and produced the commercials for the programme. The signature tune was the Nat King Cole hit of 1949, The Song Has Ended but the Melody Lingers On performed by the Studio Orchestra.
She was affectionately known as Miss Sunbeam and did 23 programmes a week. As she summed up Springbok Radio – “A monster with a furious appetite …!”
Sheila acted in innumerable plays and serials which included Lux Radio Theatre, Tuesday Theatre, Strangers from Space, The Creaking Door, Playhouse 90, Father Dear Father, Oros Throws a Party, Masonite at your Service, Clues for Cash, Concerto for Two (with Jack Dowle and John Massey), and This Africa of Ours (Cedric Messina).
In the late night serial at 22h15, Strangers from Space produced and written by Peter Chiswell, Sheila was Helen the scientist and many listeners will recall the eerie “Horgoid, the Monster from Space, which sought out its enemies on fear vibrations! Other programmes were Kings of the Keyboard where she used the signature tune Oodles of Noodles in My Chicken Soup; a CGR (Comm Gramaphone Record) Food Bookshelf.
She presented the original Sunday night programme at 21h15, In Town Tonight, with that popular signature tune Knightsbridge March performed by the SABC Orchestra. In 1960, the sponsors changed and Joy Anderson took over with a new signature tune.
Sheila recalls doing her very first broadcast at the age of 11 for the Children’s Programme on the English Service in Commissioner Street with Leslie Green and she read a poem. Leonard Roome did her audition. She could handle all sorts of characters and accents, wrote and acted.
In 1965 in Johannesburg, the English Service newsreader Michael Todd introduced Sheila to Tape Aids for the Blind. Sheila had always wanted to volunteer for this organisation as her father was blind. In an association that spanned 39 years, she started reading for them in the Herrick Merrill Studios and her first book was The Bond Maid by Pearl Bug. In 1969, Sheila moved to Durban where she worked for the SABC and continued to read for Tape Aids at the old Greenacres Passage Studios, eventually moving to the new premises in Mitchell Crescent in Greyville.
Sadly, Sheila left South Africa on January 29, 2005, to join her only son and family in the UK.
Springbok Radio was once known as The Mother Station of Auntie SABC. Her sad passing closes the history books of a gracious era of Durban actors, producers and writers who gave so much pleasure to so many listeners. These included the late Yolande D’Hotman, Maureen Adair, Helen Cunningham, Midge Doherty, Humphrey Gilbert, Delphine Lethbridge, Tom Meehan, John Simpson and Tim Sutcliffe as well as Anne Freed and Harold Freed, to name just a few.
At the closure of the station, Sheila joined Yolande D’Hotman in saying: ”I find it sad that the words “This is Springbok Radio…!” - which have so truly become a South African sound – will no longer be heard and it is with deep regret that I have to say goodbye to it. But my only wish is that I have given a little pleasure to a lot of people … Good Night, South Africa – This was Springbok Radio ….”
May Sheila’s dear soul rest in peace – Kevan Mardon
Kevan Mardon was a close family friend and Old Time Radio Sound Historian for Springbok Radio
Well-known broadcaster and radio actress Sheila Raymond-Jones died in the UK on December 14 at the age of 89 (she would have made her 90th birthday on April 9, 2009)
Sheila was born in England and raised in Ceylon where she met her husband Ray during the war. She had a first son who sadly was killed by a crocodile at St Lucia in December 1957. Then she had a second son Peter who lives in England with his wife Sally and two children in Plymouth in Devon.
During the war, Sheila Raymond-Jones broadcasted on Radio Colombo in Ceylon and did work for the BBC overseas service. She also taught English and Drama. She came to South Africa in 1948 with her husband who was an ear, nose and throat doctor and they settled in Johannesburg where she did freelance work for the SABC’s A Programme (English Service) in 1948. She also appeared in many commercials for LM Radio at ARP (African Radio Productions run by Charles Berman) and Gallo as well as numerous film commercials for the big screen.
Eric Egan got her her first job with Springbok Radio and – as she used to recall – she held his hand on that cold Monday morning of May 1, 1950, at 06h00. This is where Sheila’s long love affair started with Springbok Radio which continued right through until the station was closed on December 31, 1985, at 18h30.
She had the very first sponsored programme on Springbok Radio called Sunbeam Time which went on air at 09h00, sponsored by Reckitt & Colman (Rexo Floor Polish). She wrote and produced the commercials for the programme. The signature tune was the Nat King Cole hit of 1949, The Song Has Ended but the Melody Lingers On performed by the Studio Orchestra.
She was affectionately known as Miss Sunbeam and did 23 programmes a week. As she summed up Springbok Radio – “A monster with a furious appetite …!”
Sheila acted in innumerable plays and serials which included Lux Radio Theatre, Tuesday Theatre, Strangers from Space, The Creaking Door, Playhouse 90, Father Dear Father, Oros Throws a Party, Masonite at your Service, Clues for Cash, Concerto for Two (with Jack Dowle and John Massey), and This Africa of Ours (Cedric Messina).
In the late night serial at 22h15, Strangers from Space produced and written by Peter Chiswell, Sheila was Helen the scientist and many listeners will recall the eerie “Horgoid, the Monster from Space, which sought out its enemies on fear vibrations! Other programmes were Kings of the Keyboard where she used the signature tune Oodles of Noodles in My Chicken Soup; a CGR (Comm Gramaphone Record) Food Bookshelf.
She presented the original Sunday night programme at 21h15, In Town Tonight, with that popular signature tune Knightsbridge March performed by the SABC Orchestra. In 1960, the sponsors changed and Joy Anderson took over with a new signature tune.
Sheila recalls doing her very first broadcast at the age of 11 for the Children’s Programme on the English Service in Commissioner Street with Leslie Green and she read a poem. Leonard Roome did her audition. She could handle all sorts of characters and accents, wrote and acted.
In 1965 in Johannesburg, the English Service newsreader Michael Todd introduced Sheila to Tape Aids for the Blind. Sheila had always wanted to volunteer for this organisation as her father was blind. In an association that spanned 39 years, she started reading for them in the Herrick Merrill Studios and her first book was The Bond Maid by Pearl Bug. In 1969, Sheila moved to Durban where she worked for the SABC and continued to read for Tape Aids at the old Greenacres Passage Studios, eventually moving to the new premises in Mitchell Crescent in Greyville.
Sadly, Sheila left South Africa on January 29, 2005, to join her only son and family in the UK.
Springbok Radio was once known as The Mother Station of Auntie SABC. Her sad passing closes the history books of a gracious era of Durban actors, producers and writers who gave so much pleasure to so many listeners. These included the late Yolande D’Hotman, Maureen Adair, Helen Cunningham, Midge Doherty, Humphrey Gilbert, Delphine Lethbridge, Tom Meehan, John Simpson and Tim Sutcliffe as well as Anne Freed and Harold Freed, to name just a few.
At the closure of the station, Sheila joined Yolande D’Hotman in saying: ”I find it sad that the words “This is Springbok Radio…!” - which have so truly become a South African sound – will no longer be heard and it is with deep regret that I have to say goodbye to it. But my only wish is that I have given a little pleasure to a lot of people … Good Night, South Africa – This was Springbok Radio ….”
May Sheila’s dear soul rest in peace – Kevan Mardon
Kevan Mardon was a close family friend and Old Time Radio Sound Historian for Springbok Radio
JOMBA! 2009
The 11th JOMBA! Contemporary Dance Experience.
The University of KwaZulu-Natal’s Centre for Creative Arts will present the 11th JOMBA! Contemporary Dance Experience in Durban from April 22 to May 3. This year’s full length two week festival will feature a host of international and local top class contemporary dance theatre performances with a full programme of dance workshops running alongside.
With the key focus on celebrating the dance work of our own continent, JOMBA! is delighted to be hosting the Nigerian company Ijodee Dance Theatre. This Lagos-based company has traveled the world wooing audiences with their unique style and come to JOMBA! to dazzle local audience with their skill and power.
Apart from performing their own repertoire, they will also collaborate with Durban’s popular Flatfoot Dance Company to present a joint work that truly is about African encounters - not to be missed!
One of the highlights on the local front is a commission awarded to both Neliswa Rushualang and Ntombi Gaza of Siwela Sonke Dance Theatre who will present new works for this edition of JOMBA! Siwela Sonke has been training up a new generation of dancers and the JOMBA! commissions will introduce these dancers’ fluidity and grace into Durban. Both Rushualang and Gaza are two formidable women whose choreographic voices will challenge and delight at the same time.
The exciting programme of cutting-edge local and international dancers and choreographers for JOMBA! 2009 also includes an open Fringe programme and a free Youth Fringe day plus a host of free dance classes and workshops.
The 11th JOMBA! Contemporary Dance Experience runs from April 22 to May 3 at the Elizabeth Sneddon Theatre. See www.cca.ukzn.ac.za for more details or contact 031 260 2506 or click on the advert on the main artSMart pages.
The University of KwaZulu-Natal’s Centre for Creative Arts will present the 11th JOMBA! Contemporary Dance Experience in Durban from April 22 to May 3. This year’s full length two week festival will feature a host of international and local top class contemporary dance theatre performances with a full programme of dance workshops running alongside.
With the key focus on celebrating the dance work of our own continent, JOMBA! is delighted to be hosting the Nigerian company Ijodee Dance Theatre. This Lagos-based company has traveled the world wooing audiences with their unique style and come to JOMBA! to dazzle local audience with their skill and power.
Apart from performing their own repertoire, they will also collaborate with Durban’s popular Flatfoot Dance Company to present a joint work that truly is about African encounters - not to be missed!
One of the highlights on the local front is a commission awarded to both Neliswa Rushualang and Ntombi Gaza of Siwela Sonke Dance Theatre who will present new works for this edition of JOMBA! Siwela Sonke has been training up a new generation of dancers and the JOMBA! commissions will introduce these dancers’ fluidity and grace into Durban. Both Rushualang and Gaza are two formidable women whose choreographic voices will challenge and delight at the same time.
The exciting programme of cutting-edge local and international dancers and choreographers for JOMBA! 2009 also includes an open Fringe programme and a free Youth Fringe day plus a host of free dance classes and workshops.
The 11th JOMBA! Contemporary Dance Experience runs from April 22 to May 3 at the Elizabeth Sneddon Theatre. See www.cca.ukzn.ac.za for more details or contact 031 260 2506 or click on the advert on the main artSMart pages.
FLATFOOT CLASSES
Flatfoot Dance Company offers open level contemporary dance classes on Saturdays.
Durban’s popular Flatfoot Dance Company is running adult open level contemporary dance classes on Saturday morning.
The classes offer an opportunity to dance and train in the techniques used by Flatfoot. They are based on the Graham, Hawkins and release techniques of contemporary dance training and present a non-pressurised environment to enjoy the beauty of the moving and dancing body.
The class is taught by Flatfoot dancer Sifiso Khumalo and is an excellent way of keeping fit while experiencing the sheer joy of contemporary dance - Flatfoot style! Sifiso is a noted teacher and these classes have gathered quite a following.
This is an adult class, so it is only open to dancers over the age of 16. No previous dance training is required. Wear anything you feel comfortable moving in.
Classes take place every Saturday in the Dance Studio in The Drama Department, UKZN Durban campus from 09h00 to 10h30. Cost R20 per class.
For more information contact 082 875 6065 or e-mail: craighead@ukzn.ac.za
Durban’s popular Flatfoot Dance Company is running adult open level contemporary dance classes on Saturday morning.
The classes offer an opportunity to dance and train in the techniques used by Flatfoot. They are based on the Graham, Hawkins and release techniques of contemporary dance training and present a non-pressurised environment to enjoy the beauty of the moving and dancing body.
The class is taught by Flatfoot dancer Sifiso Khumalo and is an excellent way of keeping fit while experiencing the sheer joy of contemporary dance - Flatfoot style! Sifiso is a noted teacher and these classes have gathered quite a following.
This is an adult class, so it is only open to dancers over the age of 16. No previous dance training is required. Wear anything you feel comfortable moving in.
Classes take place every Saturday in the Dance Studio in The Drama Department, UKZN Durban campus from 09h00 to 10h30. Cost R20 per class.
For more information contact 082 875 6065 or e-mail: craighead@ukzn.ac.za
PERFORMING ARTS INDABAS
SATI to holdi indabas across South Africa to stimulate debate among local cultural practitioners.
Following last year’s successful Gauteng Theatre and Dance Indaba, the South African Theatre Initiative (SATI) will hold similar indabas across the rest of South Africa, in a bid to stimulate debate among local cultural practitioners.
The first indaba for 2009 will be held in Cape Town at the Baxter Theatre on February 7 and 8. Further indabas will be held in the remaining six provinces during the next few months.
These conferences form part of SATI’s national research and consultation process, in partnership with the Department of Arts and Culture (DAC) and the National Arts Council (NAC), and are aimed at addressing issues within the various arts disciplines to ensure the growth, development and sustainability of the sector.
Theatre and dance stakeholders in each province – from individual practitioners, administrators and educators to non-governmental organisations and government representatives – are invited to spend two days debating SATI’s key research areas. These are transformation, networking, compliance, human resource development, local market development, and the issue of funding versus sustainability.
A task team will be elected at each provincial indaba and will attend the National Indaba, where all draft resolutions will be debated and recommendations will be made to the DAC to inform policy and future interventions in the arts sector.
“We were thrilled by the lively and constructive debate that characterised the Gauteng Theatre and Dance Indaba last year,” says SATI director Mpho Molepo, “and hope the other provincial indabas will see the same spirit of working together for the good of the arts. As Warren Nebe, the head of the Wits Drama Department, pointed out at the Gauteng indaba, arts is a human rights issue – and through these indabas we hope that this constitutionally enshrined right gets its day in the sun to ensure that the performing arts not only survive, but flourish.”
Those wishing to attend any of the indabas (to which entrance is free) should book their place by phoning SATI at 011 838 8932, or e-mail info@sati.org.za
Quotes from the Gauteng Theatre and Dance Indaba:
“Artists are about early warning systems; they are harbingers of change.” - Adrienne Sichel, journalist
“I am a cultural combatant. I am an artist. I am a soldier.” - Bongani Linda, theatre practitioner
“The Grahamstown Festival will always be whiter than white!” - Bongani Linda
“It is important to celebrate our diversity as Africans and address imbalances in the curricula - most of which come directly from Great Britain.” - Warren Nebe, head of Wits Drama Department
“Indigenous dance should form part of the dance programme [in schools]. However, there are challenges facing us - even while living in Africa, here we could be in Europe." - Qhuzulini John Sithole
Following last year’s successful Gauteng Theatre and Dance Indaba, the South African Theatre Initiative (SATI) will hold similar indabas across the rest of South Africa, in a bid to stimulate debate among local cultural practitioners.
The first indaba for 2009 will be held in Cape Town at the Baxter Theatre on February 7 and 8. Further indabas will be held in the remaining six provinces during the next few months.
These conferences form part of SATI’s national research and consultation process, in partnership with the Department of Arts and Culture (DAC) and the National Arts Council (NAC), and are aimed at addressing issues within the various arts disciplines to ensure the growth, development and sustainability of the sector.
Theatre and dance stakeholders in each province – from individual practitioners, administrators and educators to non-governmental organisations and government representatives – are invited to spend two days debating SATI’s key research areas. These are transformation, networking, compliance, human resource development, local market development, and the issue of funding versus sustainability.
A task team will be elected at each provincial indaba and will attend the National Indaba, where all draft resolutions will be debated and recommendations will be made to the DAC to inform policy and future interventions in the arts sector.
“We were thrilled by the lively and constructive debate that characterised the Gauteng Theatre and Dance Indaba last year,” says SATI director Mpho Molepo, “and hope the other provincial indabas will see the same spirit of working together for the good of the arts. As Warren Nebe, the head of the Wits Drama Department, pointed out at the Gauteng indaba, arts is a human rights issue – and through these indabas we hope that this constitutionally enshrined right gets its day in the sun to ensure that the performing arts not only survive, but flourish.”
Those wishing to attend any of the indabas (to which entrance is free) should book their place by phoning SATI at 011 838 8932, or e-mail info@sati.org.za
Quotes from the Gauteng Theatre and Dance Indaba:
“Artists are about early warning systems; they are harbingers of change.” - Adrienne Sichel, journalist
“I am a cultural combatant. I am an artist. I am a soldier.” - Bongani Linda, theatre practitioner
“The Grahamstown Festival will always be whiter than white!” - Bongani Linda
“It is important to celebrate our diversity as Africans and address imbalances in the curricula - most of which come directly from Great Britain.” - Warren Nebe, head of Wits Drama Department
“Indigenous dance should form part of the dance programme [in schools]. However, there are challenges facing us - even while living in Africa, here we could be in Europe." - Qhuzulini John Sithole
ARTWORKS @ KWANYONI
Terri Broll and Louise Hall host artists’ workshops in Hilton.
During 2009, Terri Broll and Louise Hall will hold a series of workshops catering for the unique needs of artists. These skills-based workshops will focus on enhancing, deepening and maintaining creativity and will be of interest to both visual and performing artists as well as writers.
The venue for these workshops is KwaNyoni in Hilton outside Pietermaritzburg. Overlooking the spectacular Umgeni Valley, KwaNyoni offers a stunning setting for a day of learning, renewal and connection with other artists.
The first workshop takes place on January 31 and is titled Meeting the Challenge of Creativity. It will focus on the challenges involved in putting creativity into practice. Participants will learn to understand issues such as avoidance, anxiety and procrastination in order to achieve a working knowledge of their own relationship to creativity.
The second workshop will take place – also at KwNyoni – on March 7 and is titled Showing Up. - Learning to Sustain Artistic Production. Many artists find difficulty initiating and sustaining regular work habits. This workshop will focus on particular techniques of self-management that will enable participants to move into creative action, keep work flowing and maintain ongoing production.
Both workshops will take place at KwaNyoni from 09h00 to 16h30 and the fee of R490 includes lunch and refreshments.
For booking or more information, contact Terri on 083 477 5599 (email terribroll@iuncapped.co.za) or Louise on 082 922 8881(email: louisehall@sai.co.za)
For directions and additional information visit www.theworkingartist.wordpress.com
During 2009, Terri Broll and Louise Hall will hold a series of workshops catering for the unique needs of artists. These skills-based workshops will focus on enhancing, deepening and maintaining creativity and will be of interest to both visual and performing artists as well as writers.
The venue for these workshops is KwaNyoni in Hilton outside Pietermaritzburg. Overlooking the spectacular Umgeni Valley, KwaNyoni offers a stunning setting for a day of learning, renewal and connection with other artists.
The first workshop takes place on January 31 and is titled Meeting the Challenge of Creativity. It will focus on the challenges involved in putting creativity into practice. Participants will learn to understand issues such as avoidance, anxiety and procrastination in order to achieve a working knowledge of their own relationship to creativity.
The second workshop will take place – also at KwNyoni – on March 7 and is titled Showing Up. - Learning to Sustain Artistic Production. Many artists find difficulty initiating and sustaining regular work habits. This workshop will focus on particular techniques of self-management that will enable participants to move into creative action, keep work flowing and maintain ongoing production.
Both workshops will take place at KwaNyoni from 09h00 to 16h30 and the fee of R490 includes lunch and refreshments.
For booking or more information, contact Terri on 083 477 5599 (email terribroll@iuncapped.co.za) or Louise on 082 922 8881(email: louisehall@sai.co.za)
For directions and additional information visit www.theworkingartist.wordpress.com
Thursday, January 29, 2009
LINDSAY GALLERY SILENT AUCTION
New work available for silent auction at Durban North gallery until end January.
The Lindsay Gallery has new work available for the silent auction which takes place in the gallery until the end of January 2009. Don't miss the chance to buy an artwork by excellent artists like Anne Lewin, Makiwa Mutomba, Hussein Salim, Peter Sibeko, Heather Sclater, Grace Kotze and Rheta Kotze, amongst others.
The Lindsay Gallery is at 289 Blackburn Road Durban North. More information on 031 563 3961.
The Lindsay Gallery has new work available for the silent auction which takes place in the gallery until the end of January 2009. Don't miss the chance to buy an artwork by excellent artists like Anne Lewin, Makiwa Mutomba, Hussein Salim, Peter Sibeko, Heather Sclater, Grace Kotze and Rheta Kotze, amongst others.
The Lindsay Gallery is at 289 Blackburn Road Durban North. More information on 031 563 3961.
DOMIJAN WORKS
New oils by Robert Domijan and Coral Spencer-Domijan at Elizabeth Gordon Gallery.
The Elizabeth Gordon Gallery has new stocks of oil paintings by KZN artists Robert Domijan and Coral Spencer-Domijan.
Elizabeth Gordon Gallery is situated at 120 Florida Road. More information on 031 303 8133.
The Elizabeth Gordon Gallery has new stocks of oil paintings by KZN artists Robert Domijan and Coral Spencer-Domijan.
Elizabeth Gordon Gallery is situated at 120 Florida Road. More information on 031 303 8133.
ESTABLISHMENT OF KZN MUSIC CLUSTER
Workshops on the establishment of a music cluster in KZN.
An invitation is extended to all musicians and those in related sectors to attend a workshop on the establishment of a music cluster in KwaZulu-Natal. The workshops will be sponsored by the KZN Department of Economic Department (DED) and facilitated by ADEC (African Development Economic Consultants).
The workshops will be held in Durban on the following dates:
Sub-Sector Workshops: January 28 at the DED Offices, 9th Floor, 22 Gardiner Street, Durban. These workshops will target sub sectors as follows: Music/video recording companies, studios, publishers (09h00 to 10h30); Radio stations, Radio DJs, Performance DJs (11h00 to 12h30); Retailers, distributors, designers & affiliated services (13h00 to 14h30); Venue operators, event managers, booking agents (15h00 to 16h30), and Artists & technicians (musicians, songwriters) (17h00 to 18h30)
Full-Day Workshop: January 29 from 09h00 to 16h00 in the Conference Room, Protea Hotel Edward, 149 Marine Parade, Durban.
All stakeholders are invited to the full-day workshop. Invited guests will include the Deputy Director General Dr. Raymond Ngcobo and representatives from Department of Art and Culture. Lunch and refreshments will be served.
The objective of these workshops is to identify the key issues and opportunities for the development of a promotional organization for the music industry in KZN. You are welcome to attend the workshops on both days. We strongly encourage your participation as we believe that your input and contribution at the meeting would add considerable value to the work that has already been undertaken and provide guidance for the strategic direction of the project.
RSVP to ADEC at adec@ADEC1.com or 011-728-1965.
An invitation is extended to all musicians and those in related sectors to attend a workshop on the establishment of a music cluster in KwaZulu-Natal. The workshops will be sponsored by the KZN Department of Economic Department (DED) and facilitated by ADEC (African Development Economic Consultants).
The workshops will be held in Durban on the following dates:
Sub-Sector Workshops: January 28 at the DED Offices, 9th Floor, 22 Gardiner Street, Durban. These workshops will target sub sectors as follows: Music/video recording companies, studios, publishers (09h00 to 10h30); Radio stations, Radio DJs, Performance DJs (11h00 to 12h30); Retailers, distributors, designers & affiliated services (13h00 to 14h30); Venue operators, event managers, booking agents (15h00 to 16h30), and Artists & technicians (musicians, songwriters) (17h00 to 18h30)
Full-Day Workshop: January 29 from 09h00 to 16h00 in the Conference Room, Protea Hotel Edward, 149 Marine Parade, Durban.
All stakeholders are invited to the full-day workshop. Invited guests will include the Deputy Director General Dr. Raymond Ngcobo and representatives from Department of Art and Culture. Lunch and refreshments will be served.
The objective of these workshops is to identify the key issues and opportunities for the development of a promotional organization for the music industry in KZN. You are welcome to attend the workshops on both days. We strongly encourage your participation as we believe that your input and contribution at the meeting would add considerable value to the work that has already been undertaken and provide guidance for the strategic direction of the project.
RSVP to ADEC at adec@ADEC1.com or 011-728-1965.
PAST/PRESENT
Pic by Carol Brown)
Works by Andrew Verster from 1994 – 2008. (Review by Marianne Meijer)
Past/Present is a travelling exhibition of Andrew Verster’s works painted between 1994 and 2008. The exhibition opened at the National Arts Festival in Grahamstown, and was seen in Port Elizabeth. It is now on view at the Iziko National Art Gallery in Cape Town from there to Bloemfontein and after that it opens at the Durban Art Gallery on August 12.
A small book recently published by Fishwicks serves as a catalogue to the exhibition. It contains images from the exhibition, but offers much more. Edited by Carol Brown the book gives a brief overview of Verster’s oeuvre over the period from 1994 – the start of democracy in South Africa - to the present.
The publication celebrates, and portrays Verster- the man, the gay man - the painter, who designs jewellery and tapestries, costumes and stage sets – his ingenuity and creativity know no bounds.
The Artbio written by Brown is informative and comprehensive. The chapters written by his friends give a deeper insight into Verster’s life and what he means and has meant to others.
Peter Machen’s contribution is remarkable as he gives in 24 short paragraphs insight in Verster’s thinking, and even his wisdom.
Essays by Bronwen Findlay and Clive van den Berg, Brenton Maart and Nick Paul all make good reads.
Best of all are the pictures of Verster’s work including a variety of art forms: paintings - a series of tattooed life-size figures with marks one recognises from western and Indian cultures. There are also pen and ink drawings, sets from the operas, costume design, drawings and prints, but best of all are the images of his wonderful rich paintings.
In Verster’s words: If you ask me what I do, I reply “I’m a painter!”
Past/Present the book is available from Adams at R135. - Marianne Meijer
Wednesday, January 28, 2009
SOUTHERN SOUL
Hamish Kyd revisits tribute to soul music which originally formed part of soul music anthology at the Playhouse. (Review by Caroline Smart)
Devised and directed by Hamish Kyd, Southern Soul opened this evening at the Catalina Theatre on Wilson’s Wharf. Hamish Kyd has a rock-solid support base so the audience responded well to this entertaining production which deals with Atlantic Records and soul music.
In 1952, a frenetic young Jewish man named Jerry Wexler made ground-breaking history in soul music when he became a partner in Atlantic Records. The record company owner Ahmet Ertegun recognized that he had a unique manner of identifying Black talent.
To quote the press release: “Wexler took Atlantic Records to the South of America because he discovered that the artistes there staged their songs with church fervour encapsulating the most intimate emotions, such as the need to be loved, the frustration of not being loved, and the ecstasies of being loved. Wexler’s aim was to capture these emotions on record. His efforts gave rise to Soul legends such as Aretha Franklin, Ray Charles, Otis Redding, Percy Sledge and Wilson Pickett.
In his programme notes, Hamish Kyd reminds us that, together with Motown Forever (produced in January 2008), Southern Soul is part of an anthology of soul music that he devised in 1987 for the now-defunct Playhouse Cellar supper theatre venue. The shows were produced as The Motown Story and Southern Groove and were directed by the late Mervyn Goodman, highlighting the difference between the “groomed” artist and the artist with a ”raw” talent. This difference and the great soul performances that evolved always fascinated Hamish from his teenage years and convinced him that - no matter the odds - a person can achieve.
In Southern Soul, Hamish highlights the music of these great performers from a South African perspective alongside choreography by Jarryd Watson. Appearing as Professor Gopal, handkerchief dabbing his tears, he informs us that the evening forms part of a memorial to his friend Kosie, an ardent lover of soul music who just happens to have come back to earth as a white rat. Said rat (alias Kosie) is carted on and off stage in its cage at random but seems to be very comfortable with such theatrical activity.
Also appearing are the inimitable power-house Sli Nodangala – whose Tonight is the Night with Hamish Kyd was a real highlight -and the engaging Rory Booth who gave a good rendering of What I’d Say as well as the lively Portia Zungu and Victor and Vincent from the new singing and dancing sensation Zzzing!, the latter offering a welcome introduction of new talent to mainstream theatre. From a technical point of view, the backing tracks overshadowed the performers, preventing them from introducing any subtleties into the music, and Hamish Kyd was too often positioned in the dark.
Highly effective panels portraying images through a photographic process onto architect paper have been designed by Themi Venturas and painted by Hugo le Roux and Jannie Venter. Featuring Ray Charles, Otis Redding, the Stable Singers, Wilson Pickett and Aretha Franklin, they form an attractive backdrop for the action.
Southern Soul is dedicated to the memory of the endearing and highly talented Cindy Ngidi who Hamish promised would be in the cast when the production was revived. However, she passed on before this could become a reality. I feel sure that her gentle spirit is shining benevolently on this production.
Southern Soul has a nice long run at the Catalina Theatre until March 1. Bookings on 031 305 6889 or through Strictly Tickets. – Caroline Smart
Devised and directed by Hamish Kyd, Southern Soul opened this evening at the Catalina Theatre on Wilson’s Wharf. Hamish Kyd has a rock-solid support base so the audience responded well to this entertaining production which deals with Atlantic Records and soul music.
In 1952, a frenetic young Jewish man named Jerry Wexler made ground-breaking history in soul music when he became a partner in Atlantic Records. The record company owner Ahmet Ertegun recognized that he had a unique manner of identifying Black talent.
To quote the press release: “Wexler took Atlantic Records to the South of America because he discovered that the artistes there staged their songs with church fervour encapsulating the most intimate emotions, such as the need to be loved, the frustration of not being loved, and the ecstasies of being loved. Wexler’s aim was to capture these emotions on record. His efforts gave rise to Soul legends such as Aretha Franklin, Ray Charles, Otis Redding, Percy Sledge and Wilson Pickett.
In his programme notes, Hamish Kyd reminds us that, together with Motown Forever (produced in January 2008), Southern Soul is part of an anthology of soul music that he devised in 1987 for the now-defunct Playhouse Cellar supper theatre venue. The shows were produced as The Motown Story and Southern Groove and were directed by the late Mervyn Goodman, highlighting the difference between the “groomed” artist and the artist with a ”raw” talent. This difference and the great soul performances that evolved always fascinated Hamish from his teenage years and convinced him that - no matter the odds - a person can achieve.
In Southern Soul, Hamish highlights the music of these great performers from a South African perspective alongside choreography by Jarryd Watson. Appearing as Professor Gopal, handkerchief dabbing his tears, he informs us that the evening forms part of a memorial to his friend Kosie, an ardent lover of soul music who just happens to have come back to earth as a white rat. Said rat (alias Kosie) is carted on and off stage in its cage at random but seems to be very comfortable with such theatrical activity.
Also appearing are the inimitable power-house Sli Nodangala – whose Tonight is the Night with Hamish Kyd was a real highlight -and the engaging Rory Booth who gave a good rendering of What I’d Say as well as the lively Portia Zungu and Victor and Vincent from the new singing and dancing sensation Zzzing!, the latter offering a welcome introduction of new talent to mainstream theatre. From a technical point of view, the backing tracks overshadowed the performers, preventing them from introducing any subtleties into the music, and Hamish Kyd was too often positioned in the dark.
Highly effective panels portraying images through a photographic process onto architect paper have been designed by Themi Venturas and painted by Hugo le Roux and Jannie Venter. Featuring Ray Charles, Otis Redding, the Stable Singers, Wilson Pickett and Aretha Franklin, they form an attractive backdrop for the action.
Southern Soul is dedicated to the memory of the endearing and highly talented Cindy Ngidi who Hamish promised would be in the cast when the production was revived. However, she passed on before this could become a reality. I feel sure that her gentle spirit is shining benevolently on this production.
Southern Soul has a nice long run at the Catalina Theatre until March 1. Bookings on 031 305 6889 or through Strictly Tickets. – Caroline Smart
Friday, January 23, 2009
JEWELLERY DESIGNERS FOR SA FASHION WEEK
Pictured: Chantel Wehmeyer and Gary Wild
Durban jewellery design duo to feature in SA fashion week
A Durban jewellery design duo has been selected to inject some sexy cyber-punk chic into one of the country’s top fashion shows, taking place this week.
The Audi Johannesburg Fashion Week, from January 21 to 24 at the Sandton Convention Centre, brings together some of the hottest young names in the South African rag trade, and Durban’s Chantel Wehmeyer and Gary Wild have been commissioned by avant-garde designer Abigail Keats, to help make her futuristic runway creations fly.
The show attracts the cream of the country’s design talent, celebs, fashion buyers, and style-spotters.
The jewellers, who go by the name Wild by Design, have made more than 50 pieces for Keats. These combine materials more often associated with the factory shop-floor, such as rubber and resin, with sterling silver. Also in the mix are natural materials such as indigenous hardwoods and buck-horn.
Wild, 42, described their work as “urban-inspired and edgy”, but it was to the farm that he went for some of the more special materials needed for the job. “I got the wood from a mate’s farm in the Eastern Cape. My boet and I pruned some wild olive branches. I also sourced some Natal mahogany and African ebony.”
Meanwhile, Wehmeyer, 31, checked out industrial supply stores for raw materials and scoured scrap-yards for inspiration.
Their collaboration with Keats came about after Wehmeyer, 31, a Jewellery Design and Manufacture honours student at the Durban University of Technology, spotted Keats’ work in a national fashion magazine last year and was blown away by her daring style.
Wehmeyer fired off an enthusiastic e-mail to Keats in August praising the fashionista’s “earthy futurism”, and suggesting they might collaborate.
The months passed by and Wehmeyer thought nothing more of it, until in December she got an e-mail and then a phone call.
Keats, a graduate of the London International School of Fashion, wanted jewellery, and lots of it, in “onyx and dark, black wood” to go with her collection of 15 outfits for the fashion week.
The Wild by Design team have obliged with sexy cyber-punk pieces that wouldn’t look out of place on the necks and fingers of “Matrix” stars Keanu Reeves and Carrie-Anne Moss.
“This is the African urban chic for a brave new world; there’s not a bead in sight,” says Wild. “I’m absolutely stoked to be working with Abigail. I have max respect for her work,” he said.
For more information email info@wildbydesign.co.za or visit www.wildbydesign.co.za
LINDSAY GALLERY NEW WORK
Durban North gallery starts its 2009 programme with new work available for the silent auction.
The Lindsay Gallery has new work available for the silent auction which takes place in the gallery until the end of January 2009. Don't miss the chance to buy an artwork by excellent artists like Anne Lewin, Makiwa Mutomba, Hussein Salim, Peter Sibeko, Heather Sclater, Grace Kotze and Rheta Kotze amongst others.
The gallery is at 289 Blackburn Road Durban North. Contact 031 563 3961.
The Lindsay Gallery has new work available for the silent auction which takes place in the gallery until the end of January 2009. Don't miss the chance to buy an artwork by excellent artists like Anne Lewin, Makiwa Mutomba, Hussein Salim, Peter Sibeko, Heather Sclater, Grace Kotze and Rheta Kotze amongst others.
The gallery is at 289 Blackburn Road Durban North. Contact 031 563 3961.
GUY BUTTERY AT SALT ROCK
Guy Buttery is to perform at Claremont Farm, Salt Rock, KZN, on January 24.
"Guy Buttery's goal is to stretch the boundaries of fingerstyle guitar to their outermost limits. ...the most diverse and intriguing fingerstyle album in recent memory." (Guitar Player Magazine- USA's leading Guitar Magazine)
One of South Africa's finest acoustic guitarists, Guy Buttery, has returned home after an extensive six week tour of the UK and Europe as well as an exclusive performance for the Prince of Bahrain. Guy was invited to perform at numerous prestigious festivals throughout 2008, representing South Africa in no less than five different countries. He also had the honour of playing alongside some of the world's greatest guitarists including the likes of Martin Simpson, Bob Brozman, Gordon Giltrap, Adrian Legg, Pierre Bensusan and many more. Buttery said "The tour was a huge success! It was really awesome to play with some of my heroes, but it's always good to be back on African soil and I'm really looking forward to playing to my favourite audience again."
Guy Buttery has embarked on a journey that will no doubt lead to his success as an internationally respected solo artist. With the doors opening up for him in Europe and the UK, it is no surprise that Guy has numerous international tours lined up for 2009 which will coincide with the release of his third and much anticipated album.
The performance will take place on January 24 at 19h30 with dinner served from 18h30. This will be an intimate night of music and great food. Vagabond Café is nestled away on the beautiful Claremont Farm, opposite the entrance to Brettenwood Estate in Salt Rock. Tickets R40 (excluding drinks and dinner) will be sold at the door. CD's on sale!
Booking is recommended as space is limited. Contact Kerry/Andrew Strode on 083 618 5596.
"Guy Buttery's goal is to stretch the boundaries of fingerstyle guitar to their outermost limits. ...the most diverse and intriguing fingerstyle album in recent memory." (Guitar Player Magazine- USA's leading Guitar Magazine)
One of South Africa's finest acoustic guitarists, Guy Buttery, has returned home after an extensive six week tour of the UK and Europe as well as an exclusive performance for the Prince of Bahrain. Guy was invited to perform at numerous prestigious festivals throughout 2008, representing South Africa in no less than five different countries. He also had the honour of playing alongside some of the world's greatest guitarists including the likes of Martin Simpson, Bob Brozman, Gordon Giltrap, Adrian Legg, Pierre Bensusan and many more. Buttery said "The tour was a huge success! It was really awesome to play with some of my heroes, but it's always good to be back on African soil and I'm really looking forward to playing to my favourite audience again."
Guy Buttery has embarked on a journey that will no doubt lead to his success as an internationally respected solo artist. With the doors opening up for him in Europe and the UK, it is no surprise that Guy has numerous international tours lined up for 2009 which will coincide with the release of his third and much anticipated album.
The performance will take place on January 24 at 19h30 with dinner served from 18h30. This will be an intimate night of music and great food. Vagabond Café is nestled away on the beautiful Claremont Farm, opposite the entrance to Brettenwood Estate in Salt Rock. Tickets R40 (excluding drinks and dinner) will be sold at the door. CD's on sale!
Booking is recommended as space is limited. Contact Kerry/Andrew Strode on 083 618 5596.
CONVERSATIONS WITH YOUR EX
Mother and daughter Gail and Chantal Snyman appear in Musho! Play. (Review by Shika Budhoo)
Seen on the Musho Festival, Conversations With Your Ex was a delicate story about love, loss and life. The piece was conveyed in the intimate setting of a lounge, between mother and daughter on the evening after the marriage of the youngest daughter in the family. Mother (Dorothy played by Gail Snyman) and daughter (Delia played by Chantal Snyman) sit down and share their thoughts about the wedding, the guests, family issues, their ideas about marriage and “da da da-dum” their ex-stories!
Chantal Snyman had some brilliant moments that had the audience in stitches. A brave performance, one that I don’t think I would be able to produce with my mother sitting on stage with me. Chantal’s comedic talents - definitely an inheritance from her mother - were brought out in her portrayal of her boring sex-life with her ex-boyfriend Roger. It was particularly hilarious, and her skill with comic timing evident.
Gail Snyman is the creator of this piece. The relationship between mother and daughter is of such a fragile nature, that many versions of its dynamic can be explored. Conversations With Your Ex explores the sharing aspect of a mother and daughter relationship. The freeness with which they share their past stories, memories, opinions and dreams of their futures is admirable and true in many mother-daughter interactions.
At times I was reminded of specific conversations I’ve had with my own mother, specific gossiping sessions, moments where I sat and complained to her, moments we laughed so hard we had tears in our eyes and were swept off our feet. It was a great show to remind you of the quiet times and quality times shared between a daughter and mother, that are to be treasured.
The play saw the two characters sharing their experiences with their particular ex’s - specifically. Dorothy told of her husband, now passed, and his adulterous end. Delia spoke of the boyfriends she experienced from the young age of 10 until present. I particularly enjoyed her account of her relationship with Joey, her first love when she was only 10 years olds.
I must explain this scene as it was a very touching moment in which Chantal Snyman - with the exact amount of passion and youthfulness - filled the stage with a new idea about how love can be and the possibility of not being fulfilled after a high expectation was set. The scene goes like this: Delia explains that her first love, Joey, passed away. Delia explains that Joey was a wild one, a free spirit; of course she hated him at first - and proudly claims: don’t all good love stories start like that?
She explains about how, when they were kids in the 70’s, Joey loved Karate and they could play fight and Joey kicked her in the stomach, she takes off with him for not pretending to kick her instead? Once when they were pretending to be horses and she fell down and got hurt, Joey carried her home, he pulled out the thorns, put on mercurochrome and bandages. This is when Delia delightfully exclaims that it was the most romantic moment she’d ever had. She then goes on to explain how at his funeral she would’ve have loved to lean over and said what she was thinking “Joey, you were my first love - and you set a high standard. End scene! It is a beautiful scene with a story that is untold. The fact that so many of us have had some of our best moments at times that are unconventional of their existence, was made well aware of in this scene.
The show although relaxed in performance at extended periods, had moments of true pleasure. It had several moments that had me buckled over with laugher and moments that made me aware of the joys of celebrations such as weddings. It had a strong message about the fact that all women have had experiences with men, favourable or unfavourable which have shaped their interaction with all the men in their lives.
However, I am aware that men, as well, will be shaped by the women they interact with, but I further believe that the majority of women are more emotionally driven compared to men who are practically driven. So … as a woman watching this show, I was in way allowed to take the journey and be reminiscent of my ex’s and from the show was able to realize the need to rid myself of the negative and notice the positives that have stuck with me and help me with my present interactions with the male species. There is always a lesson to be learnt and a way to move forward, from a bad ex experience or a good ex-perience. Well done to mother and daughter! - Shika Budhoo
Seen on the Musho Festival, Conversations With Your Ex was a delicate story about love, loss and life. The piece was conveyed in the intimate setting of a lounge, between mother and daughter on the evening after the marriage of the youngest daughter in the family. Mother (Dorothy played by Gail Snyman) and daughter (Delia played by Chantal Snyman) sit down and share their thoughts about the wedding, the guests, family issues, their ideas about marriage and “da da da-dum” their ex-stories!
Chantal Snyman had some brilliant moments that had the audience in stitches. A brave performance, one that I don’t think I would be able to produce with my mother sitting on stage with me. Chantal’s comedic talents - definitely an inheritance from her mother - were brought out in her portrayal of her boring sex-life with her ex-boyfriend Roger. It was particularly hilarious, and her skill with comic timing evident.
Gail Snyman is the creator of this piece. The relationship between mother and daughter is of such a fragile nature, that many versions of its dynamic can be explored. Conversations With Your Ex explores the sharing aspect of a mother and daughter relationship. The freeness with which they share their past stories, memories, opinions and dreams of their futures is admirable and true in many mother-daughter interactions.
At times I was reminded of specific conversations I’ve had with my own mother, specific gossiping sessions, moments where I sat and complained to her, moments we laughed so hard we had tears in our eyes and were swept off our feet. It was a great show to remind you of the quiet times and quality times shared between a daughter and mother, that are to be treasured.
The play saw the two characters sharing their experiences with their particular ex’s - specifically. Dorothy told of her husband, now passed, and his adulterous end. Delia spoke of the boyfriends she experienced from the young age of 10 until present. I particularly enjoyed her account of her relationship with Joey, her first love when she was only 10 years olds.
I must explain this scene as it was a very touching moment in which Chantal Snyman - with the exact amount of passion and youthfulness - filled the stage with a new idea about how love can be and the possibility of not being fulfilled after a high expectation was set. The scene goes like this: Delia explains that her first love, Joey, passed away. Delia explains that Joey was a wild one, a free spirit; of course she hated him at first - and proudly claims: don’t all good love stories start like that?
She explains about how, when they were kids in the 70’s, Joey loved Karate and they could play fight and Joey kicked her in the stomach, she takes off with him for not pretending to kick her instead? Once when they were pretending to be horses and she fell down and got hurt, Joey carried her home, he pulled out the thorns, put on mercurochrome and bandages. This is when Delia delightfully exclaims that it was the most romantic moment she’d ever had. She then goes on to explain how at his funeral she would’ve have loved to lean over and said what she was thinking “Joey, you were my first love - and you set a high standard. End scene! It is a beautiful scene with a story that is untold. The fact that so many of us have had some of our best moments at times that are unconventional of their existence, was made well aware of in this scene.
The show although relaxed in performance at extended periods, had moments of true pleasure. It had several moments that had me buckled over with laugher and moments that made me aware of the joys of celebrations such as weddings. It had a strong message about the fact that all women have had experiences with men, favourable or unfavourable which have shaped their interaction with all the men in their lives.
However, I am aware that men, as well, will be shaped by the women they interact with, but I further believe that the majority of women are more emotionally driven compared to men who are practically driven. So … as a woman watching this show, I was in way allowed to take the journey and be reminiscent of my ex’s and from the show was able to realize the need to rid myself of the negative and notice the positives that have stuck with me and help me with my present interactions with the male species. There is always a lesson to be learnt and a way to move forward, from a bad ex experience or a good ex-perience. Well done to mother and daughter! - Shika Budhoo
CELL NO. 4
One of the most brilliant shows for me at Musho 2009! (Review by Shika Budhoo)
For me, Cell No. 4 was one of the most brilliant shows at the Musho! Theatre Festival this year. Held at the BAT Centre, it was so affecting in performance that my face frequently fluctuated between the two emotions expressed in the famous drama faces of tragedy and comedy, and all the levels in-between the two.
I particularly liked the juxtaposition of emotions within the progression of scenes as well as the simultaneous presentation of the tragic and the joyous, which is perfectly displayed in the final scene. The words spoken are beautifully written and accurately performed. The story is told via various performance techniques, but most specifically the skill of the actors and their abilities to convey various characters (within seconds of each other) heightened the truly South African script and was successfully directed.
Written and directed by Presley Chweneyagae and performed by Segomotso Modise and Gaolahe Mathenyane, Cell No. 4 was essentially the story of two convicts, cell mates Justice and Rambo. The stories they shared were alive with unique energies explored in the different characters they played. The tragedy of the situation they were in was fully expressed emotionally and physically. The comedy of their lives - an element I assume prisoners have to actively cultivate in order to survive - was done by pure excellence in comic timing. The two actors gelled well on stage and the visible development of their friendship was superb.
The two main issues brought to the fore were the: 2010 world cup and our HIV AIDS crisis. They are two very specifically South African issues, two very important issues of January 2009 (NOW!), two issues that are in existence simultaneously. The play has numerous emotive words to describe it, but I’ve picked out a word that describes the play best: RELEVANT! I say this because, as a true play should be put together, it has an audience in mind. It is for public viewing, it is to communicate something that reaches the audience and moves the audience in action, even if the action is in thought (at first). By watching this show, I believe you will be inspired to take action, in whatever way the play affected you.
I won’t tell you the details of the story, I’ll only tell you this: if you get an opportunity to watch it somewhere near you, do not hesitate - or else you’ll regret watching a show that may move you in many ways and change you in many ways. But above all, it is amazing to see a group of theatre practitioners producing work that is entertaining, enlightening and has all the good bits that theatre offers when it’s done best!
Well done to all involved in the Cell No. 4 production. When all the various elements in putting on a theatre production come together like a finely tuned orchestra, magic is created but I must give special mention to the two men on stage - what a pleasure to see performers with genuine skills and a true display of appropriate energy, even during curtain calls: Segomotso Modise and Gaolahe Mathenyane: Wow! - Shika Budhoo
For me, Cell No. 4 was one of the most brilliant shows at the Musho! Theatre Festival this year. Held at the BAT Centre, it was so affecting in performance that my face frequently fluctuated between the two emotions expressed in the famous drama faces of tragedy and comedy, and all the levels in-between the two.
I particularly liked the juxtaposition of emotions within the progression of scenes as well as the simultaneous presentation of the tragic and the joyous, which is perfectly displayed in the final scene. The words spoken are beautifully written and accurately performed. The story is told via various performance techniques, but most specifically the skill of the actors and their abilities to convey various characters (within seconds of each other) heightened the truly South African script and was successfully directed.
Written and directed by Presley Chweneyagae and performed by Segomotso Modise and Gaolahe Mathenyane, Cell No. 4 was essentially the story of two convicts, cell mates Justice and Rambo. The stories they shared were alive with unique energies explored in the different characters they played. The tragedy of the situation they were in was fully expressed emotionally and physically. The comedy of their lives - an element I assume prisoners have to actively cultivate in order to survive - was done by pure excellence in comic timing. The two actors gelled well on stage and the visible development of their friendship was superb.
The two main issues brought to the fore were the: 2010 world cup and our HIV AIDS crisis. They are two very specifically South African issues, two very important issues of January 2009 (NOW!), two issues that are in existence simultaneously. The play has numerous emotive words to describe it, but I’ve picked out a word that describes the play best: RELEVANT! I say this because, as a true play should be put together, it has an audience in mind. It is for public viewing, it is to communicate something that reaches the audience and moves the audience in action, even if the action is in thought (at first). By watching this show, I believe you will be inspired to take action, in whatever way the play affected you.
I won’t tell you the details of the story, I’ll only tell you this: if you get an opportunity to watch it somewhere near you, do not hesitate - or else you’ll regret watching a show that may move you in many ways and change you in many ways. But above all, it is amazing to see a group of theatre practitioners producing work that is entertaining, enlightening and has all the good bits that theatre offers when it’s done best!
Well done to all involved in the Cell No. 4 production. When all the various elements in putting on a theatre production come together like a finely tuned orchestra, magic is created but I must give special mention to the two men on stage - what a pleasure to see performers with genuine skills and a true display of appropriate energy, even during curtain calls: Segomotso Modise and Gaolahe Mathenyane: Wow! - Shika Budhoo
BETWEEN CUP AND LIP
Two-hander on Musho! explores dynamics between a domestic worker and her “madam”. (Review by Shika Budhoo)
After watching Between Cup and Lip, the two-hander play on the Musho Festival that explores the dynamics in the relationship between a domestic worker and her “madam” I fully felt appreciative of this year’s Musho! Festival line-up. It has been truly impressive when considering that the pieces chosen have been of a high standard, on a variety of subject matter pertaining to the modern audience and in an assortment of styles, talents, techniques and skills. So far it has truly been learning, entertaining, culturally stimulating and inspiring. Much appreciated Musho! 2009 organisers.
For me, Between Cup and Lip, was a very personal experience, as today was the day I had my first experience of my first domestic worker-employer dynamic. However, the twist in the tale is that she, Mavis, is my “other” mother, she’s worked for my mother since I was four and continues to work for her after many residential address changes and much distance to Mavis’s home.
Being single, my mother is a working mother so Mavis was the other female figure who was frequently present through my formative years and is still present. I recently moved and so Mavis has decided to work at my new flat once a week. Today was strange because we had to find a new dynamic and I think we did. My sister in jest aptly stated at the end of the night: “Now you’re the madam!” and - knowing she was joking but knowing what she meant - I realized that an important factor to the character of who I am and how I do certain things have been moulded by Mavis, and being younger than her, I can never be a madam. It is an interesting dynamic that I will cherish.
Apart from other extraordinary things it inspired, Between Cup and Lip made me aware of a relationship that has always been a part of me. This piece of true South African theatre highlighted its presence and importance.
Written by Kemble Elliot and directed by Yvette Hardie, Between Cup and Lip accurately displays the relationship between a domestic worker and employer. It shows the dynamic with truthful subtly and admirable importance. These days there are so many warnings about hiring the “right type” of domestic worker, about the questioned qualities of truthfulness, theft, arrogance and trust, that it is easy to forget that there are many, many honest, hardworking and dependable women who run the households of others and bring up other people’s children, paying whatever available attention is left to their own families and lives.
This production shows the story of a touching relationship between a domestic worker and her employer, without the usual warnings a primary factor. It features Kate (Frances Marek Slabolepszy) as the white 23 year-old newly married employer and Miriam –real name Zanele - (Ntomboxolo Mkhutshi) the black domestic worker.
Both characters go through life’s trials and joys, leaning on each other when it mattered and turning on each other in their moments of needed selfishness, in order to survive with a sense of acceptance of themselves, inside and outside the relationship. Words that I must quote were spoken by Mkhutshi (Miriam/Zanele): “I’ve decided my life is a soap opera. I ran away from home, I don’t know my father, my mother died, I have three different children from three different men, I have a child who is living with his father, one of my children I adopted, my sister is dying of a disease, and the man I am with is cheating on me.”
Mkhutshi portrayed the character of Miriam/Zanele with flair. She had grace when she was motherly, comedic fun when confusion reigned, possessed admirable strength in moments when strength was needed and had complete meltdowns that brought tears to my eyes. Apart from already being emotionally favourable to the piece given my day’s experience, Mkhutshi’s performance was so endearing and giving that skill in true representation was certainly not lacking on this stage. It was spine-tingling at moments.
Frances Marek Slabolepszy successfully portrays the younger woman finding her way in her womanhood. With a great interpretation of the characters, her performance showed all the subtle nuances of a woman loving, feeling, hurting and learning. She has a unique energy which simultaneously shows her comfort on stage. The moment in which it is explained how Miriam/Zanele believes she’ll turn white from the lips if she drinks from Kate’s tea cup, explains the phrase “between cup and lip” - i.e. the many things that can go wrong between the plan and the action. Sterling performances from two talented young ladies!
It’s an absolute pleasure to see a show well-directed, well-acted and technically adept. Of course, the marvel of this show in the direction, acting and technicals was fully enhanced as the team was given a script that can be called a truly South African script which honestly expresses the dynamics of the racial divide. The script is cleverly written, with many moments identified in real life, and many new things learnt about the skill and effort it takes to manage the lives we lead, with and without each other.
There is so much more to say about specific moments in this production, but I’ll just say this: if you are able to see this show anywhere near you in the future - manage your life to make sure you witness something that promises true South African voices, with talented performers and a journey that ensures you leave the theatre with a new thought in mind. – Shika Budhoo
After watching Between Cup and Lip, the two-hander play on the Musho Festival that explores the dynamics in the relationship between a domestic worker and her “madam” I fully felt appreciative of this year’s Musho! Festival line-up. It has been truly impressive when considering that the pieces chosen have been of a high standard, on a variety of subject matter pertaining to the modern audience and in an assortment of styles, talents, techniques and skills. So far it has truly been learning, entertaining, culturally stimulating and inspiring. Much appreciated Musho! 2009 organisers.
For me, Between Cup and Lip, was a very personal experience, as today was the day I had my first experience of my first domestic worker-employer dynamic. However, the twist in the tale is that she, Mavis, is my “other” mother, she’s worked for my mother since I was four and continues to work for her after many residential address changes and much distance to Mavis’s home.
Being single, my mother is a working mother so Mavis was the other female figure who was frequently present through my formative years and is still present. I recently moved and so Mavis has decided to work at my new flat once a week. Today was strange because we had to find a new dynamic and I think we did. My sister in jest aptly stated at the end of the night: “Now you’re the madam!” and - knowing she was joking but knowing what she meant - I realized that an important factor to the character of who I am and how I do certain things have been moulded by Mavis, and being younger than her, I can never be a madam. It is an interesting dynamic that I will cherish.
Apart from other extraordinary things it inspired, Between Cup and Lip made me aware of a relationship that has always been a part of me. This piece of true South African theatre highlighted its presence and importance.
Written by Kemble Elliot and directed by Yvette Hardie, Between Cup and Lip accurately displays the relationship between a domestic worker and employer. It shows the dynamic with truthful subtly and admirable importance. These days there are so many warnings about hiring the “right type” of domestic worker, about the questioned qualities of truthfulness, theft, arrogance and trust, that it is easy to forget that there are many, many honest, hardworking and dependable women who run the households of others and bring up other people’s children, paying whatever available attention is left to their own families and lives.
This production shows the story of a touching relationship between a domestic worker and her employer, without the usual warnings a primary factor. It features Kate (Frances Marek Slabolepszy) as the white 23 year-old newly married employer and Miriam –real name Zanele - (Ntomboxolo Mkhutshi) the black domestic worker.
Both characters go through life’s trials and joys, leaning on each other when it mattered and turning on each other in their moments of needed selfishness, in order to survive with a sense of acceptance of themselves, inside and outside the relationship. Words that I must quote were spoken by Mkhutshi (Miriam/Zanele): “I’ve decided my life is a soap opera. I ran away from home, I don’t know my father, my mother died, I have three different children from three different men, I have a child who is living with his father, one of my children I adopted, my sister is dying of a disease, and the man I am with is cheating on me.”
Mkhutshi portrayed the character of Miriam/Zanele with flair. She had grace when she was motherly, comedic fun when confusion reigned, possessed admirable strength in moments when strength was needed and had complete meltdowns that brought tears to my eyes. Apart from already being emotionally favourable to the piece given my day’s experience, Mkhutshi’s performance was so endearing and giving that skill in true representation was certainly not lacking on this stage. It was spine-tingling at moments.
Frances Marek Slabolepszy successfully portrays the younger woman finding her way in her womanhood. With a great interpretation of the characters, her performance showed all the subtle nuances of a woman loving, feeling, hurting and learning. She has a unique energy which simultaneously shows her comfort on stage. The moment in which it is explained how Miriam/Zanele believes she’ll turn white from the lips if she drinks from Kate’s tea cup, explains the phrase “between cup and lip” - i.e. the many things that can go wrong between the plan and the action. Sterling performances from two talented young ladies!
It’s an absolute pleasure to see a show well-directed, well-acted and technically adept. Of course, the marvel of this show in the direction, acting and technicals was fully enhanced as the team was given a script that can be called a truly South African script which honestly expresses the dynamics of the racial divide. The script is cleverly written, with many moments identified in real life, and many new things learnt about the skill and effort it takes to manage the lives we lead, with and without each other.
There is so much more to say about specific moments in this production, but I’ll just say this: if you are able to see this show anywhere near you in the future - manage your life to make sure you witness something that promises true South African voices, with talented performers and a journey that ensures you leave the theatre with a new thought in mind. – Shika Budhoo
FRIENDS OF MUSIC: TRIO HEMANAY
Thoroughly enjoyable evening of chamber music, presented by Friends of Music. (Review by Michael Green)
Tuesday night’s concert was a thoroughly enjoyable evening of chamber music, presented by the Friends of Music at the Durban Jewish Centre.
The Trio Hemanay are based in Johannesburg and consist of Marian Lewin (cello), Malcolm Nay (piano) and Helen Vosloo (flute). The unusual title they have given themselves is apparently a compound of parts of their names.
They are experienced and skilful performers, and the presence of the flute makes them an unusual combination. They gave an unusual programme too, and one that gave much pleasure to an enthusiastic audience.
They opened with a trio by Haydn, in F major, Hob.XV/17, one of three written by Haydn about 1790 for flute, cello and piano. Haydn was a remarkably prolific composer of chamber music, with dozens of quartets and trios, and this one was new to me. It was delightful, typically lively and cheerful, with a prominent role for the flute. Did Haydn ever write a dull piece of music? If he did, I have yet to hear it.
The players maintained their good form in the two twentieth century works that followed, both of them attractive and ingenious novelties. The quaintly named The Jet Whistle for flute and cello, by the Brazilian composer Villa-Lobos, was apparently inspired by a train journey made by the composer. It was colourful and brilliant, with a good dash of humour. Helen Vosloo and Marian Lewin gave an accomplished performance.
This was followed by Sonate en Concert, written about 50 years ago by the French composer Jean-Michel Damase. The trio’s pianist, Malcolm Nay, described this as “an absolutely delightful and charming piece”, and so it turned out to be. It is in six brief movements with Baroque titles --- Rigaudon, Sicilienne, Gigue, etcetera --- but the mood is very twentieth century and very French, reflecting the perennial Parisian interest in the passing show on and off the streets.
Finally, we had a well-known and much-admired work, Mendelssohn’s Trio in D minor, Op. 49. The copious programme notes should, I think, have explained that this was composed, in 1839, as a trio for piano, cello and violin (the form in which it is generally known) and that the violin part was later arranged for flute, probably by the composer himself. Be that as it may, the flute part and the piece as a whole were excellently played, with good ensemble and balance in Mendelssohn’s quite complex and difficult score. Lovely music, with Malcolm Nay showing many moments of virtuoso brilliance at the keyboard.
The evening’s prelude performer, funded by the National Lottery, was seven-year-old Roxanne van Oudtshoorn of Durban, a very small violinist with a big tone and a good technique for one so young. Accompanied by Dana Hadjiev, she played pieces by Vivaldi and A. Curci. We will watch her future progress with interest. - Michael Green
Tuesday night’s concert was a thoroughly enjoyable evening of chamber music, presented by the Friends of Music at the Durban Jewish Centre.
The Trio Hemanay are based in Johannesburg and consist of Marian Lewin (cello), Malcolm Nay (piano) and Helen Vosloo (flute). The unusual title they have given themselves is apparently a compound of parts of their names.
They are experienced and skilful performers, and the presence of the flute makes them an unusual combination. They gave an unusual programme too, and one that gave much pleasure to an enthusiastic audience.
They opened with a trio by Haydn, in F major, Hob.XV/17, one of three written by Haydn about 1790 for flute, cello and piano. Haydn was a remarkably prolific composer of chamber music, with dozens of quartets and trios, and this one was new to me. It was delightful, typically lively and cheerful, with a prominent role for the flute. Did Haydn ever write a dull piece of music? If he did, I have yet to hear it.
The players maintained their good form in the two twentieth century works that followed, both of them attractive and ingenious novelties. The quaintly named The Jet Whistle for flute and cello, by the Brazilian composer Villa-Lobos, was apparently inspired by a train journey made by the composer. It was colourful and brilliant, with a good dash of humour. Helen Vosloo and Marian Lewin gave an accomplished performance.
This was followed by Sonate en Concert, written about 50 years ago by the French composer Jean-Michel Damase. The trio’s pianist, Malcolm Nay, described this as “an absolutely delightful and charming piece”, and so it turned out to be. It is in six brief movements with Baroque titles --- Rigaudon, Sicilienne, Gigue, etcetera --- but the mood is very twentieth century and very French, reflecting the perennial Parisian interest in the passing show on and off the streets.
Finally, we had a well-known and much-admired work, Mendelssohn’s Trio in D minor, Op. 49. The copious programme notes should, I think, have explained that this was composed, in 1839, as a trio for piano, cello and violin (the form in which it is generally known) and that the violin part was later arranged for flute, probably by the composer himself. Be that as it may, the flute part and the piece as a whole were excellently played, with good ensemble and balance in Mendelssohn’s quite complex and difficult score. Lovely music, with Malcolm Nay showing many moments of virtuoso brilliance at the keyboard.
The evening’s prelude performer, funded by the National Lottery, was seven-year-old Roxanne van Oudtshoorn of Durban, a very small violinist with a big tone and a good technique for one so young. Accompanied by Dana Hadjiev, she played pieces by Vivaldi and A. Curci. We will watch her future progress with interest. - Michael Green
Thursday, January 22, 2009
BLONDES ON DECK
Scenic venue show reaches a new level of style and sophistication. (Review by Caroline Smart)
The first offering of the year from the scenic supper theatre venue, The Upper Deck on the Phantom Ship at uShaka Marine World features a smooth, stylish and classy production – the kind of show that deserves a good response from Durbanites.
All kudos to producer Wayne Scott and director Charon Williams Ross for creating good quality entertainment over the years since The Upper Deck moved onto the supper theatre circuit. Following their sell-out Let’s Hear it for the Boys last year, they have put together an enjoyable tribute to the “blondes” of the music industry. So, expect to hear hit songs by Marilyn Monroe, Christina Aguilera and Madonna alongside their male counterparts Sting, Bon Jovi and David Bowie as well as numbers made famous by Duffy, Faith Hill, Clare Johnstone, Ronan Keating, Kylie Minogue, Beyoncé, Olivia Newton John, Alicia Keys, Rod Stewart and Dolly Parton.
Heading the production are Lauren Laing and Jonathon Didlick, both proving that they are no longer the appealing new kids on the block with great potential but now display a maturity and discipline of performance that identifies seasoned performers. Their interaction was dynamic in many numbers.
The show features the welcome return of costume designer Fleur de Waal to her home town after having spent ten years in London. The costumes are glitzy, colourful and attractive – Lauren looks stunning! – and carry the stamp of someone who knows how to design for dancers. Actor Bradley Marshall, who appeared in Let’s Hear it for the Boys has been the stylist for Jonathan Didlick and has created a suave yet casual look which sets off this performer’s height.
Londiwe Dhlomo, Jacqui Majoor, Tami du Preez dance – and sing! – their way through Denya Maslen’s effective choreography. Along with the top-notch five-piece uShaka band headed by musical director Shem Mahabeer, backing singers Tammy Saville and Ricky Hastings deserve acknowledgement for adding to the quality of the music.
Special mention must be made of Londiwe Dhlomo who shone with her focus and energy. Definitely a performer to watch – I predict she’ll be heading her own show before long!
Attention has been given to stage dressing and the performance area for this show offers side features – a bar and a cocktail table as well as two decorative potted palms to soften the harshness of the deck railings. A glitzy rostrum with stairs lit by fairy lights and deep red velvet draping adds to the charm.
Bringing the proven expertise of Gearhouse South Africa on board to cope with lighting this difficult venue was a good move and they have skillfully concealed many of the “dark” areas with clever lighting effects.
My only adverse comment is that the final number La Vida Loca doesn’t end in a flourish – the kind that should have the audience on their feet clamouring for more. This production definitely deserves a number of encores!
Blondes on Deck runs from January 14 to March 14 with shows from Wednesdays to Saturdays at 20h00 (dinner starts at 19h00) Tickets R150 include a good buffet menu. Bookings can be made at 031 328 8068 or Computicket. – Caroline Smart
The first offering of the year from the scenic supper theatre venue, The Upper Deck on the Phantom Ship at uShaka Marine World features a smooth, stylish and classy production – the kind of show that deserves a good response from Durbanites.
All kudos to producer Wayne Scott and director Charon Williams Ross for creating good quality entertainment over the years since The Upper Deck moved onto the supper theatre circuit. Following their sell-out Let’s Hear it for the Boys last year, they have put together an enjoyable tribute to the “blondes” of the music industry. So, expect to hear hit songs by Marilyn Monroe, Christina Aguilera and Madonna alongside their male counterparts Sting, Bon Jovi and David Bowie as well as numbers made famous by Duffy, Faith Hill, Clare Johnstone, Ronan Keating, Kylie Minogue, Beyoncé, Olivia Newton John, Alicia Keys, Rod Stewart and Dolly Parton.
Heading the production are Lauren Laing and Jonathon Didlick, both proving that they are no longer the appealing new kids on the block with great potential but now display a maturity and discipline of performance that identifies seasoned performers. Their interaction was dynamic in many numbers.
The show features the welcome return of costume designer Fleur de Waal to her home town after having spent ten years in London. The costumes are glitzy, colourful and attractive – Lauren looks stunning! – and carry the stamp of someone who knows how to design for dancers. Actor Bradley Marshall, who appeared in Let’s Hear it for the Boys has been the stylist for Jonathan Didlick and has created a suave yet casual look which sets off this performer’s height.
Londiwe Dhlomo, Jacqui Majoor, Tami du Preez dance – and sing! – their way through Denya Maslen’s effective choreography. Along with the top-notch five-piece uShaka band headed by musical director Shem Mahabeer, backing singers Tammy Saville and Ricky Hastings deserve acknowledgement for adding to the quality of the music.
Special mention must be made of Londiwe Dhlomo who shone with her focus and energy. Definitely a performer to watch – I predict she’ll be heading her own show before long!
Attention has been given to stage dressing and the performance area for this show offers side features – a bar and a cocktail table as well as two decorative potted palms to soften the harshness of the deck railings. A glitzy rostrum with stairs lit by fairy lights and deep red velvet draping adds to the charm.
Bringing the proven expertise of Gearhouse South Africa on board to cope with lighting this difficult venue was a good move and they have skillfully concealed many of the “dark” areas with clever lighting effects.
My only adverse comment is that the final number La Vida Loca doesn’t end in a flourish – the kind that should have the audience on their feet clamouring for more. This production definitely deserves a number of encores!
Blondes on Deck runs from January 14 to March 14 with shows from Wednesdays to Saturdays at 20h00 (dinner starts at 19h00) Tickets R150 include a good buffet menu. Bookings can be made at 031 328 8068 or Computicket. – Caroline Smart
Tuesday, January 20, 2009
GODS, FATE AND A LIBRARIAN
Cape Town production ends Musho festival on a high note. (Review by Maurice Kort)
The Musho International Festival ended on a high note with a nearly full house of a very appreciative audience for the production from Cape Town, directed by Sam Williams and performed by the talented and vivacious Haidee Crowe and Erica Glyn-Jones. With good use of two folding aluminium stepladders in all manner of configurations and several props, as well as imaginative use of their flowing red scarves they enacted a fast paced fun-inspired piece taking a look at three parallel universes, the gods, fate and humanity.
With the opening voice-over in the darkened theatre of the clichéd Help Desk patter being parodied as "Please wait, your prayers will be answered; your prayers are important to us .....", one can sense the fun entertainment in store. There are then novel takes on how the universe came into being, first via a flash of light and then by means of a big bang.
The action and dialogue are fast and furious and it is not an easy production to follow. Suffice it to say that the two actors portray many roles switching at great speed from one to the other. First and foremost are their portrayals as the Fates. Their effect on us mere mortals is exemplified by their knitting, a dropped stitch having disastrous consequences. And so they exert their influences on the religions, particularly the gods Pangu and Alfasu, as well as - wait for it, the Banana - and the politics of the world, using the African continent and the country of Lindiwe as their starting base. Mugabe is very recognisable.
By the simple expediency of throwing the scarf over her head, which is most effective, The Librarian figures very prominently in the narrative. Thus the tale of Past, Present and Future unfolds.
The performances of Gods, Fate and a Librarian were at the Catalina Theatre on January 17 at 20h00 and January 18 at 18h00
After the final performance of the festival, there was a brief interval while the last of the voting slips by the audience members were counted for the audience award for the most popular production. The audience then re-entered the theatre with T-Bone Hlahane acting as the Master of Ceremonies and a wonderfully humorous song about a "Special Friend" by Kobus van Heerden, unfortunately only the one as the votes had been counted very quickly.
Several people were acknowledged - namely the PANSA members from the other provinces, the Chairman of the KZN branch, Themi Venturas, and his hard-working committee, particularly Emma Durden, Illa Thompson and Daisy Spencer who had been at the forefront position of front-of-house during the festival. The lighting and sound operators at the Bat Hall Theatre and the Catalina Theatre housing the festival - they had done a great job - and the various sponsors were thanked. Also acknowledged were the Live Wires who had spent hours late into the night writing reviews of the shows so that they could be posted first thing the following mornings on the Musho Festival website.
The highlight of the finale, and what everyone had awaited with eager anticipation – particularly, I am sure, the actors and directors of the various plays - were the awards.
First was the Suliman Award for the Suliman family choice of the best production. Runner-up was Womanhood for which Emma Durden accepted the award for Mary Steward who had already gone back to Port Elizabeth. There was a tie for the best production, which went to Between Cup and Lip and Cell No. 4.
The audience vote for their most enjoyable production was again a tie, Womanhood (accepted again by Mary Steward) and Rain (accepted by the author/actor Mpume Mthombene and director Gisele Turner). All four were well-deserved winners. So ended a very enjoyable and, by all accounts, successful festival. – Maurice Kort
The Musho International Festival ended on a high note with a nearly full house of a very appreciative audience for the production from Cape Town, directed by Sam Williams and performed by the talented and vivacious Haidee Crowe and Erica Glyn-Jones. With good use of two folding aluminium stepladders in all manner of configurations and several props, as well as imaginative use of their flowing red scarves they enacted a fast paced fun-inspired piece taking a look at three parallel universes, the gods, fate and humanity.
With the opening voice-over in the darkened theatre of the clichéd Help Desk patter being parodied as "Please wait, your prayers will be answered; your prayers are important to us .....", one can sense the fun entertainment in store. There are then novel takes on how the universe came into being, first via a flash of light and then by means of a big bang.
The action and dialogue are fast and furious and it is not an easy production to follow. Suffice it to say that the two actors portray many roles switching at great speed from one to the other. First and foremost are their portrayals as the Fates. Their effect on us mere mortals is exemplified by their knitting, a dropped stitch having disastrous consequences. And so they exert their influences on the religions, particularly the gods Pangu and Alfasu, as well as - wait for it, the Banana - and the politics of the world, using the African continent and the country of Lindiwe as their starting base. Mugabe is very recognisable.
By the simple expediency of throwing the scarf over her head, which is most effective, The Librarian figures very prominently in the narrative. Thus the tale of Past, Present and Future unfolds.
The performances of Gods, Fate and a Librarian were at the Catalina Theatre on January 17 at 20h00 and January 18 at 18h00
After the final performance of the festival, there was a brief interval while the last of the voting slips by the audience members were counted for the audience award for the most popular production. The audience then re-entered the theatre with T-Bone Hlahane acting as the Master of Ceremonies and a wonderfully humorous song about a "Special Friend" by Kobus van Heerden, unfortunately only the one as the votes had been counted very quickly.
Several people were acknowledged - namely the PANSA members from the other provinces, the Chairman of the KZN branch, Themi Venturas, and his hard-working committee, particularly Emma Durden, Illa Thompson and Daisy Spencer who had been at the forefront position of front-of-house during the festival. The lighting and sound operators at the Bat Hall Theatre and the Catalina Theatre housing the festival - they had done a great job - and the various sponsors were thanked. Also acknowledged were the Live Wires who had spent hours late into the night writing reviews of the shows so that they could be posted first thing the following mornings on the Musho Festival website.
The highlight of the finale, and what everyone had awaited with eager anticipation – particularly, I am sure, the actors and directors of the various plays - were the awards.
First was the Suliman Award for the Suliman family choice of the best production. Runner-up was Womanhood for which Emma Durden accepted the award for Mary Steward who had already gone back to Port Elizabeth. There was a tie for the best production, which went to Between Cup and Lip and Cell No. 4.
The audience vote for their most enjoyable production was again a tie, Womanhood (accepted again by Mary Steward) and Rain (accepted by the author/actor Mpume Mthombene and director Gisele Turner). All four were well-deserved winners. So ended a very enjoyable and, by all accounts, successful festival. – Maurice Kort
Sunday, January 18, 2009
HIGHLIGHTS & FOOTLIGHTS
Respected photographer Bob Martin produces splendid publication filled with superb images of actors, dancers and musicians. (Review by Caroline Smart)
Photographer Bob Martin calls himself a theatre-mad aficionado. He has led a fascinating life, which has seen him working as a naval cadet, a ballet dancer, an actor, a tourism photographer and working as a 'scene of crime' photographer as a reservist with the Kenya Police during the Mau Mau emergency, to name a few of his activities. However, it is his photographic skill that prompted him to produce the splendid Highlights & Footlights published by Double Storey, the cover of which has a delightful picture of Tobie Cronje and Michael McCabe as the two Ugly Sisters in PACT’s 1978 production of Cinderella.
The move to publish was thanks in no small part to his eldest daughter Lyn (formerly married to Ron Smerczak) who nagged him to make better use of all his precious favourite photographs stored in an old cardboard box in the garage of his home in Villiersdorp where he is now retired. The images – “little bits of my soul” he called them - were captured during his time as a freelance photographer and, later, as a fulltime in-house theatre photographer for the then Performing Arts Council of the Transvaal (PACT). He notes that it was in the theatre – “surrounded by the allure and absolute genius of dance, drama and music that I found my true calling.”
Flipping through this high-quality publication, one is left in no doubt that his sentiments are spot-on – I mean, this is someone who has worked with the legendary Karsh of Ottawa. The black and white photographs are superb, including portraits of some of South Africa’s finest artistic talent where he sensitively captures both essence and mood.
While colour photographs can offer the richness of many hues, black and white photography is a powerful medium that can seize a moment with breathtaking dramatic clarity. Bob Martin notes that “theatre photography requires specialist demands and a highly interpersonal modus operandi.” He also bemoans the fact that the theatre is an “impossibly dark” place in which to take pictures. However, he learned by trial and error - no “schools of photography” being available at the time - and conquered the challenges to great effect, as the book proves.
Barry Ronge’s frontispiece states, Highlights & Footlights is a "record of the immense wealth of artistic activity in South Africa”. It features photographs from the early 1960’s across the subsequent 40 or so years. He goes on to acknowledge that Bob Martin “allows us a rare glimpse into a bygone era of glamour, creativity and inspiration.”
This is so true. In KwaZulu-Natal, the performing arts scene is still battling to climb out of the chasm caused when the performing arts councils were forced to dissolve their in-house production companies. A recent event in KZN where colleagues and friends of the late John Moss gathered for the opening night of KickstArt’s Cinderella reminded me of the extensive industry once created by NAPAC/Playhouse Company as well as the high professional standard of the plays and musicals produced.
However, back to Highlights & Footlights … In her foreword, actress Sandra Prinsloo (and what a stunning pic of her!) pays tribute to Bob Martin’s humour and dedication to his craft. She also acknowledges his capacity, from his own experience, to understand the psyche of the performing artist and to be able to cajole a tired and oft-times dispirited cast to give him the photograph he was after.
International figures feature alongside our South African personalities. My favourite images are those of Clair Stopford, Gaynor Young, Clark (Clakkie) McCay, Juliet Prowse and Jana Cilliers. The most amusing – and at the same time poignant – story is that of Eartha Kitt who suffered indignity at the hands of the then apartheid government but rose above it all with sheer guts and humour. He has a beautiful image of Margot Fonteyn and a very arresting one of conductor Brian Priestman.
On settling down to take more time to go through the book, the reader is taken on a fascinating journey as Bob Martin gives his personal anecdotes or experiences of photographing his subject. These are written with refreshing candour and much humour but the text could have done with some editing as there are repetitions, which can cause confusion. I would also have liked to have seen the inclusion of images more representative of a wider artistic community.
That said, this is a fascinating and interesting publication – both from an artistic and an information viewpoint. Anyone remotely interested in South African theatre, music, dance or film – and their individual histories - should have this book on their shelves.
Highlights and Footlights is published in hard cover with a dust jacket. Price R295 - ISBN: 978 070 217 3837– Caroline Smart
Photographer Bob Martin calls himself a theatre-mad aficionado. He has led a fascinating life, which has seen him working as a naval cadet, a ballet dancer, an actor, a tourism photographer and working as a 'scene of crime' photographer as a reservist with the Kenya Police during the Mau Mau emergency, to name a few of his activities. However, it is his photographic skill that prompted him to produce the splendid Highlights & Footlights published by Double Storey, the cover of which has a delightful picture of Tobie Cronje and Michael McCabe as the two Ugly Sisters in PACT’s 1978 production of Cinderella.
The move to publish was thanks in no small part to his eldest daughter Lyn (formerly married to Ron Smerczak) who nagged him to make better use of all his precious favourite photographs stored in an old cardboard box in the garage of his home in Villiersdorp where he is now retired. The images – “little bits of my soul” he called them - were captured during his time as a freelance photographer and, later, as a fulltime in-house theatre photographer for the then Performing Arts Council of the Transvaal (PACT). He notes that it was in the theatre – “surrounded by the allure and absolute genius of dance, drama and music that I found my true calling.”
Flipping through this high-quality publication, one is left in no doubt that his sentiments are spot-on – I mean, this is someone who has worked with the legendary Karsh of Ottawa. The black and white photographs are superb, including portraits of some of South Africa’s finest artistic talent where he sensitively captures both essence and mood.
While colour photographs can offer the richness of many hues, black and white photography is a powerful medium that can seize a moment with breathtaking dramatic clarity. Bob Martin notes that “theatre photography requires specialist demands and a highly interpersonal modus operandi.” He also bemoans the fact that the theatre is an “impossibly dark” place in which to take pictures. However, he learned by trial and error - no “schools of photography” being available at the time - and conquered the challenges to great effect, as the book proves.
Barry Ronge’s frontispiece states, Highlights & Footlights is a "record of the immense wealth of artistic activity in South Africa”. It features photographs from the early 1960’s across the subsequent 40 or so years. He goes on to acknowledge that Bob Martin “allows us a rare glimpse into a bygone era of glamour, creativity and inspiration.”
This is so true. In KwaZulu-Natal, the performing arts scene is still battling to climb out of the chasm caused when the performing arts councils were forced to dissolve their in-house production companies. A recent event in KZN where colleagues and friends of the late John Moss gathered for the opening night of KickstArt’s Cinderella reminded me of the extensive industry once created by NAPAC/Playhouse Company as well as the high professional standard of the plays and musicals produced.
However, back to Highlights & Footlights … In her foreword, actress Sandra Prinsloo (and what a stunning pic of her!) pays tribute to Bob Martin’s humour and dedication to his craft. She also acknowledges his capacity, from his own experience, to understand the psyche of the performing artist and to be able to cajole a tired and oft-times dispirited cast to give him the photograph he was after.
International figures feature alongside our South African personalities. My favourite images are those of Clair Stopford, Gaynor Young, Clark (Clakkie) McCay, Juliet Prowse and Jana Cilliers. The most amusing – and at the same time poignant – story is that of Eartha Kitt who suffered indignity at the hands of the then apartheid government but rose above it all with sheer guts and humour. He has a beautiful image of Margot Fonteyn and a very arresting one of conductor Brian Priestman.
On settling down to take more time to go through the book, the reader is taken on a fascinating journey as Bob Martin gives his personal anecdotes or experiences of photographing his subject. These are written with refreshing candour and much humour but the text could have done with some editing as there are repetitions, which can cause confusion. I would also have liked to have seen the inclusion of images more representative of a wider artistic community.
That said, this is a fascinating and interesting publication – both from an artistic and an information viewpoint. Anyone remotely interested in South African theatre, music, dance or film – and their individual histories - should have this book on their shelves.
Highlights and Footlights is published in hard cover with a dust jacket. Price R295 - ISBN: 978 070 217 3837– Caroline Smart
BIOGRAPHIES OF A BLUE MONKEY
Well-performed and directed light entertainment at Musho Festival. (Review by Maurice Kort)
Written and directed by Jean van Elden, Biographies Of A Blue Monkey is featured in this year’s Musho Festival.
June Richards (Janna Ramos Violante) is an artist who has been commissioned to produce a painting of a monkey, although her preferred medium is sculpture. But a customer is a customer. After finding something for her breakfast, not an easy task in the artistic mess of her home, and changing from her dressing gown into her working clothes, she gets down to the painting.
This is not easy as she is procrastination personified as she reminisces of her early painting efforts and experiences at five years old and her views on this and that, including the television programme Fear Factor, her father, babies… Everything keeps distracting her from her task at hand. This results in a very amusing production.
With the working telephone being on stage, and often used, the cues were all spot on, as were the musical interludes. The result was well-performed and directed light entertainment.
The two performances of Biographies of a Blue Monkey are at the Bat Hall Theatre on January 17 at 20h00 and January 18 at 14h00
Written and directed by Jean van Elden, Biographies Of A Blue Monkey is featured in this year’s Musho Festival.
June Richards (Janna Ramos Violante) is an artist who has been commissioned to produce a painting of a monkey, although her preferred medium is sculpture. But a customer is a customer. After finding something for her breakfast, not an easy task in the artistic mess of her home, and changing from her dressing gown into her working clothes, she gets down to the painting.
This is not easy as she is procrastination personified as she reminisces of her early painting efforts and experiences at five years old and her views on this and that, including the television programme Fear Factor, her father, babies… Everything keeps distracting her from her task at hand. This results in a very amusing production.
With the working telephone being on stage, and often used, the cues were all spot on, as were the musical interludes. The result was well-performed and directed light entertainment.
The two performances of Biographies of a Blue Monkey are at the Bat Hall Theatre on January 17 at 20h00 and January 18 at 14h00
THE SEPIA SEAMSTRESS
Enjoyable Musho Festival production offers glimpse into clashes between traditional and modern upbringing and the struggle for individual identities. (Review by Maurice Kort)
Written by Mayuri Naidu, The Sepia Seamstress appeared on this year’s Musho Festival.
Kyla (Mayuri Naidu) is a modern executive in her mid thirties returning to Durban from a stint in London. She is fetched by her Aunt Shika (Kajal Maharaj). From their dress, the former in a low cut black pants suit and the latter in a sari, and their dialogue and mannerisms, Shika is very much of the old school and ways and steeped in the Indian culture and traditions whereas Kyla has very much discarded those of her parents. Indeed she has rejected marriage, especially as her parents are divorced, and has been having an affair.
Leela (Kajal Maharaj) is over the moon, in love with the man she has only met once briefly and is shortly to marry in the marriage arranged by their parents, and what a catch he is, as he is an ear-nose-and-throat specialist. She is completely at home with this state of affairs, being in accord with these cultural traditions, although she has some trepidation at having to break the news of her pending marriage to the very modern Kyla.
Clever rapid arrangement of the sparse stage furniture serves as Shika's car that fetches Kyla from the airport, Kyla’s couch and bed and Leela's room where she thinks of her forthcoming wedding and groom and speaks of these to her father (played by Mayuri Naidu). The props are then rearranged to serve as Kyla's home where the two friends, Kyla and Leela, meet. Their friendship is tested in the extreme.
The two perform their various roles convincingly under the direction of Clinton Marius resulting in an enjoyable evening's entertainment and a glimpse into the clashes between traditional and modern upbringing and the struggle for individual identities.
The two performances of The Sepia Seamstress at the Catalina Theatre, Wilson's Wharf were on January 16 at 20h00 and January 17 at 18h00. – Maurice Kort
Written by Mayuri Naidu, The Sepia Seamstress appeared on this year’s Musho Festival.
Kyla (Mayuri Naidu) is a modern executive in her mid thirties returning to Durban from a stint in London. She is fetched by her Aunt Shika (Kajal Maharaj). From their dress, the former in a low cut black pants suit and the latter in a sari, and their dialogue and mannerisms, Shika is very much of the old school and ways and steeped in the Indian culture and traditions whereas Kyla has very much discarded those of her parents. Indeed she has rejected marriage, especially as her parents are divorced, and has been having an affair.
Leela (Kajal Maharaj) is over the moon, in love with the man she has only met once briefly and is shortly to marry in the marriage arranged by their parents, and what a catch he is, as he is an ear-nose-and-throat specialist. She is completely at home with this state of affairs, being in accord with these cultural traditions, although she has some trepidation at having to break the news of her pending marriage to the very modern Kyla.
Clever rapid arrangement of the sparse stage furniture serves as Shika's car that fetches Kyla from the airport, Kyla’s couch and bed and Leela's room where she thinks of her forthcoming wedding and groom and speaks of these to her father (played by Mayuri Naidu). The props are then rearranged to serve as Kyla's home where the two friends, Kyla and Leela, meet. Their friendship is tested in the extreme.
The two perform their various roles convincingly under the direction of Clinton Marius resulting in an enjoyable evening's entertainment and a glimpse into the clashes between traditional and modern upbringing and the struggle for individual identities.
The two performances of The Sepia Seamstress at the Catalina Theatre, Wilson's Wharf were on January 16 at 20h00 and January 17 at 18h00. – Maurice Kort
Saturday, January 17, 2009
CELEBRATION OF AFRICAN ART
Fresh Paint Gallery presents never-before seen works from diverse array of artists from across Africa.
On at the Fresh Paint Gallery in Davenport Rd, Glenwood, is a Celebration of African Art – a collection of never before seen works from a diverse array of artists from across Africa.
Closest to home, local artist “DKZ” Simon, originally from the Congo and a protégé of Themba Siwela, will have his first public viewing, exhibiting his charming, naive visions of Zulu cultural life.
Zambian brothers Jeff and Jim Lungu make a welcome return with an entirely new collection of their delightful, stylised paintings which cross-pollinate pointillism, expressionism and much more alongside the similar but slightly tougher style of their compatriot Lawrence Mactribuoy. Also from Zambia are the beautifully observed and executed village scenes of Poto Kabwe.
From the Cameroon are two internationally recognised artists, Salifou Lindou and Blaise Bang, who have exhibited across Europe and Africa, including this year’s Joburg Art Fair. Of all the artists exhibiting at Fresh Paint, theirs is the least literal or figurative, with Bang working mainly in and on metal in an iconographic fashion and Lindou using a variety of interesting media in his lyrical yet challenging paintings.
Representing the DRC is Bisimwa Muheme whose vibrant palette knife paintings make wonderful use of light, colour and contrast to create mood and substance. The huge dusk scene by fellow countryman N’Lahu- Muntu is all about mood and his smaller work speaks of another reality altogether.
Fresh Paint can be found at 60 Davenport Road in Glenwood, Durban. Gallery hours are 09h00 to 16h00 (Saturday 09h00 to 13h00) or after hours by appointment. For more information, contact the Gallery on 031 201 8367.
On at the Fresh Paint Gallery in Davenport Rd, Glenwood, is a Celebration of African Art – a collection of never before seen works from a diverse array of artists from across Africa.
Closest to home, local artist “DKZ” Simon, originally from the Congo and a protégé of Themba Siwela, will have his first public viewing, exhibiting his charming, naive visions of Zulu cultural life.
Zambian brothers Jeff and Jim Lungu make a welcome return with an entirely new collection of their delightful, stylised paintings which cross-pollinate pointillism, expressionism and much more alongside the similar but slightly tougher style of their compatriot Lawrence Mactribuoy. Also from Zambia are the beautifully observed and executed village scenes of Poto Kabwe.
From the Cameroon are two internationally recognised artists, Salifou Lindou and Blaise Bang, who have exhibited across Europe and Africa, including this year’s Joburg Art Fair. Of all the artists exhibiting at Fresh Paint, theirs is the least literal or figurative, with Bang working mainly in and on metal in an iconographic fashion and Lindou using a variety of interesting media in his lyrical yet challenging paintings.
Representing the DRC is Bisimwa Muheme whose vibrant palette knife paintings make wonderful use of light, colour and contrast to create mood and substance. The huge dusk scene by fellow countryman N’Lahu- Muntu is all about mood and his smaller work speaks of another reality altogether.
Fresh Paint can be found at 60 Davenport Road in Glenwood, Durban. Gallery hours are 09h00 to 16h00 (Saturday 09h00 to 13h00) or after hours by appointment. For more information, contact the Gallery on 031 201 8367.
CELEBRATION OF AFRICAN ART
Fresh Paint Gallery presents never-before seen works from diverse array of artists from across Africa.
On at the Fresh Paint Gallery in Davenport Rd, Glenwood, is a Celebration of African Art – a collection of never before seen works from a diverse array of artists from across Africa.
Closest to home, local artist “DKZ” Simon, originally from the Congo and a protégé of Themba Siwela, will have his first public viewing, exhibiting his charming, naive visions of Zulu cultural life.
Zambian brothers Jeff and Jim Lungu make a welcome return with an entirely new collection of their delightful, stylised paintings which cross-pollinate pointillism, expressionism and much more alongside the similar but slightly tougher style of their compatriot Lawrence Mactribuoy. Also from Zambia are the beautifully observed and executed village scenes of Poto Kabwe.
From the Cameroon are two internationally recognised artists, Salifou Lindou and Blaise Bang, who have exhibited across Europe and Africa, including this year’s Joburg Art Fair. Of all the artists exhibiting at Fresh Paint, theirs is the least literal or figurative, with Bang working mainly in and on metal in an iconographic fashion and Lindou using a variety of interesting media in his lyrical yet challenging paintings.
Representing the DRC is Bisimwa Muheme whose vibrant palette knife paintings make wonderful use of light, colour and contrast to create mood and substance. The huge dusk scene by fellow countryman N’Lahu- Muntu is all about mood and his smaller work speaks of another reality altogether.
Fresh Paint can be found at 60 Davenport Road in Glenwood, Durban. Gallery hours are 09h00 to 16h00 (Saturday 09h00 to 13h00) or after hours by appointment. For more information, contact the Gallery on 031 201 8367.
On at the Fresh Paint Gallery in Davenport Rd, Glenwood, is a Celebration of African Art – a collection of never before seen works from a diverse array of artists from across Africa.
Closest to home, local artist “DKZ” Simon, originally from the Congo and a protégé of Themba Siwela, will have his first public viewing, exhibiting his charming, naive visions of Zulu cultural life.
Zambian brothers Jeff and Jim Lungu make a welcome return with an entirely new collection of their delightful, stylised paintings which cross-pollinate pointillism, expressionism and much more alongside the similar but slightly tougher style of their compatriot Lawrence Mactribuoy. Also from Zambia are the beautifully observed and executed village scenes of Poto Kabwe.
From the Cameroon are two internationally recognised artists, Salifou Lindou and Blaise Bang, who have exhibited across Europe and Africa, including this year’s Joburg Art Fair. Of all the artists exhibiting at Fresh Paint, theirs is the least literal or figurative, with Bang working mainly in and on metal in an iconographic fashion and Lindou using a variety of interesting media in his lyrical yet challenging paintings.
Representing the DRC is Bisimwa Muheme whose vibrant palette knife paintings make wonderful use of light, colour and contrast to create mood and substance. The huge dusk scene by fellow countryman N’Lahu- Muntu is all about mood and his smaller work speaks of another reality altogether.
Fresh Paint can be found at 60 Davenport Road in Glenwood, Durban. Gallery hours are 09h00 to 16h00 (Saturday 09h00 to 13h00) or after hours by appointment. For more information, contact the Gallery on 031 201 8367.
MEGAN ANDERSON AT ARTISAN
Pic: “Baggage” – oil on canvas by Megan Anderson
South African-born international artist, Megan Anderson will be showing her locally-inspired paintings and drawings at Artisan Contemporary Gallery from 6pm on January 21 through to 21 February.
Working primarily in oils on canvas and from small to life-size formats, Anderson says she was inspired by the variety of “things” that women carry on (and in) their heads and by the idea of “being locked in and barred out”.
“My family here reacted very negatively to the nudity in these recent paintings. This led me on to express memories of being constantly monitored as a child and as an adolescent. Somehow this censorship tied in with the ideas of carrying baggage and being barred from expressing myself previously”, she said.
Using female forms as mannequins on which to clothe her ideas, Anderson’s paintings exploit the opacity and translucency inherit in the many different colours and layers of oil paint.
Meg is a painter working from studio space at The University of KZN. She usually lives in North Yorkshire, but is currently spending time in Pietermaritzburg with her family. “My palette has been inspired by the strong natural colour here which has been a joy”, she says.
She has 25 years experience in Design, ranging from choreography, textile design and printing, fashion design, and interior design. Before returning to complete her studies in painting, she was employed as a fulltime interior designer for 15 years. She ran her own businesses in Scotland (printed textiles and fashion), and in Australia (interior design). Throughout this period she maintained her interest in fine art.
Before settling in Australia in 1986, Meg lived in South Africa, the United States of America, England, Scotland and Germany.
South African-born international artist, Megan Anderson will be showing her locally-inspired paintings and drawings at Artisan Contemporary Gallery from 6pm on January 21 through to 21 February.
Working primarily in oils on canvas and from small to life-size formats, Anderson says she was inspired by the variety of “things” that women carry on (and in) their heads and by the idea of “being locked in and barred out”.
“My family here reacted very negatively to the nudity in these recent paintings. This led me on to express memories of being constantly monitored as a child and as an adolescent. Somehow this censorship tied in with the ideas of carrying baggage and being barred from expressing myself previously”, she said.
Using female forms as mannequins on which to clothe her ideas, Anderson’s paintings exploit the opacity and translucency inherit in the many different colours and layers of oil paint.
Meg is a painter working from studio space at The University of KZN. She usually lives in North Yorkshire, but is currently spending time in Pietermaritzburg with her family. “My palette has been inspired by the strong natural colour here which has been a joy”, she says.
She has 25 years experience in Design, ranging from choreography, textile design and printing, fashion design, and interior design. Before returning to complete her studies in painting, she was employed as a fulltime interior designer for 15 years. She ran her own businesses in Scotland (printed textiles and fashion), and in Australia (interior design). Throughout this period she maintained her interest in fine art.
Before settling in Australia in 1986, Meg lived in South Africa, the United States of America, England, Scotland and Germany.
Artisan is at 344 Florida Road, Durban, and the exhibition will be opened by Vulindlela Nyoni of the Centre for Creative Arts at the University of KZN (Pietermaritzburg). More details on 031 312 4364.
DOCKYARD SHOWS FOR 2009
Dockyard Theatre has programme in place for 2009
Running from March to May, It Happened in the 1980’s is about an aging rocker who was a big recording success in the 1980’s when he wore Big Hair and make up tries to re-create the image and look that brought him fame during the height of his youth.
He assembles a bunch of likely lads (and ladies), dons his 1980’s war paint, and recreates his ideal era of music.
The show features a string of 1980’s classic hits by groups like The Thompson Twins, Hall & Oates, Huey Lewis & the News, Men at Work, Adam and the Ants, Boy George and Culture Club, Tears for Fears, Nick Kershaw, The Communards and loads more. So if you grooved to these sounds and bopped along to the synthetic pop sounds of the 1980’s, this show is a must for you.
In April 2006, The Dockyard ran The Hall of Fame series which featured tributes to some of the biggest music icons of the 2oth Century. As each tribute show only ran for 10 performances each, many patrons missed out and did not see some of the shows. The Dockyard has decided to bring back the best of these shows and run them for longer, in an overall season that runs from May to August
The Dockyard Hall of Fame series kicks off with a tribute to Sir Elton John featuring the talents of recent So you think you can sing 2008 winner Zach Hill. This will run from early May till mid June. From mid June until the end of July, Dockyard will see the staging of the Tribute to Sir Paul McCartney. From early August till end of September the final of the Hall of Fame series will run with a tribute to George Michael.
From late September to mid October the Dockyard takes audiences in a VW Beetle through some of the best musical “Jols” of all time in Soundtrack of the 70’s. The 1960’s were over, the age of protest past, the war in Vietnam ended in 1975, kitchens were orange and lounges were chocolate brown. We listened to Ozzy Osbourne, Santana, The Bay City Rollers, and Leo Sayer. We dined at the Old Roma and paid only a “Fist Full of Dollars” to see The Good the Bad and the Ugly. We also saw TV for the first time in South Africa.
Rounding off the year and running from mid October till early January will be Let’s Get This Party Started. In the usual tradition of the Dockyard Supper Theatre, the mood will be a party one. End your year with a bang with hits by some of the best-loved performers from the past and present. The emphasis is on really letting your hair down with Beyoncè, Black Eyed Peas, Phil Collins, Pussy Cat Dolls, John Mayer, Michael Jackson, and lots more.
For more details or bookings, call the Dockyard on 031 201 9147.
Running from March to May, It Happened in the 1980’s is about an aging rocker who was a big recording success in the 1980’s when he wore Big Hair and make up tries to re-create the image and look that brought him fame during the height of his youth.
He assembles a bunch of likely lads (and ladies), dons his 1980’s war paint, and recreates his ideal era of music.
The show features a string of 1980’s classic hits by groups like The Thompson Twins, Hall & Oates, Huey Lewis & the News, Men at Work, Adam and the Ants, Boy George and Culture Club, Tears for Fears, Nick Kershaw, The Communards and loads more. So if you grooved to these sounds and bopped along to the synthetic pop sounds of the 1980’s, this show is a must for you.
In April 2006, The Dockyard ran The Hall of Fame series which featured tributes to some of the biggest music icons of the 2oth Century. As each tribute show only ran for 10 performances each, many patrons missed out and did not see some of the shows. The Dockyard has decided to bring back the best of these shows and run them for longer, in an overall season that runs from May to August
The Dockyard Hall of Fame series kicks off with a tribute to Sir Elton John featuring the talents of recent So you think you can sing 2008 winner Zach Hill. This will run from early May till mid June. From mid June until the end of July, Dockyard will see the staging of the Tribute to Sir Paul McCartney. From early August till end of September the final of the Hall of Fame series will run with a tribute to George Michael.
From late September to mid October the Dockyard takes audiences in a VW Beetle through some of the best musical “Jols” of all time in Soundtrack of the 70’s. The 1960’s were over, the age of protest past, the war in Vietnam ended in 1975, kitchens were orange and lounges were chocolate brown. We listened to Ozzy Osbourne, Santana, The Bay City Rollers, and Leo Sayer. We dined at the Old Roma and paid only a “Fist Full of Dollars” to see The Good the Bad and the Ugly. We also saw TV for the first time in South Africa.
Rounding off the year and running from mid October till early January will be Let’s Get This Party Started. In the usual tradition of the Dockyard Supper Theatre, the mood will be a party one. End your year with a bang with hits by some of the best-loved performers from the past and present. The emphasis is on really letting your hair down with Beyoncè, Black Eyed Peas, Phil Collins, Pussy Cat Dolls, John Mayer, Michael Jackson, and lots more.
For more details or bookings, call the Dockyard on 031 201 9147.
ABBA – THE LEGEND CONTINUES
Pic: Kieran O’ Brien and Lee Mc Kibbon
Dockyard Supper Theatre responds to public demand to bring back popular show.
The popularity of the Swedish group ABBA is probably rivalled only by the Beatles. Since they burst onto the scene in 1974, after winning the Eurovision song contest with their hit Waterloo, they had a stream of hits across a ten-year time span until they finally disbanded in the early 1980’s.
Their music has continued to live on in movies like Priscilla – Queen of the Desert and Muriel’s Wedding, (strangely both Australian films) and more recently Mama Mia, the hit musical using the songs of ABBA.
The Dockyard staged a tribute ABBA as far back as April 2004, whilst still at the Point Waterfront. It has been the most requested show, to bring back, that we have staged to date.
Under the musical direction of veteran muso Bruce Boome, the ABBA hits come to life with unbelievable accuracy. As with the previous production, close your eyes and it’s the real thing. Reproducing the original sounds of music legends has always been the Dockyard’s hallmark.
The show takes the form of a nostalgic trip down memory lane guided by ABBA stalwarts, Benny Anderssen and Bjorn Ulvaeus, played by none other than local “ballies” Stuart Mey and Bruce Boome. The songs are performed by the award winning Dockyard Show Band featuring newcomers Kerry –Lee Mc Kibbon who starred in her debut in Let’s get this party started and yet another Dockyard discovery, Kieran O’ Brien.
The show is scheduled to run until the end of February. Tickets R100 Wednesday to Saturday (R70 on Sundays and Tuesdays). These prices are for the show only and do not include a meal.
The Dockyard launches a brand new menu with the ABBA show which will incorporate all the usual fare such as steaks, seafood, poultry as well as vegetarian options, but will now include smaller, less expensive menu items, such as burgers and baskets, for the not so hungry and various specials such as T Bone steaks and fresh line fish from time to time.
For more details or bookings, call the Dockyard on 031 201 9147.
Dockyard Supper Theatre responds to public demand to bring back popular show.
The popularity of the Swedish group ABBA is probably rivalled only by the Beatles. Since they burst onto the scene in 1974, after winning the Eurovision song contest with their hit Waterloo, they had a stream of hits across a ten-year time span until they finally disbanded in the early 1980’s.
Their music has continued to live on in movies like Priscilla – Queen of the Desert and Muriel’s Wedding, (strangely both Australian films) and more recently Mama Mia, the hit musical using the songs of ABBA.
The Dockyard staged a tribute ABBA as far back as April 2004, whilst still at the Point Waterfront. It has been the most requested show, to bring back, that we have staged to date.
Under the musical direction of veteran muso Bruce Boome, the ABBA hits come to life with unbelievable accuracy. As with the previous production, close your eyes and it’s the real thing. Reproducing the original sounds of music legends has always been the Dockyard’s hallmark.
The show takes the form of a nostalgic trip down memory lane guided by ABBA stalwarts, Benny Anderssen and Bjorn Ulvaeus, played by none other than local “ballies” Stuart Mey and Bruce Boome. The songs are performed by the award winning Dockyard Show Band featuring newcomers Kerry –Lee Mc Kibbon who starred in her debut in Let’s get this party started and yet another Dockyard discovery, Kieran O’ Brien.
The show is scheduled to run until the end of February. Tickets R100 Wednesday to Saturday (R70 on Sundays and Tuesdays). These prices are for the show only and do not include a meal.
The Dockyard launches a brand new menu with the ABBA show which will incorporate all the usual fare such as steaks, seafood, poultry as well as vegetarian options, but will now include smaller, less expensive menu items, such as burgers and baskets, for the not so hungry and various specials such as T Bone steaks and fresh line fish from time to time.
For more details or bookings, call the Dockyard on 031 201 9147.
BLONDES ON DECK
Pic: Lauren Laing and Jonathon Didlick
uShaka Marine World present Lauren Laing and Jonathon Didlick in tribute to songs by famous blondes.
If you ever wanted to test the notion that blondes definitely do have more fun, then uShaka Marine World’s latest musical tribute should set the record straight. The Upper Deck Dinner Theatre on the Phantom Ship is where tribute will be paid to the contribution “blonde” performers have made to the music industry.
From January 14 to March 14, Durban blonde bombshell Lauren Laing and heart throb Jonathon Didlick will treat guests to songs by famous blondes ranging from the iconic Marilyn Monroe to sultry Christina Aguilera, marvelous “Madge” Madonna and legendary male rockers Sting, Bon Jovi and David Bowie.
Produced by Wayne Scott and directed by Charon Williams Ross – the team who presented the sell-out Let’s Hear it for the Boys last year – Blondes on Deck will also include songs from Duffy, Faith Hill, Clare Johnstone, Ronan Keating, Kylie Minogue, Beyoncé, Olivia Newton John, Alicia Keys, Rod Stewart and larger-than-life blondie Dolly Parton.
Laing, most recently seen in Rocking all over the World at the Barnyard, and Jonathon, of boy band Tequila Sunrise, will be supported by Londiwe Dhlomo, Jacqui Majoor, Tami du Preez and the five-piece uShaka band.
Blondes on Deck will be staged Wednesday to Saturday nights at 20h00 (dinner starts at 19h00) from January 14 to March 14. Tickets R150 include a delicious buffet menu. Bookings can be made at 031 328 8068 or Computicket.
uShaka Marine World present Lauren Laing and Jonathon Didlick in tribute to songs by famous blondes.
If you ever wanted to test the notion that blondes definitely do have more fun, then uShaka Marine World’s latest musical tribute should set the record straight. The Upper Deck Dinner Theatre on the Phantom Ship is where tribute will be paid to the contribution “blonde” performers have made to the music industry.
From January 14 to March 14, Durban blonde bombshell Lauren Laing and heart throb Jonathon Didlick will treat guests to songs by famous blondes ranging from the iconic Marilyn Monroe to sultry Christina Aguilera, marvelous “Madge” Madonna and legendary male rockers Sting, Bon Jovi and David Bowie.
Produced by Wayne Scott and directed by Charon Williams Ross – the team who presented the sell-out Let’s Hear it for the Boys last year – Blondes on Deck will also include songs from Duffy, Faith Hill, Clare Johnstone, Ronan Keating, Kylie Minogue, Beyoncé, Olivia Newton John, Alicia Keys, Rod Stewart and larger-than-life blondie Dolly Parton.
Laing, most recently seen in Rocking all over the World at the Barnyard, and Jonathon, of boy band Tequila Sunrise, will be supported by Londiwe Dhlomo, Jacqui Majoor, Tami du Preez and the five-piece uShaka band.
Blondes on Deck will be staged Wednesday to Saturday nights at 20h00 (dinner starts at 19h00) from January 14 to March 14. Tickets R150 include a delicious buffet menu. Bookings can be made at 031 328 8068 or Computicket.
EXOTIC CLASSICS AHEAD
Pic: Pallavi Mahidhara
KZNPO Summer season offers starry line-up of guest artists. (Report by William Charlton-Perkins)
Concertgoers in Durban can look forward to a starry line-up of guest artists and some mainstream programming in the weeks ahead, with a few ‘exotics’ thrown in to add leaven to the mix.
The KZN Philharmonic launches its seven-concert 2009 World Symphony Series Season Summer in the Durban City Hall on February 5, 2009. The noted young Japanese conductor Yasuo Shinozaki takes the podium for a popular programme featuring Dvořák’s Carnival Overture and New World Symphony, with Saint Saëns’ dazzling Piano Concerto No 2 spotlighting the 21 year-old pianist Pallavi Mahidhara in her Durban debut.
Mahidhara made her orchestral debut at the age of 10 and she has garnered prizes in several national competitions in the U.S.A. She subsequently appeared with the National Symphony Orchestra (Washington DC), Chicago Symphony Orchestra, China National Symphony Orchestra and Asturias National Orchestra (Spain), among others.
Last year she was awarded fourth place at the Unisa International Piano Competition, as well as the prize for Best Romantic Concerto and the Audience Prize. She is also an active chamber musician and in 2006 she was awarded “Most Promising Young Pianist” at the prestigious Verbier Academy in Switzerland. She is completing her fourth year as a full-scholarship student at the Curtis Institute of Music in Philadelphia.
KZNPO Summer season offers starry line-up of guest artists. (Report by William Charlton-Perkins)
Concertgoers in Durban can look forward to a starry line-up of guest artists and some mainstream programming in the weeks ahead, with a few ‘exotics’ thrown in to add leaven to the mix.
The KZN Philharmonic launches its seven-concert 2009 World Symphony Series Season Summer in the Durban City Hall on February 5, 2009. The noted young Japanese conductor Yasuo Shinozaki takes the podium for a popular programme featuring Dvořák’s Carnival Overture and New World Symphony, with Saint Saëns’ dazzling Piano Concerto No 2 spotlighting the 21 year-old pianist Pallavi Mahidhara in her Durban debut.
Mahidhara made her orchestral debut at the age of 10 and she has garnered prizes in several national competitions in the U.S.A. She subsequently appeared with the National Symphony Orchestra (Washington DC), Chicago Symphony Orchestra, China National Symphony Orchestra and Asturias National Orchestra (Spain), among others.
Last year she was awarded fourth place at the Unisa International Piano Competition, as well as the prize for Best Romantic Concerto and the Audience Prize. She is also an active chamber musician and in 2006 she was awarded “Most Promising Young Pianist” at the prestigious Verbier Academy in Switzerland. She is completing her fourth year as a full-scholarship student at the Curtis Institute of Music in Philadelphia.
Israeli maestro Omri Hadari will be back in Durban for the following two weeks. On February 12, he conducts Rossini’s sparkling L’Italiana in Algeri Overture, along with two works by Mendelssohn, the Concerto for Piano and Violin (featuring the London-based German pianist Florian Uhlig making a welcome return to our stage, opposite SA violinist Zoë Beyers), and the much-loved Italian Symphony.
Barber’s perennial Adagio for Strings serves as a prelude to Mendelssohn’s E Minor Violin Concerto (with soloist Barnabas Kelemen) on February 19, with Elgar’s Enigma Variations completing the evening’s fare.
Yasuo Shinozaki returns for the following two Thursday concerts, conducting Verdi’s I Vespri Siciliani Overture and Paganini’s bravura Violin Concerto No 1 (soloist Ilya Gringolts), with Mussorgsky’s Pictures at an Exhibition on February 26; and an all Mozart programme featuring Die Zauberflöte Overture, the Piano Concerto No 18 (with soloist Alexej Gorlatch) and the popular Symphony No 41 ‘The Jupiter’ on March 5.
Naum Rousine conducts the eclectic programme set for March 12. This features Haydn’s Symphony no 45 ‘Farewell’, followed by Vevek Ram’s Concerto for Sitar and Tabla and Strings, with the composer playing the sitar opposite Haren Tana on tabla. Rodrigo’s atmospheric Concierto de Aranjuez opens the second half of the evening’s fare (with James Grace as the guitar soloist). Bizet’s ever-popular Carmen Suite No 1 brings the evening to a rousing close.
Lykele Temmingh winds up the season on March 19, conducting Brahms’ Academic Festival Overture, with Haydn’s C Major Cello Concerto starring Berthine van Schoor in her local debut. The KNPO shows its paces in the second half of the programme, with Ippolitov-Ivanov’s Caucasian Sketches and Stravinsky’s Firebird Suite (1919).
Ticket prices range from R60 to R180, with discounted tickets for pensioners and students. There are discounts of up to 25% for subscription bookings of four concerts or more. For more information visit the KZNPO website at www.kznpo.co.za To book call 031 369 9404.
Meanwhile, Durban’s starved opera enthusiasts can see superstar soprano Renée Fleming in one of her most alluring roles. Filmed just weeks ago in New York during the Metropolitan Opera’s current season, Massenet’s Thaïs is currently showing at Cinema Nouveau until January 29. Conducted by Jesús López-Cobos, the production features baritone Thomas Hampson as the besotted monk, Athanaël, who falls prey to la Fleming as the Egyptian courtesan in search of spiritual awakening. Not to be missed. - William Charlton-Perkins
Yasuo Shinozaki returns for the following two Thursday concerts, conducting Verdi’s I Vespri Siciliani Overture and Paganini’s bravura Violin Concerto No 1 (soloist Ilya Gringolts), with Mussorgsky’s Pictures at an Exhibition on February 26; and an all Mozart programme featuring Die Zauberflöte Overture, the Piano Concerto No 18 (with soloist Alexej Gorlatch) and the popular Symphony No 41 ‘The Jupiter’ on March 5.
Naum Rousine conducts the eclectic programme set for March 12. This features Haydn’s Symphony no 45 ‘Farewell’, followed by Vevek Ram’s Concerto for Sitar and Tabla and Strings, with the composer playing the sitar opposite Haren Tana on tabla. Rodrigo’s atmospheric Concierto de Aranjuez opens the second half of the evening’s fare (with James Grace as the guitar soloist). Bizet’s ever-popular Carmen Suite No 1 brings the evening to a rousing close.
Lykele Temmingh winds up the season on March 19, conducting Brahms’ Academic Festival Overture, with Haydn’s C Major Cello Concerto starring Berthine van Schoor in her local debut. The KNPO shows its paces in the second half of the programme, with Ippolitov-Ivanov’s Caucasian Sketches and Stravinsky’s Firebird Suite (1919).
Ticket prices range from R60 to R180, with discounted tickets for pensioners and students. There are discounts of up to 25% for subscription bookings of four concerts or more. For more information visit the KZNPO website at www.kznpo.co.za To book call 031 369 9404.
Meanwhile, Durban’s starved opera enthusiasts can see superstar soprano Renée Fleming in one of her most alluring roles. Filmed just weeks ago in New York during the Metropolitan Opera’s current season, Massenet’s Thaïs is currently showing at Cinema Nouveau until January 29. Conducted by Jesús López-Cobos, the production features baritone Thomas Hampson as the besotted monk, Athanaël, who falls prey to la Fleming as the Egyptian courtesan in search of spiritual awakening. Not to be missed. - William Charlton-Perkins
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