KZNPO CONCERT: FEBRUARY 26 2009

Splendid solo violinist gives brilliant performance of Paganini concerto. (Review by Michael Green)

The programme for this concert by the KZN Philharmonic Orchestra in the Durban City Hall described it as “virtuosic prowess”, and, yes, that just about says it all for the central composition, Paganini’s Violin Concerto No. 2 in B minor.

Niccolo Paganini (1782-1840) was a champion violinist but a second-rate composer whose works were designed specifically to show his virtuosic prowess. They are a combination of technical display and a certain glib melodic charm, and his second concerto provided a splendid vehicle for a splendid solo violinist, Russian-born Ilya Gringolts.

This young performer is building a substantial reputation in the wide world. He is a consummate technician - no difficulty appears to trouble him - and indeed he bears some physical resemblance to Paganini, with his tall, lean figure and dark hair.

He gave a brilliant performance of the concerto and was enthusiastically partnered by the KZNPO under the direction of that most energetic of conductors Yasuo Shinozaki, his second appearance with the orchestra this season.

I liked best the Adagio, in which the violinist produced the most beautiful singing tone. The long cadenza in the first movement was played with stunning expertise, and the final movement is certainly attractive, a Rondo based on the La Campanella bell-like theme which Liszt later rewrote into a famous piano piece.

All this was much to the taste of the audience, who gave the soloist a prolonged ovation. All the same, I would like to hear him play a concerto by Mozart or Beethoven or Brahms or Dvorak. That would, I think, be a truly memorable experience.

The concert opened with Verdi’s Sicilian Vespers overture, a dark and dramatic work that was given full value in this performance, and concluded with Ravel’s brilliant orchestration of Mussorgsky’s Pictures at an Exhibition, written originally for the piano.

The conductor and the instrumentalists seized the many opportunities in this work to demonstrate their virtuosic prowess.

Actually, I prefer the adjective virtuoso. - Michael Green

OTHELLO

(Pic: Farai Gwaze as Othello with Josette Eales as Desdemona)

Farai Gwaze - a new star blazes onto the Durban theatre environment! (Review by Caroline Smart)

Presented by Think Theatre in association with the Playhouse Company, Othello is this year’s full-on Shakespearean production geared mainly for secondary school learners as producer Margie Coppen and director Clare Mortimer aim to ignite their imaginations as they introduce them to the dramatic works of William Shakespeare.

Othello is presented in my favourite theatre space, the Drama. The venue is compact enough to create an accessible relationship between actors and audiences while large enough to allow for the full power of the visual (sets and costumes) and technological (lighting and sound) aspects that make for exciting theatre.

Well-staged, Othello is undeniably exciting. Clare Mortimer and Bryan Hiles’s effective set provides a striking background of draping, scaffolding and ropes on which to unfold Shakespeare’s time-honoured tale where jealousy overrides all else, destroying in its wake the finer values of trust and loyalty.

Othello is a general in the Venetian army - a proud and commanding man of action whose principles and sense of right and wrong become submerged as he confronts an emotion hitherto unknown to him, that of jealousy. He is a Moor, a black man, so the issues of racism can be highlighted for young audiences who have grown up in an enlightened democratic South Africa and need to be reminded of the iniquities of the past.

The production is well-directed to highlight the machinations of Iago as he charts his dastardly revenge. The reaction from the learners around me was audible as they grasped each step of his vengeful plan.

In the roles of Othello and Iago are Farai Gwaze and Ian Ewok Robinson and their scenes together are very strong. Bitterly resentful of Othello, who has promoted the younger Casio above him, Iago applies relentless pressure until Othello cracks.

While the latter has established himself as an intelligent and focused performer, Farai Gwaze is still in his honours year at UKZN and makes his professional debut in this production. With his imposing stature and deep resonant voice, he considerably impresses in this complex role which, if not handled carefully, can slide into melodrama.

Our sympathies need to stay with Othello, despite the fact that he has been manipulated into murdering his wife, and this Farai achieves with distinction. From the second last night’s audience heard that distinctive voice, he had them in his hand. There is no doubt that a new star has blazed onto the Durban theatre environment.

As his tender youthful wife, Josette Eales also impresses as Desdemona – her spirited and loving nature crushed by Iago’s Machiavellian scheming. She is also the only cast member whose dialogue is consistently and clearly audible, even when she’s dying!

Good performances all round come from this cast which represents the cream of Durban’s acting talent. Many of them are academic achievers so their interpretation of the roles and the text is logical and easily understood by those unfamiliar to Shakespearean language.

Marc Kay is a suave perfectly-groomed Casio, Darren King a delightful doddery Brabantio, Clare Mortimer as Iago’s forthright wife, Emilia, and Karen Logan as the coquettish Bianca. Michael Gritten (Duke of Venice), Loyiso MacDonald (understudying Othello), Clinton Small (understudying Iago) and Rowan Bartlett (Montano) provide solid support as the story accelerates to its tragic end. There is much humour where appropriate mainly provided by Adam Doré as the hapless lovelorn Roderigo and Sean de Klerk in his role as the clown.

Supported by Damelin and BASA, Othello runs in the Playhouse Drama until March 24 with performances at 09h00 and 12h00 daily (Mondays to Fridays inclusive). The next public performance will be on March 6 at 19h00. Tickets R35 for learners, students, pensioners (R50 for adults attending the public performances). School bookings are through Margie Coppen on 083 251 9412. Bookings for the public through Computicket or Playhouse Box Office on 031 369 9540 or 031 369 9596.

Othello will also play in the Hilton College Theatre from March 24 to 31. Extra evening performances of the play will be given to accommodate private schools, both in Durban and Hilton. For further details about these, and the production’s provincial tour, contact producer Margie Coppen on 083 251 9412. – Caroline Smart

READY FOR ANYTHING

Fascinating and challenging exploration of dance from Flatfoot Dance Company. (Review by Caroline Smart)

Running at the Square Space Theatre for a short run until the end of the weekend, Ready for Anything - (prepared for nothing and ready for anything) - is a fascinating and challenging exploration of dance from Durban’s acclaimed Flatfoot Dance Company.

Normally the words “improvisation” and “workshopped” leave me stone cold, having come from a tradition of strict discipline in theatre work but, in this instance, the performance is disciplined while being created in the exciting and immediate environment of the “here and now”.

In fact, Here and Now is one of the titles that tested this finely-honed contemporary dance group tonight in a dance production resulting from a residency programme Flatfoot has undergone with UK-based teacher Lucia Walker who is also a specialist in movement education. She is particularly interested in the way movement exploration, awareness practices and play can provide a “common language” which lies beneath different cultural experiences and styles of dance.

Lucia Walker also appears in the programme, performing in themes she has secretly set for each performance. The Flatfoot Dance Company rises splendidly to the occasion, its incomparable male dancers – Sifiso Khumalo, Vusi Makanya and S’fiso Magesh Ngcobo (three dancers who seem to connect with one mind, one soul) – compelling the audience’s attention with Jabu Siphika, Shayna de Kock and Nobuhle Khawula presenting an equally powerful female component.

Lucia Walker’s contained and almost ethereal style represents a strong contrast to our more muscle-bound and extrovert South African contemporary dance. In England, space is at a premium - while in South Africa, it is held in abundance. We are sturdier: forged by the sun, toughened by the heat, fashioned by distances and focused on survival by the sheer multitude of Africa’s people. This in itself provides an interesting element to the performance which is both dangerous and delightful. “The element of surprise and chance is always there,” explains Flatfoot Dance Company’s artistic director Lliane Loots in her programme notes. “No two performances will be the same.

Lliane Loots goes on to pay tribute to Lucia Walker, calling her “a gentle and inspiring teacher”. Watching her sitting in the shadows of the wings, the proud smile on Lucia Walker’s face was evidence of her pride in the dancers as they wove their magic while introducing their individual range of emotional elements into the themes she had set for them.

Imagine this. You’re a member of a dance company. You know your colleagues well – their personalities, their physical capabilities and their emotional strengths. In front of an audience, you are now expected to take a theme - whether as a solo performer or a member of a group – and, reacting on clues from the lighting operator or the given criteria, present an on-the-spot clear-cut performance in a particular time frame such as two minutes. Scary stuff!

It’s a fascinating edgy process which is universally entertaining once you understand what’s going on. It should be seen by anyone who is involved in performance art in general but particularly by those working in dance, lighting design or music! Even musicians Mandla Mtsha and Siyabonga Mkhombe of Woodpecker Percussionists improvise, taking their cues from the movement piece that grows in front of their eyes.

prepared for nothing and ready for anything runs at the Square Space Theatre in Durban until February 29 with performances nightly (except February 28) at 19h30 and extra shows on February 26 and 27 at 12h20. Tickets R35 (R20 students and scholars) at the door with tickets at R10 for discounted matinee performances. More information on 082 875 6065. – Caroline Smart

ROCTAILS

Pianist Rocco de Villiers to perform at Rhumbelow Theatre.

Pianist Rocco de Villiers will perform his entertaining show at Rhumbelow Theatre this coming weekend.

Rocco will engage audiences with his extraordinary style in instrumental music. He is famous for two things - his ability to mix and entertain with cocktails and his flamboyant style of piano playing. Since a very early age, Rocco was asked to entertain family and friends with piano playing and drinks-making. This made him a legend in his own lounge at the age of six.

In 2000, Rocco released his first cocktail book called roctails. He has recently released his second cocktail book - a collection of non-alcoholic drinks - called momtails. Not a legend simply in his own lounge anymore - Rocco is now a roccoholic.

In-between interludes at the piano, Rocco will tell interesting anecdotes of life, comment on internet dating, load-shedding and change of life. The show also includes a cocktail demonstration, competition and some audience participation.

“Roctails is entertainment at its best - vintage Rocco. A modern pianist - in touch, in fashion, well-dressed and well-rehearsed. The only divas are the piano and the cocktail shaker…,” says the publicity material. “Perfect for your family, your friend, the colleagues, gay visitors from London, the old ones, the young ones and of course the curious ones. In Black, In Menopause and In Concert - Roctails is exactly that.”

Shows take place on February 27 at 20h00 with two shows on March 1 – at 14h00 and 18h30. The venue opens 90 minutes before show for picnic dinner.

Tickets R80. Take along food picnic baskets and braais will be available. There is limited secure parking and booking is essential. A cash bar is available (no alcohol may be brought on to the premises). Rhumbelow Theatre is situated in Cunningham Avenue off Bartle Road.

To book contact Roland on 031 205 7602 (h) or 082 499 8636, email roland@stansell.za.net or visit www.rhumbelow.za.net

For more information on Rocco, visit www.roccorocco.com

BEST VIRTUOSO CLASSICS EVER

Music Revival to present celebrated classics in Pietermaritzburg.

Music Revival will present Best Virtuoso Classics Ever offering a selection of the best, most exciting, celebrated classics from the concert repertoire.

Beethoven’s Waldstein Sonata, Gershwin’s Rhapsody In Blue, Liszt’s Hungarian Rhapsody No 6 in D-flat plus the Chopin‘s Heroic Polonaise make up this compelling selection of music and offers a perfect introduction to the thrilling and astounding world of classical music performance. Christopher Duigan plays this quintessential but enthralling programme appealing to new-comers and connoisseurs of the pianist’s art.

Best Virtuoso Classics Everwill take place on February 27 at 19h30 and again on March 1 at 15h30 at 35 Montgomery Drive, Athlone. Tickets R80 include wine and coffee. The venue opens approximately 30 minutes before starting time.

Booking is essential, preferably by e-mail on booking@musicrevival.co.za

For more information contact Music Revival on 033 342 3051 or www.musicrevival.co.za for more information.

CENTREFOLD FOR FUNDRAISER

Pic: Lesa Bradshaw with Belinda Dolphin(left), Jane Candow (right) and Judy Lowry, owner of Eden Lassie Function Venue

Local cabaret act assists Treatment for Lesa Bradshaw Fundraising Campaign.

Lesa Bradshaw suffers from a progressive motor neuron disease called Spinal Muscular Atrophy.

This vibrant, cheerful 36 year-old who is now confined to a wheelchair and finds even the simplest tasks like rolling over in bed impossible has discovered a treatment available in China which could have a huge impact on her life. The good news is she has been accepted as a good candidate for the treatment. The bad news is that it is going to cost in the region of R350,000.

Mike and Judy Lowry of Eden Lassie Function Venue together with the members of Centrefold have put together an afternoon’s entertainment with lunch and show at 12h30 on March 1 with tickets at R160 pp in order to help Lesa in her bid to get to China for her treatment.

Centrefold will present their popular show The 60’s Revisited inviting audiences to share with them what made the 60’s such a memorable decade - the historical events, the fashion and most of all the music. Numbers will include Downtown, Mustang Sally, the Beatles and loads more.

Those wishing to help this worthy should book tickets through Judy on 083 552 9134.

CENTRE FOR JAZZ MARCH PROGRAMME

University of KwaZulu-Natal’s Centre for Jazz holds regular Wednesday events.

The University of KwaZulu-Natal’s Centre for Jazz holds a regular Wednesday Jazz programme and the March line-up sees regular friends as well as new faces.

March 4: Burton Naidoo Undercover featuring Burton (piano); Thabani Gapara and Martin Sigamoney (sax); Lenski Alfred (bass); Bruce Baker (drums) and Vishen Kemraj (tabla).

March 11: Babu featuring Kesivan Naidoo (drums); Reza Khota (guitar); Shane Cooper (bass) and Ronan Skillen (tabla)

March 18: Skokiana featuring Sazi Dlamini (guitar); Stembiso Ntuli (sax); Njeza Dlamini (bass), and Paki Peloeole (drums).

March 25: Sweet Concept featuring Thabani Gapara (alto sax); Siyanda Zulu (trumpet); Siya Mthethwa (keyboard); Bheka Mthethwa (bass), and Sbu Zondi (drums).

The jazz evenings take place from 17h30 to 19h00 and admission is R20 (R10 students). A cash bar is available. More information Programme Administrator Glynis Malcolm-Smith on 031 260 3385 or email: malcolms@ukzn.ac.za (NB: Programme subject to change)

TRIBUTE TO MOIRA BIRKS FROM CHRIS BALLANTINE

Professor Chris Ballantine pays tribute to celebrated pianist and music teachers.

Professor Christopher Ballantine, University Fellow of the University of KwaZulu-Natal’s School of Music, pays tribute to the late Moira Birks.

“I am sad to relate the news of the death last night of Moira Birks (Kearney), one of the country's most celebrated pianists and piano teachers, and the first person to occupy the post of piano lecturer in the School of Music.

Moira was appointed by Professor Michael Brimer, the inaugural Head of Music; and during the many years that she was on our staff some of the country's most talented young pianists studied with her, many of whom went on to pursue distinguished musical careers both here and abroad.

Among her abundant and remarkable qualities as a musician and human being, perhaps the ones most admired by her peers and students were her luminous musical intelligence, an astonishingly precise analytical mind, and a deep sense of personal and artistic integrity. These were always evident in her performing and in her teaching.

After her retirement, Moira continued to pursue a very active musical life in the city, especially as a teacher of piano and music theory. Now the doyenne of South Africa's pianists, she was actively sought out by advanced students. Both the School of Music and the KwaZulu-Natal Philharmonic Orchestra marked her 90th birthday by presenting concerts in her honour.”

A Requiem Mass will be held at the Holy Trinity Catholic Church, corner Musgrave and St Thomas Roads, Musgrave on February 26 at 10h30. In lieu of flowers, donations may be sent to: Right to Live Campaign, PO Box 50299, Musgrave Road, 4062.

LIVE POETS SOCIETY MEETING

The next meeting of the Live Poets Society takes place on February 25.

At this month's Live Poets' meeting, Graham Lancaster, Director of Alexander House Publishers launches Signatures an anthology of seven contemporary woman poets - some already established, others emerging for the first time.

Poets will include Janice Pears, Jacky Krog, Erica Clark, Sarah Frost, Irene Emanuel, Sharon Scott and Meryl Raw.

Signatures is an anthology of poignant snapshots frozen with absolute clarity in the lens of the poet's eye and then quietly freed with all the private insights of passion, happiness and poetic licence. These are seven individually different poets lifting their masks for a look at the artist beneath. Amongst other international awards, achievements and recognitions they have won three Hilde Slinger Poetry trophies and two top Quill Awards from the South African Writer's Circle in the past five years," explains Graham Lancaster.

The meeting of the Live Poets Society will take place on February 25, starting with snacks and a social time at 17h30 with the poets beginning their readings at 18h00 sharp. Theme for this month's poems: Underneath my skin.

Meetings take place at the Alliance Française (Corner Sutton and Windermere) from 17h30 to 20h00. Snacks and cash bar available.

LIFELONG LEARNING KZN

Evening and Saturday classes in Durban for adults who want to learn for fun.

Lifelong Learning KZN is about to launch evening and Saturday classes in Durban for adults who want to learn for fun (no exams). See their website at www.lllkzn.net for a range of courses due to start in March, which include Beginner’s Zulu, Monkeys in your Garden, Know your car, Dark energy, Bio-ethics, Natal history in pictures, nutrition for healthy aging, computing for parents, rose cultivation , history of rock ‘n roll , the cultural heritage debate, and much more.

These classes will take place at the University of KwaZulu-Natal Howard College Campus between 17h30 and 20h00 on Mondays, Tuesday and Wednesdays, with some workshops and field trips on Saturdays between 09h00 and 12h00.

LL KZN is a non-profit organisation set up for the purpose of promoting such” not for qualification” education. “A city the size of Durban contains many people who want to learn simply for the value of that knowledge”, says Charlotte Mbali, one of the initiators of the organization, “South Africa is in danger of caging knowledge into such a system of quality controls and curriculum templates that what people need to know urgently, for now, is pushed out of the educational planning.

Our motto is : “Learning for now, learning for life” LLL KZN runs a website utilizing open source software, Moodle, which enables the public to browse through the list of current and proposed course listings , select some, and enrol on line. They can then pay by e-transfer through their bank logins, or in cash at branches of Adams bookshops (at Howard College or Musgrave). Fees are R30 an hour, which means R240 for a course of four weekday evenings, or R90 for a three-hour Saturday workshop.

Eventually - once more fee income is generated - it might be possible to offer subsidized courses for young people and students on self and social development topics, says Mfana Mlambo, the chairperson of LLL KZN: “Young and old get stuck unhappily in institutional courses and careers, while they would be happier if they could look around at other interests and possibilities, and this is where Lifelong Learning KZN can help them try out a variety of interesting offerings” The course presenters will be paid the equivalent of the UKZN hourly lecturer rates.

LLL KZN is still looking for knowledgeable people to offer courses, and there is also a way of making course proposals via the website. Some of the presenters are UKZN lecturers, either current or newly retired.

“It is actually good for lecturers, who get very wrapped up in their own passionate research interests, to have to gear down their language and communicate what they are doing to an intelligent general public” says Charlotte Mbali, who recently retired from a job in academic staff development.

However, not all the LLLKZN presenters are lecturers from UKZN. There are local knowledge networks, such as on environmental issues, or the astronomy society, or health education who can provide knowledgeable speakers.

For more information, visit the website at www.lllkzn.net

WILD FLOWERS OF THE KZN MIDLANDS & DRAKENSBERG

Compact, easy to carry book aids identification of wild flowers. (By Margaret von Klemperer, courtesy of The Witness)

You go for a walk in the midlands or the ‘Berg, and see an attractive flower that you can’t put a name to. But by the time you get home to your reference books, it is hard to remember exactly what it looked like – the exact colour, how it was set on the stem, how the shading on the petals went, and so on.

A book that came out late last year and is now available in Durban, Wild Flowers of the KwaZulu-Natal Midlands & Drakensberg by Lal Greene, will solve the problem. It is designed to fit neatly into a shirt or jeans pocket, small and light, and easy to carry with you. It contains 570 photographs of flowers, with their scientific names, common names if they have them, and a reference number, which refers to Elsa Pooley’s comprehensive Wild Flowers of KwaZulu-Natal and the Eastern Region, Mountain Flowers and Trees of Natal.

The photographs are colour-coded for easy reference – if you have found a blue flower, you go straight to the blue section and so on. And when you get home, you can refer to the more detailed information in the bigger books.

Greene, who is a retired farmer from the Nottingham Road area, has always had an interest in the flowers of the region and in taking photographs. After retiring, he and his wife Pauline went on a photography course. Many of his photographs appeared in Pooley’s books, and she has endorsed his pocket guide.

When he finished work on the photographs for Pooley, Greene thought about giving them to the Pietermaritzburg Herbarium, but one of his children asked him to make an album of photographs of the flowers in the area first. Then someone else suggested a book, and the idea grew from there.

Pauline Greene undertook to find sponsors for the project – Gowrie Farm, where the couple now live, is the name sponsor – and she has also done the marketing, seeing that the book is available in local bookshops in Nottingham Road, Howick, Underberg, Hilton and at Exclusive Books and Cascades Bookshop in Pietermaritzburg.

It is also now being stocked at the WESSA shop in Durban’s Brand Road, as well as at branches of Exclusive Books in the city. The price is very reasonable – it is seldom that any book will cost under R100 these days, but this one does. The response in the Midlands area has been very enthusiastic, which is why the Greene’s are now making the book available in Durban.

And, as the final line of the book says, now you can “take your book to the flower, not the flower to the book”. - Margaret von Klemperer

HOOT

Geraldine Naidoo’s multi-award winning comedy returns to KZN.

Geraldine Naidoo’s multi-award winning comedy, Hoot featuring Matthew Ribnick, is the hysterical and colourful journey of a rich white man who loses everything and ends up becoming a minibus taxi driver.

This highly successful production returns to KZN by popular demand and can be seen at the iZulu Theatre, Sibaya Casino & Entertainment Kingdom for a short run from March 12 to 15.

Tickets: R110 on Friday and Saturday (R55 on Thursday and Sunday) booked through Computicket on 083 915 8000.

DEATH OF MOIRA BIRKS

Pic: Moira Birks with equally well-known colleague, pianist Glyn Townley. (Photograph by Arthur Dixon)

Well-known pianist, composer and teacher dies at her home in Durban at the age of 91.

One of Durban’s finest music personalities – well-known concert pianist, composer and teacher Moira Birks (Kearney) - died on February 19 at her home in Durban at the age of 91.

Also an organist; radio broadcaster; arranger; lecturer and mentor, she was renowned and respected for her formidable technique and was the first head of Piano Studies at the University of KwaZulu-Natal, teaching there for 13 years. Her talent has been passed on to her daughter Annette Kearney Servadei who is also a pianist.

“I was privileged to have had private lessons with her for four years from which I gained a renewed personal self-confidence and enthusiasm for playing, for which I am extremely grateful,” explained Arthur Dixon.

Honorary secretary of the South African Music Teachers Association (SASMT), he paid tribute to Moira Birks at her 90th birthday concert in 2007 which was presented by the SASMT and the UKZN School of Music to celebrate her milestone birthday and her contribution to Durban's musical life.

“For me, her teaching style was characterised by attention to the harmonic structure or "architecture" of the piece, the use of systematic fingering and hand-shapes, and of course "phrasing" - the soul of interpretation,” Arthur Dixon said at the time. “After all this, one still had to find one's own inner love for the music and regard every performance as a privilege. She always stressed that there was a huge difference between just "presenting" a piece of music and "performing" it!

“Her most endearing personal attributes I believe are a unique smile and sense of humour, ability to empathise with the student for the trials of life that are sometimes beyond one's control, giving praise for the smallest improvement, always making sure you left the lesson knowing what needed to be done and how to work on it, and encouragement to always aim for the best of which you were capable.”

A lifelong member of the SASMT, a Unisa examiner and Unisa competition panel judge, she taught at University of Port Elizabeth from 1969 to 1970 flying down weekly to do a full day’s work. A prodigious performer, she gave many SABC studio recitals and live symphony concert broadcasts. During the early years of music in Durban, she worked with the SABC Studio Orchestra, accompanying the violin pupils of the leader Stirling Robins, as well as many visiting artists and doing many radio broadcasts - on average one a month. At one stage, she also presented radio broadcasts of examination pieces with discussion on their interpretation. Performances of two-piano works with the well-known Glyn Townley are also noted.

She also produced five Messiah's at the Emmanuel Cathedral, and was instrumental in the revision of the catholic hymnal which now contains three of her own compositions.

The funeral will be held at Holy Trinity Church, Musgrave, on Thursday.

(UKZN tribute from Professor Chris Ballantine to follow)

ULTIMATE SUPPER THEATRE

Only one week left to take advantage of the discounted price for this Pietermaritzburg happening!

The response to the Ultimate Supper Theatre presented by Chris Hodgkins Music, Events and Entertainment in association with CHC Catering has been better than expected with 20% of the tables being sold in the first week!

Taking place in Pietermaritzburg on March 27 at the Royal Showgrounds, musical entertainment will be provided by top groups Platform Jazz and The Brass O's. The programme line-up includes well-known favourites such as: Quando Quando; Fly Me To The Moon; What A Wonderful World; Under The Boardwalk; When The Saints Go Marching In; Sweet Georgia Brown; Moonlight Serenade; Mambo No. 5; In The Mood; La Bamba and Escape (the Pina Colada song) as well as Beatles and Eagles Medleys.

There is only one week left to take advantage of the discounted price. Avoid disappointment – book now. Tickets R167 booked before February 28 include a three-course meal, starter, mains and desserts. There will be full cash bars available. People can book tables of 8 or 10 or share on a 8 or 10 seater table.

Bookings and information from Pearl at the Pietermaritzburg Tourism Offices, entrance 2 Midlands Liberty Mall, next door to Standard Bank, or phone 033 342 4512.

NOT ALONE DISCUSSION

Discussion on international project to take place at Durban Art Gallery on February 27.

Not Alone: An International project of Make Art/Stop Aids is a show featuring over 50 works in a variety of media due to open at the Durban Art Gallery next week (February 25).

The exhibition concept is that the show changes in each venue, according to the country, but retains a core number of artworks. Some of the most spectacular pieces on the Durban address the issues of treatment access. These include the Keiskamma Altarpiece, an embroidered and wire sculpted artwork made by 120 people living in the Eastern Cape - it is a testament to the power of medication and treatment as well as to faith.

American artist, Daniel Goldstein's Medicine Man is a glowing sculptural figure resembling a larger than life-size figure made out of empty medicine bottles and syringes used to sustain the life of the artists and their friends. Langa Magwa's adaptation of the public sculpture for the Africa Centre speaks to a different tradition whilst dresses made from coloured, disused condoms add a sense of fun to the exhibition.

A discussion around the artworks featuring the local and international visiting artists and curators will be held at the Durban Art Gallery on February 27 from 10h00 to 12h00. All are welcome and entrance is free. High school groups are requested to phone the Gallery first to inform them of their attendance.

AUCTION OF BRETT KEBBLE ART WORKS

Graham’s Fine Art Gallery to host auction of the insolvent deceased estate of the late Roger Brett Kebble.

Guaranteed to be the auction of a life time is to take place when Graham’s Fine Art Gallery hosts the auction of the insolvent deceased estate of the late Roger Brett Kebble.

This greatly anticipated event will provide art buyers with a vibrant array of works in various mediums that range from works on paper to oil paintings and sculptures. The entire collection is comprised of 142 artworks, by masters of their skill, ranging from early realist works to cutting edge contemporary art. All art works are of the highest quality and prestige, by artists such as Walter Battiss, Thomas Bowler, Eleanor Esmonde-White, May Hillhouse, William Kentridge, Maggie Laubser, Freida Lock, Hugo Naude, George Pemba, J.H. Pierneef, Alexis Preller, Irma Stern, Nita Spilhaus, Maud Sumner, Vladimir G Tretchikoff, and Peter Wenning.

In his life time, Kebble single-handedly brought South African Contemporary Art to the forefront through the launch of the Brett Kebble Art Award in 2003. His undertaking to empower people and communities through art proved highly successful in the relatively short running time of the competition. Its reach, however, was vast. His progressive thinking about art and culture, along with his generous contributions made Kebble a pioneer in regard to supporting South African arts. The steadfast commitment which he gave to the Brett Kebble Art Awards demonstrated his passion for art and his sincere belief in a need for a stable platform for South African contemporary art, which was devoid of personal preference and bias.

His influence continues, with the showcasing and auction of this private collection.

Graham’s Fine Art Gallery is an authority and a specialist in South African Investment Art. “Our main priority is placed on the quality and excellence of the art which we represent, only dealing with works that illustrate great significance through execution, condition, aesthetics and iconicity,” says Laurelle Baard, Marketing Manager of Graham’s Fine Gallery. “This has enabled Graham’s Fine Art Gallery to be positioned as the leading establishment of South African Fine Art.

“Maintaining the level of quality and excellence of which Graham’s Fine Art is associated supports the significance of the collection of the late Brett Kebble. Whether you are an accustomed bidder or new to the auction environment, we will provide you with a comprehensive service and offer advice on exactly what to buy and how to buy it.”

There will be a pre-viewing of the collection from April 20 to 30 at Graham’s Fine Art Gallery, located at the Broadacres Lifestyle Centre, Corner Cedar and Valley Roads, Broadacres, Fourways.

From May 4 to 6, the collection will be on view at Summer Place before the auction on May 7, 2009. Summer Place is an exceptional venue, located at 69 Melville Road, Hyde Park, in the heart of Sandton, and boasts luxury and elegance.

More information from Laurelle Baard on 079 266 1686 or 011 465 9192 or 011 467 0649 or email: Laurelle@grahamsgallery.co.za or visit www.grahamsfineartgallery.co.za

KIND POCKETS

Richard Hart - creative force behind Durban based design studio exhibits in Cape Town.

Each year during the month of February, Cape Town hosts Design Indaba - the internationally acclaimed design conference and expo. Running concurrently with the Indaba, Whatiftheworld is hosting a debut solo exhibition by Richard Hart from Disturbance - the award-winning Durban-based design agency that was recently featured on the cover of the international design journal, I.D Magazine.

Kind Pockets is an exploration of the concept of the marsupial girl, an imaginary archetype. Aesthetically, the work references the visual vernacular of popular youth culture, bringing to mind the work of artists such as Rita Ackermann, Aya Takano and Yoshitomo Nara. At surface level the work seems to deal with the ephemeral – themes such as beauty, fashion, innocence and adolescence. But on closer inspection the girls and their animal companions populate a disquieting world where the fragile present threatens to shatter into something more sinister. The images seem to capture the moment just before the event, and are filled with an unnerving anticipation. The inhabitants occupy an ambiguous space, heightening the overall sense of disquiet – the dialogue between girl and animal often seems to be an uneasyone.

The works also allude to fertility; perhaps more a metaphysical fertility than a literal one. Whether it be the swan emerging from the folds of the girl’s dress in Youth god, Thunder god and the War of Teenage Dreams or the embracing monkeys in the pinafore pocket of one twin in Sometimes a Perfect Violence, there is a repeated motif of an animal emerging from the womb area of the subject. Between these symbolic potentials of birth and becoming, the exquisite detail of the clothing and the otherworldly beauty of the young girls, an underlying current of latent sexuality comes through in many of the works and adds to the sense of tension.

Kind Pockets opens on February 25 at 18h30 and runs until March 21.

Also opening during this period is a design exhibition titled Presies curated by Dirk de Waal and hosted by the WITW / Design Studio showroom on Hope Street. This will be the first in a series of design projects and exhibitions by guest curators at the showroom taking place throughout 2009.

The gallery is situated on the First Floor, 208 Albert Road, Woodstock, Cape Town. Phone 021 448 1438 or 084 414 4554 or email: info@whatiftheworld.com or visit www.whatiftheworld.com

INSIDE THE COVERS

Pic: Centrefold: Paul Candow, Jane Candow, Cheryl Wigmore and Belinda Dolphin

Centrefold to perform at Luna Lounge in Kloof on February 21.

Centrefold’s Inside the Covers is a tribute to all the “cover” bands who have been entertaining South African audiences for years, as well as the music that has been covered by various artists.

Stories from the hilarious (The Flaming Stripper) to the serious (Magoo’s Bomb blast) gives an intimate insight into what it means for entertainers to “pay their dues”

Featuring classics like Hotel California, Robbie Williams’ Angels, Layla, Elton John’s Your Song, Unchained Melody as well as the rock classics Bed of Roses and My Immortal. Many of the songs have been given the “Centrefold” cover treatment and are performed in their own style.

Centrefold consists of talented vocalists Jane Candow, Belinda Dolphin and Ros Mcall (standing in for Cheryl Wigmore). Paul Candow accompanies them on guitar and solos with his version of Eric Clapton’s Layla and Jimi Hendrix’s Little Wing.

Inside the Covers can be seen on February 21 at 19h00 at Luna Lounge in Kloof. Tickets R65 booked through 083 362 7059 or 031 765 1516 or e-mail: supperclub@netactive.co.za

CARTER’S WINDOW

Pic: Carter’s Window

Four musos present their unique sound at Yossi’s Moroccan in Glenwood on February 21.

Headed up by lead singer and acoustic guitarist, Russel Braum, Carter’s Window has taken the interest of all who have had the pleasure of hearing the unique sound of four musos with very different influences ranging from Jazz to Alternate Rock to Old School Rock ‘n Roll. Carter’s Window blends these styles to create something fresh and exciting for the ever-growing South African Music scene.

Carter’s Window has recently finished recording their debut album, About a Girl. All the material is written by Russel Braum and is reworked to give each instrument space to explore every musical possibility. The album will take listeners on a journey through love songs to no one with Beautiful and Where You Are, to stories of life as told in A Million Faces and the title track About a Girl. Carter’s Window is currently promoting the album with gigs in and around Durban.

Apart from Russel Braum, the band consists of Greg Bedford (lead guitar), Paul Cassels (bass & backing vocals) and Ian Jeffreys (drums). The band was formed in early 2008 and has quickly grown from strength to strength, playing to audiences at various venues around all Durban. The growing popularity of the band and constant requests for something for the fans to take home is what pushed Carter’s Window to record their album as early as a year into their career, and fans will not be disappointed!

Carter’s Window appears at Yossi’s Moroccan in Glenwood on February 21 at 15h00. Entry fee R40.

LAST NIGHT OF THE PROMS REHEARSAL

KZNPO rehearsal open to those who were unable to secure seats for the popular concert.

Pietermaritzburg music fans who failed to secure a seat for The Last Night of The Proms concert taking place on February 27, can watch the orchestra in rehearsal at the City Hall in Pietermaritzburg on February 22 at 14h30.

Among the pieces to be played are O mio babbino caro (Puccini), Saint Saens’ 4th Movement from his 3rd Symphony for organ, The Firebird Suite (Stravinsky), Call to Ireland, Flower of Scotland, I Vow To Thee My Country, Swing Low Sweet Chariot, Jerusalem (Parry), Rule, Britannia! (Arne), Land of Hope and Glory (Elgar), and The Dam Busters March.

Tickets R30 each. There will be unreserved seating so those arriving early will secure the best seats! To book call Pearl on 033 342 4512.

KZNPO CONCERT: FEBRUARY 19, 2009

Barnabas Kelemen gives brilliant performance of Mendelssohn’s Violin Concerto in E minor. (Review by Michael Green)

Mendelssohn’s Violin Concerto in E minor is everybody’s favourite, and at the KZN Philharmonic Orchestra’s concert, the Durban City Hall audience was given a brilliant performance of this familiar work.

The soloist with the KZNPO was Barnabas Kelemen, a young Hungarian violinist who has established a formidable reputation with performances in many parts of the world.

As we heard the first strains of the Mendelssohn concerto I thought the violin tone was a bit subdued, but this feeling was rapidly dispelled as the soloist swung into his stride. Barnabas Kelemen is a fairly flamboyant type of player, with quite a range of facial expressions, but there is no doubting his high skills and musical commitment.

This is a virtuoso as well as a lyrical concerto, and he revelled in the many sparkling passages, especially in the final movement. In the slow movement, which is the heart and soul of this concerto, he produced a sweet, clear, penetrating tone. Memorable playing, with the orchestra in fine form under the baton of the visiting Israeli conductor Omri Hadari.

It was all much to the taste of the audience, who responded at the end with a foot-stamping ovation. For an encore the violinist played a piece by Paganini, very difficult, spectacular, and of little musical value, in my opinion. The audience loved it.

The concert opened with an eloquent account of Samuel Barber’s Adagio for Strings, written 70 years ago as a movement for a string quartet. Barber, an American, died in 1981 at the age of 71. He was a prolific composer --- opera, ballet, concertos, piano pieces, chamber music --- but this Adagio for Strings is sui generis, one of a kind, unique. Its solemn, emotional, repetitive phrases have captured the imagination of audiences for decades, and the piece was given a most eloquent performance by the strings of the KZNPO.

The programme was completed with another familiar work, Elgar’s Enigma Variations. Omri Hadari, the conductor, gave a pre-concert lecture about this masterwork, which still has some mysterious aspects more than a century after it was written. It was clear from the lecture that Mr Hadari has spent years studying this composition and thinking about it, and that sense of dedication was revealed at the concert itself. He gave a meticulous, perceptive interpretation of the music, and the orchestra responded splendidly. - Michael Green

ALEXEJ GORLATCH FOR FOM

Friends of Music to present recital by prize-winning Ukranian pianist.

Durban’s Friends of Music will host a recital by the prize-winning Ukrainian pianist, Alexej Gorlatch. His programme will include Mozart’s Fantasy K 475, Beethoven’s Sonata Opus 101, Chopin’s Polonaise Op 53, Schumann’s Fantasiestueke Opus 12, and Bartok’s Out of Doors Suite.

The recital will take place at 19h45 on March 3 at the Durban Jewish Centre. Tickets R70 (R60 FOM members and R20 students or orchestra members). This recital offers two tickets for the price of one. Book through Computicket.

(Friends of Music announce a new innovation at the Durban Jewish Centre – tea, coffee, muffins and freshly baked cheese slices are now available at FOM recitals. Before the recital, patrons are requested to place their orders at the bar, retain the slip to collect your order at the bar during interval.)

MUSIC ONSCREEN, AT HOME, ON THE TOWN

Classical Notes by William Charlton-Perkins.

As a school boy record-collector and a burgeoning opera buff back in the 1960s, I recall reading about Gluck’s Orfeo ed Euridice in text books as ‘the oldest opera in the repertoire’. That was before the revival of Early and High Baroque masterworks by Italian, French and German composers got underway, with works by Monteverdi, Cavalli, Vivaldi, Rameau, Handel, etc, surfacing in record shops, and on the world’s festival stages.

These days Gluck’s lyric tragedy, based on the classical Greek Orpheus myth, still holds its head up high, though now it has to compete with many works that predate it. Originally set to an Italian libretto for Vienna in 1762, and revised in French for Paris in 1774, the work is often cited as one of the composer’s so-called ‘reform operas’. Here he moved away from the elaborate virtuosic flights of vocal writing with which his predecessors in the High Baroque age had indulged their opera stars. Gluck chose rather to focus on pure, unadorned musical lines and heightened drama. Or so, in a nutshell, one used to read.

Notoriously difficult to stage convincingly, the work will no doubt speak for itself when it is screened from February 20 at Cinema Nouveau movie houses. Taking the leads in this latest addition to the HD Met Opera transmissions are contralto Stephanie Blythe in the ‘castrato’ title role, with Danielle de Niese as his mourned-for wife, Euridice, who inspires the hero to brave the underworld for her sake. James Levine conducts the production, which is directed by Mark Morris.

Getting back to record-collecting, great news came via an email newsletter this week, from the British classical music publication, The Gramophone, the monthly ‘cultural fix’ of thousands of die-heard arm-chair music enthusiasts around the globe. It announced its recently launched Gramophone Archive. Miraculously, as an introductory note explains, this presents a searchable database containing every issue of Gramophone from April 1923 to the latest issue. Despite the complexities of producing a magazine during wartime, Gramophone has never missed an issue.

Every editorial page, and most advert pages, we’re told, have been scanned and digitized, the contents tagged as articles, reviews and advertisements and the text extracted, so that the entire Archive is searchable – by keyword as well as by date. Each page is viewable as a digital image of the original alongside a plain text ‘extraction’ of the words…. Log onto www.gramophone.net - and be amazed, enlightened, challenged, as you explore critical opinions that for decades have transcended the ‘dummed down’ trends of most other publications in the specialised fields of records and recording, particularly classical music.

On the home front, Durban’s Friends of Music announce the appearance at the Jewish Centre on Tuesday, March 3, of the prize-winning Ukrainian pianist, Alexej Gorlatch. His programme will include Mozart’s Fantasy K 475, Beethoven’s Sonata Opus 101, Chopin’s Polonaise Op 53, Schumann’s Fantasiestueke Opus 12, and Bartok’s Out of Doors Suite. The recital will start at 19h45 as usual, and tickets cost R60 (members), R70 (non-members) and R20 (students/ orchestra members). Book through Computicket. - William Charlton-Perkins

RISE AND SPITMUNKY

Hot local bands to play at Blue Waters Hotel.

When Durban performers collaborate you can usually expect an electric night out. So make a date to be at the Blue Waters Hotel on March 7 when hot local bands Rise and Spitmunky host a gig together for the first time.

With their song, All We Have Is Now, receiving airplay on ECR and a new album in the making, Rise – consisting of vocalist Kerry Wood, guitarist Colin Peddie and DJ Martin McHale - are ready to rock 2009 with their evolving electronica sound.

Having worked with hip-hop hot shot Creamy Ewok Baggends on a funky track for their new album, Rise will share the billing at Blue Waters with Ewok’s Spitmunky hip-hop/rap/electronic outfit, which also includes Liam Magner and Jacobus van Heerden (of Neon Anthems fame).

With both bands having received warm praise for their live performances, this promises to be another steamy night on the dance floor with hot homegrown music. Entrance R40 and doors open at 20h00.

You can also catch Rise at the Red Door in Pietermaritzburg on March 21 at 9.30pm. Entrance is R40.

(Red Door is in Quarry Road, off Victoria Road near Builders Suppliers and before you get to Hirsch’s. There are good car guards on duty, so the place is pretty safe.)

SOMMERSBY DRAMA

M-Net to screen sumptuous drama about young wife and the return of her presumed-dead husband.

On March 17 at 23h00, M-Net will screen Sommersby Drama directed in 1993 by Jon Amiel and starring Richard Gere, Jodie Foster, Bill Pullman and James Earl Jones.

This is a sumptuous drama about a young wife who has to deal with the unexpected return of the husband she thought had died in the Civil War.

Laurel Sommersby hasn’t seen her abusive husband Jack since he went off to fight in the Civil War. It’s been six years, and everyone, including Laurel, is convinced he is dead. Laurel has even promised to marry another rancher who was kind to her and her son. But one day, Jack Sommersby walks back into Laurel’s life. At first, Laurel wants nothing to do with him, but it’s hard to resist a man who’s gentle, reads poetry and is kind to slaves. Question is: is he really Jack Sommersby?

PARADISE ROAD

M-Net to screen drama about group of women in a Japanese POW camp.

On March 5 at 22h45, M-Net will screen Paradise Road directed by Bruce Beresford in 1997 and starring Glenn Close, Cate Blanchett, Jennifer Ehle, Frances McDormand and Julianna Margulies.

Paradise Road is a true life WWII drama about a group of American, English and Australian women who find a sense of purpose and solidarity in a Japanese POW camp.

It’s a little known fact that during World War II, Allied women and children were held in prisoner-of-war camps across the East Indies. This inspirational film, based on the memoirs of survivors and starring some of today’s most respected female stars, focuses on one such camp on the island of Sumatra.

Set in 1942, the story begins when a group of Allied soldiers and their wives and girlfriends are forced to flee Singapore when the city falls to the Japanese. They escape by boat, but one boat is sunk and a group of women are captured and thrown into a Japanese POW camp. As they fight for survival, they keep their spirits up by forming an astonishing vocal choir that astounds their fellow prisoners and their guards.

SEVEN POUNDS

Pic: Rosario Dawson and Will Smith in “Seven Pounds”

Curiously compelling tale skilfully woven by director Gabriele Muccino. (Review by Billy Suter)

For the first half-hour or so of the two-hour-plus drama, Seven Pounds, the audience is clutching at straws, trying to unravel the tangle of a string of enigmatic characters and situations that add to the puzzle that is the life of the ever-earnest and clearly troubled lead character.

But the fragmented, flashback approach to the unfurling of the story works in the film’s favour, making curiously compelling a tale that - were it presented in linear fashion and placed in the hands of a lesser director - is almost certain to have quickly dissolved in a flood of syrupy schmaltz.

Not that the final product doesn’t still ripple with sentiment. It does – and there’s enough of it to ensure at least someone in the cinema will wipe an eye or stifle a sniffle.

The story, frankly, is pretty absurd, but one buys into it through strong central performances from Will Smith and Rosario Dawson and the novel unfolding of the story, which starts to reveal clues to its mysteries about halfway through. Be warned, however, that director Gabriele Muccino, who directed Smith to an Oscar nomination for the far better The Pursuit of Happyness is in no rush to tell his story. The pacing, it should be noted, is funereal at times and one’s patience will be tested.

Smith plays US Internal Revenue Services agent Ben Thomas who, we quickly ascertain, is a man depressed and guilt-ridden: “God created the world in seven days; I destroyed mine in seven seconds,” he utters during the film’s opening credits.

Thomas, we discover, is trying to become something of a super-Samaritan, rattling off seven names of strangers to whom he swears to dish out acts of kindness, varying from financial help or a safer haven, to body parts should they so require them. This, we gather, is to make him feel better for a secret that becomes increasingly obvious as we get more information in flashback sequences.

We learn the secret relates to a lovely woman from a picturesque beach home – and we also learn that Ben’s life has links to a blind salesman and freelance pianist (Woody Harrelson), a social worker who expresses a great appreciation of Ben, and a battered mother. Also hurled into this convoluted tale are a vegetarian Great Dane, a deadly jellyfish, a broken printing machine, a seedy motel and odd conversations between Ben and his brother and Ben and a longtime pal.

You’ll be relieved to know the story strands do meet eventually, making sense by the time we reach the finale, by which time Ben has become increasingly attached to a woman he helps – a maker of greeting cards, Emily (Rosario Dawson), who is awaiting a heart transplant. Rating 6/10 - Billy Suter

MIDLANDS ART AND MUSIC

Art and music afternoon in the Natal Midlands at the home of Kaolin Thomson.

An Art and Music Afternoon will be held in the Natal Midlands on March 8 at the home of acclaimed musician/artist Kaolin Thomson.

Musicians involved are Dan Chiorboli (percussion), Chris Beasley (guitar/vocals) and Kaolin on flute/keys/voice. The event kicks off at 16h00 and includes art activities for children and cheese and wine for grown ups!

Tickets R80 (R20 children). Phone for bookings (essential) and directions on 082 822 6888 or email kaolin@worldonline.co.za

THE LOONEY LAHNEE SHOW

(Pic: Ashwin Singh, Dhaveshan Govender, Kajal Maharaj and Shika Budhoo)

Ashwin Singh and Dhaveshan Govender have teamed up to present their tongue-in-cheek skits at the Catalina Theatre

Taking a Monty Pythonesque view of the ‘new’ South Africa, playwright/producer and lawyer Ashwin Singh and playwright/actor – Dhaveshan Govender, have collaborated once again to present their bird’s eye view of South Africa’s Indian community (and the way in which they cope with the changes in the country) in The Looney Lahnee Show, soon to be seen at the Catalina Theatre.

One of the subjects which comes under the spotlight is the spate of Bollywood movies which are being filmed in South Africa and in Durban, in particular. The audience is taken on a journey through the eyes of an aspirant actress/dancer – in this case, SABC2 presenter Kajal Maharaj who will be performing four dance items from the ‘movie’.

Those who saw New Suburbia at the Catalina Theatre last year which dealt with the move to, and the adjustment of, formerly disadvantaged community members into the formerly ‘white’ suburbs will recognise Shika Budhoo as well as some of the skits which have now been ‘tightened up’.

Join Uncle Johnny and Uncle Bobby as they focus on ‘the good old days’ when the wife’s sister used to visit (and almost became part of the furniture with her prolonged stay) and used to be referred to as the ‘extra’ Auntie; garner some tips on how to become the best bus conductor you can be; and laugh at the universal ‘henpecked’ husband.

If you have a quirky sense of humour; enjoy the depictions of characters from a colourful community then The Looney Lahnee Show at the Catalina is tailor-made for you!

The Looney Lahnee Show takes place at the Catalina Theatre at Wilson’s Wharf Waterfront from March 12 to April 5 wit performances from Thursday to Sunday. Tickets R70 (R45 pensioners and students in possession of a student card or in school uniform).

There will be BUY 1 GET 1 FREE on Saturday (17h00) and Sunday (14h00) shows.

Make it an evening/ lunch out and take advantage of the discount offered to show-goers by Taste of India at the Waterfront – a meal, a show and a magnificent setting.

Bookings through www.strictlytickets.com; www.catalinatheatre.co.za; via the Strictly Tickets Call Centre on 087 806 5000 / 073 725 7381 or Thandeka at the Catalina Theatre on 031 305 6889.

CALL FOR STAGE PRODUCTIONS

Playhouse Company invites arts practitioners to submit proposals.

This is an opportunity for independent producers and production houses to see their work being performed under the aegis of one South Africa’s premiere professional theatre organisations. The Playhouse Company is devising its artistic plans for 2010/11, and invites arts practitioners to submit for consideration proposals for stage productions in the areas of Dance, Drama and Music.

Proposals must be for productions that are ready to be staged and not in concept or script phases. Work must be of a high artistic standard. Applicants may apply in one or more of the following categories:

- South African Women’s Arts Festival: vibrant and innovative productions that highlight the contributions made by women in society, in all fields of the performing arts.

- New Stages: cutting edge theatre productions that reflect the life and history of the New South Africa, highlighting the best of our artistic and cultural heritage.

- Hip Kulcha Programme: programmes that include elements of skills transfer or that provide a safe space for youth issues to be debated.

- Schools programme: stimulating and accessible script adaptations of matric setworks to be presented in schools around KwaZulu-Natal. Designed to facilitate the learning process, these script adaptations must comply with matric setworks prescribed by KZN Department of Education.

Following a review process of up to three months, successful applicants will be notified and given appropriate use of Playhouse Company venues for rehearsals and standard performance fees. The standard cost of Playhouse theatre hire charges will be waived. Further ‘in-kind’ benefits will include stage lighting and sound facilities, costumes, sets, and administrative support, where applicable.

Applications are also invited for IN ASSOCIATION PARTNERSHIPS. Only fully fledged, professional, ready to be staged productions will be considered, for productions that can be presented during the course of the year. In return, The Playhouse Company will pay standard performance fees, provide access to existing costumes, sets and technical services.

A limited number of productions in all the above categories are selected each year. Forms will be available from the Playhouse Company’s Head Office foyer, at 29 Acutt Street, Durban, from March 1 to April 15 between 09h00 and 11h00 on Tuesdays, Wednesdays and Thursdays ONLY.

These forms may also be accessed by email via The Playhouse Company’s website at www.playhousecompany.com from March 1 2009.

Completed applications must be dropped in the box marked Arts Proposals in the Playhouse Company Head Office foyer. No faxed or emailed completed proposals will be considered. Out-of-town applicants may however have their completed forms delivered by courier service (not post) to The Playhouse Company at the above physical address.

Applications close on the April 16, 2009.

ELECTIONS & ERECTIONS

(Pic: Evita in full election mode!)

Tongue firmly in cheek, Evita Bezuidenhout promises a serious challenge in the forthcoming elections. (Review by Caroline Smart)

At the end of her show, Elections and Erections which opened last night at the Elizabeth Sneddon Theatre, Evita Bezuidenhout celebrates the fact that South Africa is extremely lucky to have the best democracy in the world and to have had visionaries like Nelson Mandela and Desmond Tutu contribute their all-embracing philosophies for the betterment of the country.

Personally, I think South Africa should also congratulate itself that it has produced an extraordinary and unique being such as Evita Bezuidenhout whose forthright and searingly-accurate comments and appraisal of the country’s politics - and its politicians - have gathered her a loyal and highly substantial following around the world.

Okay, she is the product of the equally acute-minded and outspoken Pieter-Dirk Uys, a legend in his own time, who has created and developed her over the years. Although, he would be the first to admit that from her first appearance, Evita took her identity and ran with it - to the extent that she is now promising a serious challenge in the forthcoming elections.

Elegantly groomed as always, maturing with the times in terms of hairstyle and dress, Evita is a force to be reckoned with. This was borne out by tonight’s audience whose response to her much-anticipated appearance was prolonged and sincere. In fact, the applause started before she even arrived on stage in the second part of the programme. To be fair to Pieter-Dirk Uys, there was also applause in the first part before he appeared!

Pieter-Dirk Uys published Elections & Erections in book form. With cartoons by Zapiro, it charts his life and times growing up in a racist/apartheid era/strict Calvinistic society that forbade inter-racial sex and homosexuality. In the stage show, he reminds us of his capacity to tell a compelling and poignant story as he relates one of his experiences across the colour and sex bar when he was a young man. Remember, we’re talking 1966 here, before South Africa achieved enlightenment!

The first half also sees the appearance of characters such as Hilary Clinton, morphing into an extremely good likeness of Bill Clinton. We meet Karen van Zyl from Brakpan who moved to the US and became employed as a decoy for Sarah Palin but now works at The White House. Pooper-scooper in hand, her job is to clean up after the new president’s dog.

We meet old friends – socialite Nowell Fine and junk shop owner Mrs Peterson. Nowell Fine bemoans her experience with the Department of Home Affairs as, with a copy of The Da Vinci Code and its hidden bank note in hand for bribery purposes, she battles to acquire her identity documents. Mrs Peterson is surrounded by pamphlets from the various parties, encouraging her to place her vote their way. She’s not swayed too easily believing that none of the parties have convinced her of their capacity to run a country effectively.

The backdrop is made up of a wide range of posters from the beginning of South Africa’s democracy flanking a massive photograph of Tannie Evita on the steps of Parliament holding the cactus that made headlines in 1999 when she marched into Parliament with it! No-one escapes the Dirk-Uys penetrating eye: Thabo Mbeki and Jacob Zuma appear as puppets – Zuma with the inevitable Zapiro shower on his head. While acknowledging his difficulty in impersonating Kgalema Mothlanthe, Dirk-Uys uses a skilful lighting effect to create the interim president for a few brief seconds.

The witty and cutting-edge remarks keep coming such as: “Politicians have to lie – if they told the truth, we’d never vote for them” …”We need a government that protects men and women – and convertibles” … “South Africa is the dining room – choose which menu you want from the number of kitchens available” (ie ANC, UFP, DA, etc) … and “With 11 official languages, no-one can ever say that they didn’t know what was going on”.

Every evening, Evita will have a guest personality in the spotlight. Last night it was Ethekwini City Manager, Mike Sutcliffe, who held his own against Evita’s candid repartee as well as vociferous response from the audience!

Both Pieter-Dirk Uys and Evita Bezuidenhout remind us of the power that each and every individual South African possesses in order to make a change – if they so wish it – in their society. If you don’t cast your vote, don’t sit and whinge!

Elections & Erections runs at the Elizabeth Sneddon Theatre from February 17 to 28 with shows from Tuesday to Saturday at 20h00 and Sunday at 15h00. There will be extra performances on Friday (February 27) and Saturday (February 28) at 17h00. Book at Computicket – Caroline Smart

”Elections & Erections” goes on to run at the Nelson Mandela Theatre at the Jo-burg Theatre (Civic Theatre) from March 3 to 15 and then at the Baxter Theatre in Cape Town from April 7 to May 2.

INSPIRED

Weekend Creativity Retreat covers full spectrum of the creative arts.

The Inspired Creativity Retreat for March will be held at Umdloti Beach on the KZN North Coast.

Workshop facilitators of the Inspired experience, Jane Ross and Margaret Rogers, are both university qualified drama specialists with a wide range of experience in the fields of creative arts and alternative healing.

“The INSPIRED! experience is founded on the knowledge that each one of us is inherently creative,” explains Margaret Rogers. “We provide a peaceful nurturing atmosphere for creativity to arise naturally, whether one is a professional artist practising in a chosen field, or simply a person longing for direction or fulfillment of some deeply buried potential. With lightness and humour, we begin with an in-depth clearing of creative blocks.

“Many forms of expression are explored through creative play,” she continues. “We cover the full spectrum of the creative arts from song, to painting, from dance to craft, poetry and more. There will be space for introspection, journalling and connection to nature, as well as pure celebration of life. We believe that joy is our natural state. Our aim is for participants to leave on Sunday feeling clear, relaxed, regenerated and truly INSPIRED!

“Our venue has a magnificent sea view, is right on the beach, and gives the feeling of being far away from the city. Overnight accommodation is provided at a bed and breakfast 2min walk away.”

The next Inspired Creativity Retreat takes place from March 7 at 09h00 to March 8 at 17h30.

To book, contact Margaret on 072 553 8647 or 031 267 0569 (email: margaret@blissful.co.za) or Jane on 083 483 0025 or 031 568 2247 (email: janeross@telkomsa.net)

NOT ALONE

Pic: Detail of Keiskamma Altarpiece

International project of Make Art/Stop Aids opens at Durban Art Gallery on February 25.

The exhibition Not Alone - An international project of Make Art/Stop Aids opens at the Durban Art Gallery on February 25h.

The exhibition started at the Fowler Museum in Los Angeles where it was shown last year. The project, under which it was first shown - Make Art/Stop Aids - is acknowledged in the title. This version is a newly-curated one which has been conceptualised for South Africa and other venues. Many issues addressed in the earlier version have now changed, particularly with treatment access in South Africa and the exhibition is concerned with this change.

A work made in South Africa, the Keiskamma Altarpiece, was unable to be shown in the original exhibition due to size restrictions and it is a great coup to show this work for the first time in Durban. It toured cathedrals in the US and London to great acclaim last year and has achieved iconic status. The project leader, Dr Carol Hofmeyer, will be present at the opening.

Another highly significant piece is Medicine Man made out of 300 medicine bottles and syringes used by the two artists and their friends and the larger-than-life sculpture is a testament to living positively and an inspiring work. One of the artists, Daniel Goldstein from the US will also be present. Felix Gonzales-Torres, a Cuban born artist who died of Aids in the 90s was recently honoured with a retrospective at the Venice Biennale and his work is represented in most major international collections. His beaded curtain called Blood is another highlight and this is the first time his work has been shown in Africa. Some wonderful Patta scrolls made in a craft project in India form a visually rich display.

The exhibition is an important survey of initiative and artworks on the theme of Aids from four continents. A programme of educational and community events will be organised during the show.

Not Alone - An international project of Make Art/Stop Aids runs at the Durban Art Gallery from February 25 to mid-May. More information from Carol Brown on phone/fax: 031 202 3072 or 083 778 1192.

BARNABAS KELEMAN FOR KZNPO

Notable violinist to perform at KZNPO concert on February 19.

With a career that has been distinguished by numerous successful performances and prominent awards, Barnabas Kelemen is a notable addition to the KZN Philharmonic’s line-up for this season. He performs Mendelssohn’s lyrical Violin Concerto, which, with its frequent virtuoso passages, provides the soloist ample opportunity to showcase his technique and interpretive talents.

Conducted by Omri Hadari, the concert also features Elgar’s cryptic Enigma Variations, which has remained at the forefront of classical repertoire for many years. In it, the composer pays musical tribute to his family and friends through varying and expressive themes.

The concert takes place on February 19 at 19h30 in the Durban City Hall, with a pre-concert lecture from the Friends of Music in the Royal Hotel at 18h00. Booking for both is at Computicket.

GIRLS BEHAVING BADLY

Sassy foursome provide great entertainment in non-stop programme of hit songs at Rhumbelow. (Review by Caroline Smart)

At a time when the economic (global) and political (national) landscape seems uncertain, coupled with post-Christmas/New Year blues, the back-to-school financial crunch – and let’s not talk about the tax deadline or the humidity! – we need a little brightness and beauty in our lives.

The answer lies at Rhumbelow Theatre with the show Girls Behaving Badly. Well-known to Durban audiences are Shelley McLean, Marion Loudon and Janna Ramos-Violante who link up with newcomer Elizabeth Perkins to present a fun and entertaining non-stop (comparatively) programme of hit songs from Diana Ross to Britney, Amy and Madonna. Expect hits associated with Bette Midler, Pussycat Dolls, Gwen Stefani and Tina Turner as well as oldies from Billie Holiday, Connie Francis and Nancy Sinatra.

The “comparatively” part of “non-stop” means that the action does pause for costume changes - of which there are many - when a voice-over by a number of well-known characters from Lisa Bobbert’s hilarious Bobbert Uncut make their mark as they dissect the personalities of the performers.

With Darren King’s amusing scripting, Lisa is eventually heard as herself, lamenting that she wasn’t invited to be in the show despite the fact that she considered a number of the cast to be her close friends … until now!

Don’t let the title mislead you into thinking it’s a raunchy, sleaze show. On the contrary, it’s all good, clean fun and, with an impressive number of very attractive costumes by Shelley Haggard and Kevin Ellis, makes for a visual delight.

While the audience responded with enthusiasm and enjoyment, I think the production can go much further in terms of reaching its true potential and making the most of the talent involved. Stronger direction is required in terms of structure with a thought to providing added extra excitement and flair with more numbers like Marion Loudon’s Calypso-styled I Like You Very Much and Shelley McLean’s I Wanna Be Loved By You. Other individual stand-outs were Janna Ramos Violante’s These Boots Were Made for Walking and Elizabeth Perkins’s poignant I’m Not a Girl.

My standard gripe about backing tracks overshadowing the singers, rendering lyrics near-unintelligible (my oft-quoted description being “cottonwool sound”), unfortunately applies in this case. The Rhumbelow is now air-conditioned, has a new lighting system and an extended stage in front so perhaps attention to the sound system should be next on the venue upgrading schedule. However, as I said, none of these technicalities bothered the audience the night I was there!

Tickets R80. Take along food picnic baskets and braais will be available. There is limited secure parking and booking is essential. A cash bar is available (no alcohol may be brought on to the premises). Rhumbelow Theatre is situated in Cunningham Avenue off Bartle Road. To book contact Roland on 031 205 7602 (h) or 082 499 8636, email roland@stansell.za.net or visit www.rhumbelow.za.net - Caroline Smart

Due to the tremendous success this production has achieved, ”Girls Behaving Badly” will return to Rhumbelow in May to run over the weekends of May 8 to 10 and 15 to 17

MAKING MARKS

Pietermaritzburg’s Midlands Arts and Crafts to host drawing course.

Midlands Arts and Crafts (MAC’S) in Pietermaritzburg will host Making Marks with Sue Physick on February 12 and again on February 26.

Based on the teaching of Jeanette Gilks, this course is aimed at stimulating and extending drawing skills. Further information from Sue on 033 330 4101.

ABBA MOVES TO SUNCOAST

Dockyard Theatre has closed and the current production moved to SuperNova Theatre at Suncoast.

ABBA - The Legend Continues can be seen at the SuperNova Theatre at NuMetro Suncoast from February 26 to 28 following the closure of The Dockyard Theatre at Musgrave Centre.

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 McKibbin who starred in her debut in “Let’s get this party started” and yet another Dockyard discovery, Kieran O’ Brien as well as "So you think you can sing?" runner-up Ruan Geldenhuys, in the role of the young Bjorn Ulvaeus.

Tickets R100 pp. For bookings and more info call NuMetro at Suncoast Casino

MICHAEL GREEN’S WINE NOTES #214

Pleasant surprises from private wine-tasting group.

There were some surprises, mainly pleasant surprises, when our private wine-tasting group met at my home recently.

I presented wines which I described as “unusual reds”, adding that the only theme in the tasting was its lack of a theme. The list had seven wines, five South African and two French, in vintages ranging from 2004 to 1990.

The older wines had survived rather well in Durban’s hot and humid climate. I store wine in a reasonably cool, but not air-conditioned, room on the south side of the house, a room that has little direct sunshine. It is well ventilated, windows at both ends, and the temperature is fairly consistent. Wines in storage for a long time like plenty of air and they do not like frequent and extreme variations in temperature.

The tasting was, as usual, blind and at the end the scoring was very close, most wines being awarded 16 to 17 points out of 20. The top mark went to the Quoin Rock Syrah of 2004, a shiraz from a fairly recently established cellar at Stellenbosch which has vineyards in the Agulhas area (a quoin is a wedge to raise or lower the barrel of an old cannon). This syrah/shiraz (the terms are interchangeable) had a deep colour, intense aromas, and strong spicy/savoury flavours. Everybody admired it. Platter’s Wine Guide gives it four and a half stars out of five.

A big surprise, for all of us, I think, was the fact that second place was taken by the Nederburg Cabernet Sauvignon Reserve of 1996. This 13-year-old wine had held its quality wonderfully well and in the scoring was only a fraction behind the Quoin Rock. It had mulberries and spices on the palate and bouquet and, interestingly, was only 12,5 percent alcohol (these days most of the upmarket Cape reds are 13 to 14,5 percent alcohol). The lasting power of this wine must be a tribute to Nederburg’s then winemaker, Newald Marais, and his team of the mid-nineties.

In third place was something of a rarity: the Paul Wallace Malbec of 2004. Paul Wallace is a veteran viticulturist who operates now in the Elgin area. Malbec is a grape that is used for very few single cultivar wines in South Africa, about 20 in a total of more than 6 000 wines produced annually. This variety comes originally from Bordeaux and is still grown extensively in France and in Argentina, but very little of it is planted in South Africa. The Paul Wallace Malbec is fruity, with blackcurrant features, and it has a lingering, rather dry aftertaste. Our tasters liked it very much.

Two other recent Cape vintages were up there with the leaders, both of them Bordeaux blends: La Motte Millenium 2004 from Franschhoek, flavours of berries, chocolate and spice; and The Work of Time 2003 from Springfield estate at Robertson, ripe plums and chocolate.

The two French wines offered were Carruades de Lafite 1990, a “second wine” to the famous Chateau Lafite de Rothschild from a 300-year-old estate at Pauillac in the Bordeaux region owned by the Rothschild banking family; and Chateau L’Arrosee 1994, from Saint-Emilion, also in the Bordeaux area. Both these wines were the classic Bordeaux blend: cabernet sauvignon, cabernet franc and merlot, with a touch of petit verdot, and both were 12,5 percent alcohol. Both were, I fear, past their best, but both were still very drinkable.

The lunch my wife provided after all this (and a couple of bottles of champagne to start with) was vichyssoise chilled soup; lasagne; strawberries, blueberries and ice-cream. Sounds OK to you? Tasted OK to me. – Michael Green

VIVA LAS VEGAS!

(Pic: Shelley McLean)

New Barnyard Theatre production showcases musical highlights from Las Vegas.

Viva Las Vegas is a new Barnyard Theatre production showcasing magical musical highlights from the entertainment capital of the world, and is scheduled to blow away audiences at The Barnyard Theatre at Gateway from February 24 to April 5.

Las Vegas has staged some of the greatest, most spectacular live performances in musical history, and this show features a wide range of hit songs performed there over the last 50 years. It might be a city based on flash and cash, but an invitation to perform there means that a star is considered to be one of the most influential of their time. The giddy excess of Vegas and eager hedonistic audiences are appealing but, joining the ranks of luminaries like Elvis Presley, Frank Sinatra and Elton John who have taken to the stage there, is the hallmark of success.

It all began in 1941 when El Rancho Vegas, the only resort on the Las Vegas Strip at the time, lured singers, comedians, strippers, instrumentalists, dancers and a wide variety of performers to entertain hotel guests in a small, intimate showroom. This formula proved to be a winner and the hotel-casinos that followed imitated this successful format.

The Stardust, however, broke with the star policy by debuting a stage spectacular as its main entertainment feature. The resort imported the Lido de Paris from France, and it was immediately acclaimed by critics as a more spectacular version than the Paris original. The show ran for an incredible 31 years.

During the 50s and 60s, casino lounges also provided continuous entertainment from dusk to dawn at no charge to the customer except the cost of a drink, and these lounges became major entertainment attractions in their own right. But, it is the stages of the big hotels which still lure all the big names in show business.

At The Barnyard Theatre at Gateway, a dynamic 12-piece cast, including two sexy showgirls, will take audiences on a memorable musical journey which begins with the Rat Pack of the 1940s (Frank Sinatra, Sammy Davis Jnr and Dean Martin) who left an indelible mark on the industry, and continues with more recent superstars and timeless musical gems from Elton John, Celine Dion, Tina Turner, Elvis, Billy Joel, Cher, Tom Jones, Bryan Adams, Carole King and many more.

Included in the hit line-up are Copacabana, Come Fly With Me, That’s Amore, It’s Not Unusual, My Heart Will Go On, All Shook Up and Proud Mary.

Some of the country's finest musicians and vocalists have been assembled and they will pour their hearts and souls into this amazing tribute that guarantees a spectacular evening of top-class entertainment. The cast is led by Kieran Rennie who is joined on male vocals by Percy Smith, and female vocals by Shelley McLean and Felicity Buffel. The band is made up of Adrian Beecham (guitar/vocals), Calli Thomson (keyboards), Bongani Sokhele (bass guitar), PW van der Walt (drums), Vicky Goddard (saxophone), Sakhile Simani (trumpet) and dancers Denya Maslen and Danielle Mann.

Tickets R105 pp Wednesday to Saturday (R70 pp Tuesday night and Sundays) For bookings and enquiries, phone The Barnyard Theatre on 031 566 3045, e-mail gateway@barnyardtheatres.co.za or visit www.barnyardtheatres.co.za for more information.

KZNPO CONCERT: FEBRUARY 12, 2009

Soloists and conductor performed with distinction at highly enjoyable concert. (Review by Michael Green)

The KZN Philharmonic Orchestra is playing a good deal of Mendelssohn this season to mark the two hundredth anniversary of the composer’s birthday, and the opening item was a work that I don’t think has been played before in Durban, a novelty that aroused great enthusiasm in the big audience.

This was Mendelssohn’s Concerto for Violin and Piano in D minor, written in 1823 when the composer was 14 years old. It is an amazing achievement for one so young - a full-scale 35-minute concerto with poise, elegance, expert writing for the two soloists, and a constant flow of melody.

Mendelssohn and the audience were well-served by the soloists - German-born, London-based Florian Uhlig (piano) and South African-born Zoë Beyers (violin) - and by the visiting Israeli conductor Omri Hadari. All three performed with distinction.

Mendelssohn, with his usual impeccable judgment, wrote this concerto for string orchestra, taking into account the delicate balance with piano and violin. This City Hall performance was, however, given by the full orchestra, in an arrangement of the original score. I can’t think why. No explanation was given in the programme. The concerto sounds better for strings alone.

Be that as it may, the vivacity and virtuosity of Florian Uhlig and Zoë Beyers carried us all along in irresistible fashion. That plus some beautiful playing in the concerto’s lyrical passages. A long duologue between piano and orchestra in the first movement seemed to have the audience spellbound; you could have heard a pin drop.

Zoë Beyers played with excellent intonation and phrasing, and I must make special mention of Florian’s keyboard part. He is a virtuoso, a young lion of the piano, as was demonstrated earlier in the week when he played some Mendelssohn piano works for the Friends of Music. But his playing in the concerto was a model of discretion and control. There were big virtuoso passages, to be sure, but when it was desirable to do so he deferred sympathetically to the solo violin, a fine example of good ensemble playing.

And it was a pleasure to see two accomplished professionals go about their demanding task with a minimum of fuss and no flamboyance. Their playing said all that needed to be said.

All the players deserved the ovation that an appreciative audience gave them at the end.

The concert began with Rossini’s overture to his opera An Italian Girl in Algiers and ended with an old favourite, Mendelssohn’s Italian Symphony, one of the composer’s happiest inspirations. All highly enjoyable. - Michael Green

VERSES & SOUNDS

OPEN MIC Poetry/Jazz Jam Sessions at Jazzy Rainbow.

Thursday nights will never be the same with the birth of Verses&Sounds: Open Mic Poetry and Jazz Jam Sessions evenings hosted at The Jazzy Rainbow, the laid-back lounge/jazz club in the Windermere area.

This concept aims to create a platform/medium in which poetry and jazz lovers can express themselves and also to liven up Thursday evening.

Poets, poetic vocalists, spoken word artists, jazz cats, musicians and appreciators of jazz/soul/poetry are all welcomed to be part of this evening - to perform or listen and enjoy the ambiance of the venue. To perform, register your name to soundsandverses@gmail.com For musicians, acoustic piano, drums and sound are provided - bring your own guitars, keyboards, etc.

Verses&Sounds takes place at The Jazzy Rainbow on the corner of Windermere and Goble Roads on February 19 from 18h30 to 22h00. Entry: Pay As You Can. For more information contact 072 432 0472 or 072 118 8515.

MUSIC JOURNALISM COURSE

Cape Town International Jazz Festival provides short course for working and aspiring music writers.

Ever read a music story in your newspaper and wondered where the reviewer learned to do it? In fact, many reviewers simply had to teach themselves – because there are no dedicated music journalism courses in South Africa!

Except for one. Every year, the Cape Town International Jazz Festival provides a short course for working and aspiring music writers. Over the first six years, 95 people have benefited from the programme, including journalists writing for the Mail & Guardian, ClassicFeel, the Star Tonight, Bush Radio, Music Industry Online and many more publications, stations and websites.

The programme draws participants from print, online and broadcast journalists, photojournalists, arts publicists, arts and media students, performers and cultural workers. Like the rest of the CTIJF, the course takes its community responsibility seriously. Every year, bursaries – this year kindly supported by BASA (Business & Arts South Africa) - make it possible for community journalists, students and freelancers to take part.

The curriculum covers the syllabus of the Specialist Journalism Unit Standard (117541) of the SAQA-accredited Level Five National Certificate in Journalism. Those on a learnership at a media house will supplement their end-of-year assessment portfolios with insightful arts stories.

Course participants will be mentored to generate and pitch exciting and fresh music stories, improve reporting, interviewing and writing in ways directly relevant to arts journalism. Those in radio and multimedia will be guided as to effectively collect and edit the best sound for their stories. Journalists will learn how to build up the right contacts and how to reach readers or listeners with accessible, interesting arts news and features.

The week-long programme isn't just about classroom learning. Participants are set intensely practical mentored assignments covering every aspect of the Festival, from concerts to workshops. Radio participants – usually either student broadcast journalists or new entrants to the newsroom -- learn to develop basic radio reporting skills and apply them to specialist arts reporting; trainees are expected to produce work from the first day, using the working environment of the jazz festival, interviewing musicians, attending press conferences and producing specialist radio features and inserts.

In the past, enterprising learners have sometimes gained unique access to Festival role-players and exclusive stories. One 2008 participant told us: “These sessions helped teach me how to balance literary creativity with consumer understanding and commercial viability…The practical side really helps to understand what covering the music industry demands of a writer.”

Among the trainers is Gwen Ansell who is a well-known media trainer/ consultant and author of both university journalism set text Introduction to Journalism and the SA jazz history book Soweto Blues. She works as a freelance arts writer for the Mail & Guardian, The Weekender and Business Day among others, and collaborated on the South Africa chapters in the current edition of The Rough Guide To World Music. In 2008, she was Louis Armstrong Visiting Professor in the Center for Jazz Studies at Columbia University in New York.

Karen Williams is a journalist and media trainer who works in Africa and Asia. She started her career as an arts editor at the anti-apartheid weekly, South. Since then she has worked at the IAJ, BBC World Service, BBC World Service Trust and Internews, among others. Her media work encompasses the arts, international justice, conflict reporting and human rights.

The dates of the course are from March 28 to April 4 (full-time). The fee of R1,200 includes admission to relevant events and a portfolio of learning materials.

Course participation is by advance application only and class size is strictly limited. Only 24 places (12 print, 12 broadcast) are available. Applications must be received not later than close of business on March 6, 2009.

Apply early! See CTIJF website for full details including bursary on www.capetownjazzfest.com

DENIS HURLEY CENTRE

Innovative centre to house book shop; craft shop; resource centre; library; museum and exhibition space.

An exciting new initiative spearheaded by Emmanuel Cathedral will breathe life into a pre-WW1 building in the inner city, transforming it into an innovative outreach centre.

Led by Cardinal Wilfrid Napier, the launch of the Denis Hurley Centre will take place on February 15.

Archbishop Denis Hurley OMI was a bishop and archbishop of Durban from 1947 to 1992 becoming known internationally for his stand against apartheid and his active involvement in reform of the Catholic Church. After retiring in 1992, he became parish priest of the Cathedral for the last ten years of his active ministry.

Situated on the corner of the busy Denis Hurley Street (Queen Street) and Cathedral Road in the heart of the city, the three storey Emmanuel Cathedral Parish Centre was built as a primary school shortly before the beginning of WW1. Already much in use, the vision is to give this sturdy building a major upgrade, overhaul and facelift. It is a listed building, so the distinctive façade cannot be altered. The intention is to make the building more useful for the social service and educational objectives of the Cathedral without compromising the centre’s heritage, and adding to its architectural value.

The new building will house the Cathedral’s outreach and social responsibility programmes – including homeless support and feeding projects; refugee pastoral care; nursing / HIV / AIDS programme; a comprehensive counselling service; the St Vincent de Paul Society. A subtext to the vision is community building – creating bridges between the Zulu speakers, English speakers and refugees in the parish.

This will be complemented by a multi-purpose conference and educational centre; catering facility; coffee shop; book shop; craft shop; resource centre; library; museum and exhibition space. Special focus will be given to house collections of the work and memorabilia of the late Denis Hurley after whom this centre will be named. There will also be accommodation offered for visiting interns and volunteers.

For more information, contact the Emmanuel Cathedral on 031 306 35 95.