Respected art teacher now conducted art classes every week.
Respected art teacher Fransie Pretorius reports that she has been persuaded to start teaching art again and now holds two Art Classes per week, one on a Wednesday morning and one on a Saturday afternoon.
“With the exception of one or two students, none of the participants in the course had done any art before,” says Fransie “I am amazed at how much each student improved after only attending one or two classes. I am sure we have some budding artists in the make.”
Participating students have the opportunity to develop skills in drawing and painting. Satisfaction with your own progress, is guaranteed. There are opportunities for the exploration of various media including charcoal, pastels, water based paints and oil painting.
“Through the study of art,” continues Fransie, “students become more aware of the world around them, whilst their own hidden ideals and desires become more apparent. Most importantly, students discover their own value, build up their self esteem and experience the sweet taste of achievement and self-realization.
Contact Fransie Pretorius on 031 266 6422 or e-mail: fransiep@telkomsa.net
Monday, June 29, 2009
WALLANDER
Kenneth Branagh to appear in BBC Entertainment television series.
Running from June 29 to July 1 from 20h30 to 22h00 on BBC Entertainment on DStv is Wallander, a three-episode series starring Kenneth Branagh (Valkyrie, The Boat That Rocked) as Kurt Wallander, Anne-Brit Hoglund (At Home With The Braithwaites, Jane Hall) as Sarah Smart and David Warner (Hogfather, The Titanic) as Povel Wallander.
Directed by Philip Martin (Prime Suspect) and produced by Simon Moseley (The Wings of the Dove, Still Crazy), the series is based on the novels by Henning Mankell and adapted by Richard Cottan (Colditz).
The dramas follow Swedish Inspector Kurt Wallander – a middle-aged everyman – as he struggles against a rising tide of violence in the apparently sleepy backwaters in and around Ystad in Skane, southern Sweden.
In this first film, Sidetracked, a girl is seen wandering alone in a rapeseed field. Inspector Wallander is called to investigate. Before his eyes, the girl douses herself in petrol and burns to death – the event is both shocking and baffling for Wallander. A hunt for the girl’s identity begins.
Recently estranged from his wife, Wallander has moved into his own place. Linda, his grown-up daughter, is keeping an eye on her dad as he adjusts to bachelor life. Wallander’s relationship with his own father, Povel, is difficult and, as it becomes clear that Povel’s health is in decline, Wallander strives for reconciliation with him.
Meanwhile, Wallander’s workload soars as three apparently motiveless murders are committed. The victims are all male: a former minister of justice, a small-time criminal and a rich playboy. All are viciously killed, their scalps inexplicably taken. Wallander and his team investigate, determined to discover who the killer is and how these murders are connected.
Running from June 29 to July 1 from 20h30 to 22h00 on BBC Entertainment on DStv is Wallander, a three-episode series starring Kenneth Branagh (Valkyrie, The Boat That Rocked) as Kurt Wallander, Anne-Brit Hoglund (At Home With The Braithwaites, Jane Hall) as Sarah Smart and David Warner (Hogfather, The Titanic) as Povel Wallander.
Directed by Philip Martin (Prime Suspect) and produced by Simon Moseley (The Wings of the Dove, Still Crazy), the series is based on the novels by Henning Mankell and adapted by Richard Cottan (Colditz).
The dramas follow Swedish Inspector Kurt Wallander – a middle-aged everyman – as he struggles against a rising tide of violence in the apparently sleepy backwaters in and around Ystad in Skane, southern Sweden.
In this first film, Sidetracked, a girl is seen wandering alone in a rapeseed field. Inspector Wallander is called to investigate. Before his eyes, the girl douses herself in petrol and burns to death – the event is both shocking and baffling for Wallander. A hunt for the girl’s identity begins.
Recently estranged from his wife, Wallander has moved into his own place. Linda, his grown-up daughter, is keeping an eye on her dad as he adjusts to bachelor life. Wallander’s relationship with his own father, Povel, is difficult and, as it becomes clear that Povel’s health is in decline, Wallander strives for reconciliation with him.
Meanwhile, Wallander’s workload soars as three apparently motiveless murders are committed. The victims are all male: a former minister of justice, a small-time criminal and a rich playboy. All are viciously killed, their scalps inexplicably taken. Wallander and his team investigate, determined to discover who the killer is and how these murders are connected.
MICHAEL GREEN’S WINE NOTES #223
Is it necessary and/or desirable to store bottles of wine horizontally?
The current issue of a magazine publishes a full-page advertisement for a restaurant with a cellar that has “some of the rarest and most adored South African wines, including a unique collection of rare wines unavailable anywhere else”.
What interests me, however, is not the advertising text but the photograph which accompanies it. A wine expert of some kind stands in what is presumably the cellar, almost surrounded by shelves with about a hundred bottles of wine that are visible in the picture. And all of them are standing vertically.
Which re-opens a question I am often asked: Is it necessary and/or desirable to store bottles of wine horizontally?
Yes, it is, and for good reasons. The main object is to keep the wine in contact with the cork and to keep it from contact with the air. Fresh air is lovely (in small doses) but not for wine. Wine that is exposed to the air tends to oxidise and lose flavour and quality. The purpose of the cork is to prevent that exposure. And corks that are dry tend, over a long period, to shrink and lose their sealing power in the neck of the bottle.
The obvious conclusion is that if you wish to store wine for any appreciable period you should put the bottle on its side. Whether this applies to wine with screwcaps, which are being used more and more in South Africa and elsewhere, is a moot point.
The sensible approach, I think, is to store all bottles of wine horizontally. It can’t do any harm and it’s a good habit to develop. Wine storage in general is quite a complex subject. The temperature of the cellar or storage room is of importance. The ideal temperature is reckoned to be about 13 degrees Celsius, the temperature of the caves in which wine is sometimes stored in France. Broadly speaking, anything between 7 and 18 degrees is good.
That’s easy if you live in Toronto or Auckland, but Durban seldom has a temperature of below 18 degrees (one of the many things I like about our town). If you have an air-conditioned cellar or room the problem is solved, but air-conditioning is quite expensive in terms of electricity bills and most people don’t want to “waste” it on bottles of wine.
The answer is to try to maintain an even temperature if your wine room has no air-conditioning. The room should be on the cool side of the house or flat, well-ventilated, and reasonably dark for most of the time and free of smells like kitchen odours. You can turn on a bright light but don’t leave it on all the time. The vinomaniacs inspect their cellared wines with unscented candles (not bright, no odours).
Humidity is also a factor (a very dry climate can affect corks adversely), but I don’t think it should be a problem in Durban.
If all goes well you should be able to keep a good red wine for ten years or more, and enjoy an improved wine at the end of the road. Don’t wait too long. At least one person I knew had a large collection of expensive wines, drank cheaply to conserve his precious bottles, and died before he got round to drinking them.
And remember, most South African reds are just about ready to drink when you buy them. Research showed that more than 90 percent of all the wine sold every year is consumed within 24 hours of purchase. And the wine industry sensibly adjusted its output to meet the requirement of the market. – Michael Green
The current issue of a magazine publishes a full-page advertisement for a restaurant with a cellar that has “some of the rarest and most adored South African wines, including a unique collection of rare wines unavailable anywhere else”.
What interests me, however, is not the advertising text but the photograph which accompanies it. A wine expert of some kind stands in what is presumably the cellar, almost surrounded by shelves with about a hundred bottles of wine that are visible in the picture. And all of them are standing vertically.
Which re-opens a question I am often asked: Is it necessary and/or desirable to store bottles of wine horizontally?
Yes, it is, and for good reasons. The main object is to keep the wine in contact with the cork and to keep it from contact with the air. Fresh air is lovely (in small doses) but not for wine. Wine that is exposed to the air tends to oxidise and lose flavour and quality. The purpose of the cork is to prevent that exposure. And corks that are dry tend, over a long period, to shrink and lose their sealing power in the neck of the bottle.
The obvious conclusion is that if you wish to store wine for any appreciable period you should put the bottle on its side. Whether this applies to wine with screwcaps, which are being used more and more in South Africa and elsewhere, is a moot point.
The sensible approach, I think, is to store all bottles of wine horizontally. It can’t do any harm and it’s a good habit to develop. Wine storage in general is quite a complex subject. The temperature of the cellar or storage room is of importance. The ideal temperature is reckoned to be about 13 degrees Celsius, the temperature of the caves in which wine is sometimes stored in France. Broadly speaking, anything between 7 and 18 degrees is good.
That’s easy if you live in Toronto or Auckland, but Durban seldom has a temperature of below 18 degrees (one of the many things I like about our town). If you have an air-conditioned cellar or room the problem is solved, but air-conditioning is quite expensive in terms of electricity bills and most people don’t want to “waste” it on bottles of wine.
The answer is to try to maintain an even temperature if your wine room has no air-conditioning. The room should be on the cool side of the house or flat, well-ventilated, and reasonably dark for most of the time and free of smells like kitchen odours. You can turn on a bright light but don’t leave it on all the time. The vinomaniacs inspect their cellared wines with unscented candles (not bright, no odours).
Humidity is also a factor (a very dry climate can affect corks adversely), but I don’t think it should be a problem in Durban.
If all goes well you should be able to keep a good red wine for ten years or more, and enjoy an improved wine at the end of the road. Don’t wait too long. At least one person I knew had a large collection of expensive wines, drank cheaply to conserve his precious bottles, and died before he got round to drinking them.
And remember, most South African reds are just about ready to drink when you buy them. Research showed that more than 90 percent of all the wine sold every year is consumed within 24 hours of purchase. And the wine industry sensibly adjusted its output to meet the requirement of the market. – Michael Green
XMAS IN JULY
Centrefold perform at Bangkok Wok in Hillcrest.
Centrefold have devised an evening’s entertainment around the concept of Christmas in July which is becoming very popular in South Africa because the weather is cool enough to indulge in all the trappings of Christmas.
However, Centrefold will provide an added twist to this concept in adding the Thai flavour by performing at their show at Bangkok Wok at the Heritage Market, Hillcrest.
On the programme will be Christmas Pop songs by George Michael, John Lennon, Mariah Carey and Chris de Burgh. Also included will be Duffy’s Mercy, Katie Perry’s Hot and Cold, Kid Rock, etc)
Prizes on offer include hampers sponsored by Collisons, a free Hair voucher sponsored by Glynis@Home and a free Sushi Meal Voucher sponsored by Bangkok Wok.
Xmas in July will be performed on July 4 at 18h30 for 19h00 with free sherry on arrival. Patrons can enjoy either a meal of sushi at the new sushi bar or their choice off the a la carte menu. Couvert charge R50 per person. Bookings essential through Jane on 031 765 1516 or email: candow@netactive.co.za
Centrefold have devised an evening’s entertainment around the concept of Christmas in July which is becoming very popular in South Africa because the weather is cool enough to indulge in all the trappings of Christmas.
However, Centrefold will provide an added twist to this concept in adding the Thai flavour by performing at their show at Bangkok Wok at the Heritage Market, Hillcrest.
On the programme will be Christmas Pop songs by George Michael, John Lennon, Mariah Carey and Chris de Burgh. Also included will be Duffy’s Mercy, Katie Perry’s Hot and Cold, Kid Rock, etc)
Prizes on offer include hampers sponsored by Collisons, a free Hair voucher sponsored by Glynis@Home and a free Sushi Meal Voucher sponsored by Bangkok Wok.
Xmas in July will be performed on July 4 at 18h30 for 19h00 with free sherry on arrival. Patrons can enjoy either a meal of sushi at the new sushi bar or their choice off the a la carte menu. Couvert charge R50 per person. Bookings essential through Jane on 031 765 1516 or email: candow@netactive.co.za
THE BEST OF IAN AND RORY
Consummate musicianship from Ian von Memerty and Rory Rootenberg. (Review by Charlotte Fairfax)
Ian von Memerty and Rory Rootenberg sparkle in a veritable layered mix of gentle comedy and acoustic music for voice and piano in The Best of Ian and Rory currently on at the Elizabeth Sneddon Theatre for a short season until June 28.
The Best of Ian and Rory is the third in the trilogy of productions for piano and voice: following on from A Handful of Keys and Cadenza and More, produced by uber-amazing local producer Roland Stansell.
The carefully-chosen programme of works is daring, personal, sophisticated and surprising. It reminds us that although musical theatre is hugely about vocal skill, it works best when conveying buckets-full of raw emotion – portrayed by the performer and felt by the audience. In a full-length musical theatre show, there is time to build up the pace and emotional manipulation of the audience, but when doing a variety-concert style show, the performers have to go from zero to full-throttle emotion in a matter of minutes to set the tone and reach the finale. It becomes a huge emotional ask for all concerned. Von Memerty and Rootenberg understand this dynamic completely and can move seamlessly from comedy to pathos, from tender to melancholy, from spiritual to frivolous in a blink of a light.
The skills of both performers are exemplary – Rootenberg with his wry frame and vocal gymnastics; and Von Memerty with his easy moves and skill on the piano – both perform with the utmost reverence, but never losing the twinkle in their eyes.
They share easy banter, self-deprecating anecdotes, slightly naff jokes and understated camp. They perform on a bare stage, with an elegant grand piano – jointly used by Ian and the likeable Shaun Smith. Great lighting and a wall of fairy-lights which constantly change colour, guide the mood.
Memorable pieces are Von Memerty doing Mr Bojangles – which he admits it is his signature piece. Dressed in basic blacks with a snug bowler hat, he reminds us of his gracious ability as a dancer. Matching the pathos is Rootenberg’s clever transformation in the poignant Mascara. Big show stopping numbers are Rootenberg’s clever ambidextrous Barcelona – with a fabulously clever costume, he morphs from Freddy Mercury to the ball gowned, auburn-haired soprano – performing and singing both roles virtually simultaneously.
Von Memerty treated us to his by now legendary Supersonic South African history. A 15 minute gallop through our country’s past with clever music and delicious choreography: we visit the Lion King; Impi; Pata-Pata; Special Star; Gold finger and Circle of Life.
Also on the musical menu are Mac the Knife; Elton John’s Crocodile Rock and Billy Joel’s Baby Grand. Rootenberg does a fun audience-pleasing medley loosely looking at the inane music of boy bands and ending up getting the audience to sing along to Abba!
The mood shifts before interval when Rootenberg (later joined by Von Memerty) sing some profoundly beautiful Hebrew secular and spiritual songs.
Ian Von Memerty and Rory Rootenberg are controlled, contained, and consummate professionals – oozing charm which stops short of schmaltz, they easily entertain for a two hour programme. The audience on opening night gave a lengthy unanimous standing ovation and hearty applause.
The Best of Ian and Rory runs until June 28. Book at Computicket. - Charlotte Fairfax
Ian von Memerty and Rory Rootenberg sparkle in a veritable layered mix of gentle comedy and acoustic music for voice and piano in The Best of Ian and Rory currently on at the Elizabeth Sneddon Theatre for a short season until June 28.
The Best of Ian and Rory is the third in the trilogy of productions for piano and voice: following on from A Handful of Keys and Cadenza and More, produced by uber-amazing local producer Roland Stansell.
The carefully-chosen programme of works is daring, personal, sophisticated and surprising. It reminds us that although musical theatre is hugely about vocal skill, it works best when conveying buckets-full of raw emotion – portrayed by the performer and felt by the audience. In a full-length musical theatre show, there is time to build up the pace and emotional manipulation of the audience, but when doing a variety-concert style show, the performers have to go from zero to full-throttle emotion in a matter of minutes to set the tone and reach the finale. It becomes a huge emotional ask for all concerned. Von Memerty and Rootenberg understand this dynamic completely and can move seamlessly from comedy to pathos, from tender to melancholy, from spiritual to frivolous in a blink of a light.
The skills of both performers are exemplary – Rootenberg with his wry frame and vocal gymnastics; and Von Memerty with his easy moves and skill on the piano – both perform with the utmost reverence, but never losing the twinkle in their eyes.
They share easy banter, self-deprecating anecdotes, slightly naff jokes and understated camp. They perform on a bare stage, with an elegant grand piano – jointly used by Ian and the likeable Shaun Smith. Great lighting and a wall of fairy-lights which constantly change colour, guide the mood.
Memorable pieces are Von Memerty doing Mr Bojangles – which he admits it is his signature piece. Dressed in basic blacks with a snug bowler hat, he reminds us of his gracious ability as a dancer. Matching the pathos is Rootenberg’s clever transformation in the poignant Mascara. Big show stopping numbers are Rootenberg’s clever ambidextrous Barcelona – with a fabulously clever costume, he morphs from Freddy Mercury to the ball gowned, auburn-haired soprano – performing and singing both roles virtually simultaneously.
Von Memerty treated us to his by now legendary Supersonic South African history. A 15 minute gallop through our country’s past with clever music and delicious choreography: we visit the Lion King; Impi; Pata-Pata; Special Star; Gold finger and Circle of Life.
Also on the musical menu are Mac the Knife; Elton John’s Crocodile Rock and Billy Joel’s Baby Grand. Rootenberg does a fun audience-pleasing medley loosely looking at the inane music of boy bands and ending up getting the audience to sing along to Abba!
The mood shifts before interval when Rootenberg (later joined by Von Memerty) sing some profoundly beautiful Hebrew secular and spiritual songs.
Ian Von Memerty and Rory Rootenberg are controlled, contained, and consummate professionals – oozing charm which stops short of schmaltz, they easily entertain for a two hour programme. The audience on opening night gave a lengthy unanimous standing ovation and hearty applause.
The Best of Ian and Rory runs until June 28. Book at Computicket. - Charlotte Fairfax
HERE AND NOW
New Music by South African Composers at UKZN on June 29.
The South African Society for Research in Music (SASRIM), in conjunction with its 3rd annual conference, presents a concert of works by South African composers, including Jürgen Bräuninger and Ulrich Süsse, Sazi Dlamini, Clare Loveday, Mageshen Naidoo, Phelelani Mnomiya, Roelof Temmingh and Fiona Tozer.
The programme includes :Roelof Temmingh's A Musicological Striptease; Clare Loveday's Untitled for saxophone quartet; Fiona Tozer's Nevergreen for clarinet quartet and marimba; Sazi Dlamini's Destiny for an ensemble of indigenous instruments; Jürgen Bräuninger and Ulrich Süsse's ja-ja-ja@ for solo clarinet, and Phelelani Mnomiya's Umthwalo for soprano.
There will also be a selection of songs by Arnold van Wyk and S. le Roux Marais performed by Bronwen Forbay, a work performed by the Mageshen Naidoo ensemble and a solo marimba work performed by Ilse Minnie.
The concert will take place at 19h30 on June 29 at Howard College Theatre, University of KwaZulu-Natal. Entrance is free.
SASRIM gratefully acknowledges the support of the South African Music Rights Organisation (SAMRO) and the assistance of the UKZN School of Music.
The South African Society for Research in Music (SASRIM), in conjunction with its 3rd annual conference, presents a concert of works by South African composers, including Jürgen Bräuninger and Ulrich Süsse, Sazi Dlamini, Clare Loveday, Mageshen Naidoo, Phelelani Mnomiya, Roelof Temmingh and Fiona Tozer.
The programme includes :Roelof Temmingh's A Musicological Striptease; Clare Loveday's Untitled for saxophone quartet; Fiona Tozer's Nevergreen for clarinet quartet and marimba; Sazi Dlamini's Destiny for an ensemble of indigenous instruments; Jürgen Bräuninger and Ulrich Süsse's ja-ja-ja@ for solo clarinet, and Phelelani Mnomiya's Umthwalo for soprano.
There will also be a selection of songs by Arnold van Wyk and S. le Roux Marais performed by Bronwen Forbay, a work performed by the Mageshen Naidoo ensemble and a solo marimba work performed by Ilse Minnie.
The concert will take place at 19h30 on June 29 at Howard College Theatre, University of KwaZulu-Natal. Entrance is free.
SASRIM gratefully acknowledges the support of the South African Music Rights Organisation (SAMRO) and the assistance of the UKZN School of Music.
OSBORNE PORTER
Literary agency now offer authors books onto their website.
The Osborne Porter literary agency has been working on getting authors’ books onto their website in downloadable, PDF format, so that anyone – anywhere in the world – can buy an author’s book.
This process has many advantages: The reader does not have to wait for the book to be posted or even to visit the bookshop. The book is available almost immediately, at any time of the day or night, to anyone with internet access. There is easy payment through the site and the cost is approximately half bookshop prices. New books, in many genres, are added monthly.
The benefits for the author include a wider audience for book sales while this process does not affect other book publishing deals. There is an extremely reasonable, once-off, Upload Fee - Osborne Porter commission is only 15% which is much lower than discounts required by most bookstores or distributors. Readers are likely to review the book – good reviews help Osborne Porter to promote the book to publishers
Once paid for and downloaded, the reader has two choices – either to read the book on the computer monitor or laptop screen or print it out and read it in the traditional way.
“The debate continues as to whether or not this form of reading and accessing books will replace the traditional method of printing and binding the books, but whatever the future holds, we feel we need to keep ourselves and our clients up to date with modern technology,” explain Ginny Porter and Helen Osborne.
Some authors have already submitted their books for promotion in this way – see www.osborne-porter.com
Those authors wishing to upload their book onto our site should contact Ginny on 082 730 9384 or email: info@osborne-porter.com
The Osborne Porter literary agency has been working on getting authors’ books onto their website in downloadable, PDF format, so that anyone – anywhere in the world – can buy an author’s book.
This process has many advantages: The reader does not have to wait for the book to be posted or even to visit the bookshop. The book is available almost immediately, at any time of the day or night, to anyone with internet access. There is easy payment through the site and the cost is approximately half bookshop prices. New books, in many genres, are added monthly.
The benefits for the author include a wider audience for book sales while this process does not affect other book publishing deals. There is an extremely reasonable, once-off, Upload Fee - Osborne Porter commission is only 15% which is much lower than discounts required by most bookstores or distributors. Readers are likely to review the book – good reviews help Osborne Porter to promote the book to publishers
Once paid for and downloaded, the reader has two choices – either to read the book on the computer monitor or laptop screen or print it out and read it in the traditional way.
“The debate continues as to whether or not this form of reading and accessing books will replace the traditional method of printing and binding the books, but whatever the future holds, we feel we need to keep ourselves and our clients up to date with modern technology,” explain Ginny Porter and Helen Osborne.
Some authors have already submitted their books for promotion in this way – see www.osborne-porter.com
Those authors wishing to upload their book onto our site should contact Ginny on 082 730 9384 or email: info@osborne-porter.com
CALL FOR APPLICATIONS
Mtutuzeli Matshoba workshop for indigenous language scriptwriters.
The 30th Durban International Film Festival will take place from July 23 to August 2. The festival will present over 200 screenings of films from around the world, with a special focus on films from South Africa and Africa. Screenings will take place throughout Durban including township areas where cinemas are non-existent.
The festival also offers an extensive seminar and workshop programme featuring local and international filmmakers which is open to the public. As part of this 30th DIFF workshop programme, a free writing and scriptwriting workshop is now open to applications.
This workshop which takes place between July 29 and August 1 - offers a chance to engage creatively with one of the most successful story to screenwriters of this generation. In a long and distinguished career Mtutuzeli Matshoba has been involved in the creation and writing of famous television productions such as Soweto, The History, Yizo Yizo, Stokvel, Scoop Scoombie and Zero Tolerance. He graduated to feature film with the much acclaimed comedy Chikin Biznis, which won Best Film in FESPACO in Burkina Faso. He has also been involved in polishing the scripts for Red Dust and, more recently, Jerusalema.
To be considered for the workshop, the following must be received by July 10: a one page “treatment” of the applicant's life (a creative CV) (in any of the official languages) as well as a one page treatment of one of their scripts (in any of the official languages).
Also to be included must be a covering letter, in English or Zulu, containing name, contact details and a declaration that the applicant is free and available to attend the workshop from July 29 to August 1 from 09h00 to 17h00. (NB: There is no stipend for subsistence, transport or accommodation.
The workshops will take place in conference rooms on the first floor of the Royal Hotel, Anton Lembede Street (Smith Street ). Although English will be a medium for most of the workshops, the scriptwriting workshop run by Mtutuzeli will accommodate all the indigenous languages if required, although a reading level of English comprehension will be helpful.
The application together with covering letter is to be sent to diff @ukzn.ac.za or by fax to 086 549 0221 or delivered to the offices of the Durban International Film Festival, Centre for Creative Arts, University of KwaZulu-Natal, Howard College Campus. Contact: 031 260 2506.
Organised by the Centre for Creative Arts (UKZN), the principal funders of the 30th Durban International Film Festival are the National Film and Video Foundation, Stichting Doen, Hivos, KwaZulu-Natal Department of Economic Development, German Embassy, Goethe Institute, City of Durban with support from East Coast Radio and other valued sponsors and partners.
The 30th Durban International Film Festival will take place from July 23 to August 2. The festival will present over 200 screenings of films from around the world, with a special focus on films from South Africa and Africa. Screenings will take place throughout Durban including township areas where cinemas are non-existent.
The festival also offers an extensive seminar and workshop programme featuring local and international filmmakers which is open to the public. As part of this 30th DIFF workshop programme, a free writing and scriptwriting workshop is now open to applications.
This workshop which takes place between July 29 and August 1 - offers a chance to engage creatively with one of the most successful story to screenwriters of this generation. In a long and distinguished career Mtutuzeli Matshoba has been involved in the creation and writing of famous television productions such as Soweto, The History, Yizo Yizo, Stokvel, Scoop Scoombie and Zero Tolerance. He graduated to feature film with the much acclaimed comedy Chikin Biznis, which won Best Film in FESPACO in Burkina Faso. He has also been involved in polishing the scripts for Red Dust and, more recently, Jerusalema.
To be considered for the workshop, the following must be received by July 10: a one page “treatment” of the applicant's life (a creative CV) (in any of the official languages) as well as a one page treatment of one of their scripts (in any of the official languages).
Also to be included must be a covering letter, in English or Zulu, containing name, contact details and a declaration that the applicant is free and available to attend the workshop from July 29 to August 1 from 09h00 to 17h00. (NB: There is no stipend for subsistence, transport or accommodation.
The workshops will take place in conference rooms on the first floor of the Royal Hotel, Anton Lembede Street (Smith Street ). Although English will be a medium for most of the workshops, the scriptwriting workshop run by Mtutuzeli will accommodate all the indigenous languages if required, although a reading level of English comprehension will be helpful.
The application together with covering letter is to be sent to diff @ukzn.ac.za or by fax to 086 549 0221 or delivered to the offices of the Durban International Film Festival, Centre for Creative Arts, University of KwaZulu-Natal, Howard College Campus. Contact: 031 260 2506.
Organised by the Centre for Creative Arts (UKZN), the principal funders of the 30th Durban International Film Festival are the National Film and Video Foundation, Stichting Doen, Hivos, KwaZulu-Natal Department of Economic Development, German Embassy, Goethe Institute, City of Durban with support from East Coast Radio and other valued sponsors and partners.
REDEVELOPMENT OF EMPORIUM
R94 Million spent on the Redevelopment of the spectacular new Emporium at Emperors Palace.
The time for change has arrived to the perennially popular Emporium at Emperors Palace Hotel Casino Convention Resort in Gauteng. In the usual Emperors Palace style, they have done it in grand fashion, spending R94 Million on redeveloping the area with the best restaurants and entertainment facilities in Africa, including the continent’s ultimate cinema experience.
One of the highlights of redevelopment of the Emporium is the opening of a spectacular state of the art movie theatre experience by Nu Metro which will house one of the largest cinemas on the African Continent, seating over 500 people.
There will be six movie theatres including two ultra-modern digital cinemas using a combination of Christie digital and 35mm projectors, as well as a permanent 3D cinema.
A family movie theatre will utilize a combination of beanbag and top-end seating to accommodate a fun-filled informal experience while another screen will feature plush seating and private bar facilities. The acoustics are being especially designed to provide the clearest, most realist sound possible using only the best equipment available on the market today.
The extensive redevelopment project will complete in stages and is designed to transform The Emporium into a destination entertainment venue, catering extensively for families and complimenting the four hotels, gaming facilities and convention business of the resort.
Emperors Palace is a Peermont resort. For more information visit www.emperorspalace.com or call 011 928 1000.
The time for change has arrived to the perennially popular Emporium at Emperors Palace Hotel Casino Convention Resort in Gauteng. In the usual Emperors Palace style, they have done it in grand fashion, spending R94 Million on redeveloping the area with the best restaurants and entertainment facilities in Africa, including the continent’s ultimate cinema experience.
One of the highlights of redevelopment of the Emporium is the opening of a spectacular state of the art movie theatre experience by Nu Metro which will house one of the largest cinemas on the African Continent, seating over 500 people.
There will be six movie theatres including two ultra-modern digital cinemas using a combination of Christie digital and 35mm projectors, as well as a permanent 3D cinema.
A family movie theatre will utilize a combination of beanbag and top-end seating to accommodate a fun-filled informal experience while another screen will feature plush seating and private bar facilities. The acoustics are being especially designed to provide the clearest, most realist sound possible using only the best equipment available on the market today.
The extensive redevelopment project will complete in stages and is designed to transform The Emporium into a destination entertainment venue, catering extensively for families and complimenting the four hotels, gaming facilities and convention business of the resort.
Emperors Palace is a Peermont resort. For more information visit www.emperorspalace.com or call 011 928 1000.
WALL OF REMEMBRANCE
Production of “Wit” in Playhouse Loft to carry photos of special people who have died of cancer.
KickstArt’s production of Margaret Edson’s multi-award winning play, Wit, comes to the Playhouse Loft in July for a short season after its appearance on the main frame of the National Arts Festival in Grahamstown. It then moves on to the Witness Hilton Arts Festival in September for one performance only.
Wit stars the hugely talented Clare Mortimer, along with a multi-award winning supporting cast including Neil Coppen, Liv Borgen, Alison Cassels and Jimmy Lithgow. The two KZN stagings mark the first time this drama is being presented in KZN.
The play begins with Vivian Bearing (Clare Mortimer), a renowned professor of English saying, "It is not my intention to give away the plot, but I think I die at the end. They've given me less than two hours."
Vivian has late-stage ovarian cancer. But to say that Wit is about cancer is misleading; it is really about finding a balance between head and heart. The play isn't a tearful lecture on how to die; it's a dry-eyed lesson on how to live. It is a play about language and ideas, philosophy and religion. It is at once funny, sad, tragic and life-affirming, complex and simple. The New York Times critic called Wit, "the kind of theatrical experience of which legends are made."
Quoting the programme notes: “Wit is that rare beast: art that engages both the heart and the mind. In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die?”
For the duration of Wit, one of the walls in the Playhouse Loft will become a Wall of Remembrance to honour the lives of friends, colleagues and family lost to cancer. Audience members are invited to bring photos (copies, not precious originals!) of special people who have died of cancer so they can be pinned to the wall.
Wit runs in the Playhouse Loft from July 21 to 26. The production is supported by the Grahamstown National Arts Festival and the National Arts Council. Book at Computicket nationwide.
KickstArt’s production of Margaret Edson’s multi-award winning play, Wit, comes to the Playhouse Loft in July for a short season after its appearance on the main frame of the National Arts Festival in Grahamstown. It then moves on to the Witness Hilton Arts Festival in September for one performance only.
Wit stars the hugely talented Clare Mortimer, along with a multi-award winning supporting cast including Neil Coppen, Liv Borgen, Alison Cassels and Jimmy Lithgow. The two KZN stagings mark the first time this drama is being presented in KZN.
The play begins with Vivian Bearing (Clare Mortimer), a renowned professor of English saying, "It is not my intention to give away the plot, but I think I die at the end. They've given me less than two hours."
Vivian has late-stage ovarian cancer. But to say that Wit is about cancer is misleading; it is really about finding a balance between head and heart. The play isn't a tearful lecture on how to die; it's a dry-eyed lesson on how to live. It is a play about language and ideas, philosophy and religion. It is at once funny, sad, tragic and life-affirming, complex and simple. The New York Times critic called Wit, "the kind of theatrical experience of which legends are made."
Quoting the programme notes: “Wit is that rare beast: art that engages both the heart and the mind. In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die?”
For the duration of Wit, one of the walls in the Playhouse Loft will become a Wall of Remembrance to honour the lives of friends, colleagues and family lost to cancer. Audience members are invited to bring photos (copies, not precious originals!) of special people who have died of cancer so they can be pinned to the wall.
Wit runs in the Playhouse Loft from July 21 to 26. The production is supported by the Grahamstown National Arts Festival and the National Arts Council. Book at Computicket nationwide.
BROTHERS IN ARMS
(Pic: Barry Thomson)Great show for Mark Knopfler and Dire Straits fans. (Review by Caroline Smart)
The latest show at the Heritage Theatre in Hillcrest is Brothers in Arms which pays tribute to singer, songwriter and film score composer Mark Knopfler. Acclaimed as one of the world’s truly great guitarists, he is probably best known as lead vocalist and songwriter for the British rock band Dire Straits, which he co-founded in 1977 with his brother David. Dire Straits have sold in excess of 120 million albums to date.
While the music is rock solid, I had a major problem with lack of vocal clarity in the lyrics in most of the introspective numbers but producer Gary McKenzie explained that Barry Thomson is attempting – successfully, I have no doubt - to recreate Knopfler’s style. This poses the question that if you are unfamiliar with Kopfler’s lyrics, as I am, you lose what he’s saying in his songs. Having googled some of the lyrics, he certainly writes lyrics that deserve to be heard. Maybe the mix could be tweaked a bit – or perhaps the lyrics could be printed out. While the show is aimed at Dire Straits and Knopfler fans, don’t forget those new to their work.
Having said all that, it’s a great show. Focusing entirely on the music, it is performed in concert style without any linking patter. Knopfler wrote many songs which were quite dark and depressive but this programme features the more up-tempo ones, such as The Bug (“sometimes you're the windshield, sometimes you're the bug”!) The show incorporates parts of a fascinating interview between television host Jools Holland and Mark Knopfler which is both amusing and informative, such as the fact that he wrote Romeo and Juliet sitting on the floor of an empty apartment desperately in need of furniture!
Barry Thomson is at his best, either handling a sensitive number or belting out powerful rhythms. He has good support from music director Dawn Selby, fellow vocalist and guitarist Shaun Draght and Lloyd de Gier who impresses in Twisting the Pool, a song Knopfler says “just took a day to record – and it sounds like it!” Mali Sewell on drums also gets to sing with an upbeat Cannibals.
Expect to hear other hits such as Sultans of Swing, Tunnel of Love, Down to the Waterline, Private Investigations, Money for Nothing, Walk of Life, Solid Rock, Calling Elvis and, of course, Brothers in Arms.
This is a good show for all ages, particularly if the youngsters are into good music. There were a number of families in the audience on the night I went, particularly a little girl who was sitting in front of us. She must have been all of six but was having a great time.
The menu is the same as it was for POW: starters being Duo of Bruschetta, Portabella Mushroom Soup and Eish Chicken Livers. Main courses are Linguini Degrandi, Oven Baked Kingklip, Roulade of Chicken and Black Forest Ham and the Heritage’s fine succulent Slow Braised Lamb Shank.
Brothers in Arms runs until July 19. Tickets R190 Wednesday to Saturday (R165 Tuesday dinner and Sunday lunch) include a two-course meal. To book contact the Heritage Theatre on 031 765 4197 or online at www.heritagetheatre.co.za – Caroline Smart
IMPERIAL RUSSIAN BALLET
(Pic: The “Can Can-Surprise” scene from “Orpheus in the Underworld”)
KZN lovers of classical dance presented with a splendid evening of dance. (Review by Caroline Smart)
Last night, KZN lovers of classical dance were presented with a splendid evening of dance from The Imperial Russian Ballet Company. One of the most successful and well-known ballet companies in Moscow, it was founded in 1994 on the initiative of legendary Russian ballerina Maija Plisetzkaya. It was named in honour of the former immortal “emperors” of the Russian ballet stage as well as the Imperial family for their contribution to the Russian ballet culture.
Artistic director Gediminas Taranda, a soloist of the Bolshoi Ballet, has worked closely with Plisetzkaya pursuing her modern style of dance. He brings creativity and innovation to the company’s classic productions. Today, the Imperial Russian Ballet troupe includes more than 40 artists trained by famous ballet teachers in Russia and the stage repertoire combines masterpieces of classic and modern artistic explorations.
The principal dancers for the current South African tour are Anna Ivanova, Nataliya Gubanova, Nataliya Kazatskaya, Yaroslava Araptanova, Alexey Gerasimov, Michail Martinyuk, Anatoliy Kazatskiy, Alexander Volkov and Alexander Alikin.
Last night’s programme was divided into two sections, with the first half featuring Carl Orff’s Carmina Burana while the second contained scenes and extracts from classical masterpieces. Carl Orff’s scenic cantata is massive and powerful – the recording used does not seem to be identified in the programme – and deals with spring and drinking and love! The dance has to match that vigorous energy or get swamped in the process. The company impressed from the early stages - especially a few minutes into the piece with high kicks to those majestic drum beats - through the hilarious drunken scenes, to the evocative end.
The classical section was well-chosen with pas de deux from Don Quixote (Anna Ivanova and Michail Martinyuk), Sleeping Beauty (Yaroslava Araptanova and Alexander Volkov), La Corsair (Anna Ivanova and Alexander Alikin) and the enchanting Arlequinade (Alexey Gerasimov and Nataliya Gubanova). Nataliya Kazatskaya and Anatoliy Kazatskiy performed the Adagio from Act 1 of Scherezade, Yaroslava Araptanova gave haunting poignancy to The Dying Swan with Alexey Gerasimov setting pulses racing with Gopak from Taras Bulba. The final number is a delicious treat as the company presents Can Can – Surprise.
The production is played to bare stages. Portraying the Wheel of Fortune theme of the work, Carmina Burana has a powerful backdrop with surrounding circles dominated by a giant orb that changed from gold to silver depending on the lighting. The classical pieces were performed to sparkling black curtains.
The costumes are splendid, from the wispy chiffons covered in flowers for the spring section and the men’s outfits in the taverna in Carmina Burana to the exquisite tutus in the second half: icy crispness for Sleeping Beauty, flaming red for Don Quixote and luxurious burgundy for La Corsair - all covered with beautiful beadwork.
Presented by Edouard Miasnikov, Imperial Russian Ballet moves on to Johannesburg and then to East London Port Elizabeth and Cape Town. – Caroline Smart
Saturday, June 27, 2009
MORE TRIBUTES TO MONICA FAIRALL
Highly popular broadcaster is remembered by those who worked with her.
Monica Fairall - broadcaster, author, actress, singer, musician, health guru and former Miss South Africa – died in Durban on June 21. Tributes are still being received on all online websites, blogs and facebooks honouring her special personality and contribution to the arts.
“Whether on a yoga mat, in print or on air, Monica was a special presence -- gentle but strong, passionate but immensely principled, with the ability to bring the complex and esoteric engagingly to earth. But it's her warmth and quiet serenity I'll miss most.” - Durban journalist Glynis Horning
* * *
“I, too, was saddened to read of the death of Monica. I will always remember her elegance, her beautiful voice, her sense of fun and her lovely smile.
The artSMart article mentioned her singing voice and a story I have was that many years ago, my husband John and I were privileged to work with Monica in a show called Razzle Dazzle at the Lyric Theatre in Umbilo Road. She was such fun and not only could she sing but she was a wonderful actress, especially in a Victorian Melodrama that was part of the show. Thanks to her, it was hilarious and it brought the house down every night.
She was the epitome of kindness and had compassion for others less fortunate than herself and was especially kind to my mum (indeed had endless patience with her) who was often in touch with her about health issues and nutrition.
I will always remember Monica with great fondness.” Love from me. Janet Welch Operations Manager VShe Promotions
* * *
“Our condolences on the passing away of Monica. She was indeed a very fine lady, in the old and new fashioned sense of the word. As an indication of her remarkable reach, our daughter Jess, of another generation, was aware of her presence on radio and as a Durban personality and was saddened by the news.
We'd like to extend our condolences to Monica's family, friends and fans on the occasion of her passing. Our thoughts are with them. We shall not be able to attend her farewell service as we are leaving on Saturday morning for a three week trek around East Africa, the place of some years of my childhood, with our daughters.” - Christine and Sam Sole.
* * *
“I write these few words wearing two hats: as a media colleague, and as an arts practitioner.
Monica to me was ever elegant, ever caring, and always professional. Working with her as I did for about 10 years was an ongoing lesson in meticulous planning and presentation both in front of and behind the mic. She enjoyed a very special bond with her behind-the-scenes technical staff, and they were so in tune with her methods of continuity that at times their fingers were on the buttons before she even made the request.
Whether putting out a health or music programme on radio, or appearing on TV, she was easy to watch and listen to, and her interview subjects were always eager to be part of a line-up.
Aside from electronic media, she was a journalist and author, and also no mean singer. I had the opportunity of seeing her on stage on more than one occasion, and in return, she was very supportive of my theatrical ventures in the dance world.
Still reeling from shock, I hope she is resting now, and we can go on in her memory striving to attain the same professionalism she always produced.” - Caryl Cusens
Donations in memory of Monica and in lieu of flowers to: Highway Hospice, Durban, Bank: Nedbank, Branch: Pavilion (138226), Account: 2382005432 (Savings). Or to the Donkey Sanctuary, McGregor (near Cape Town – where Monica and Robert “adopted” one of the donkeys being cared for): Bank: Standard Bank, Branch: Robertson (050413), Account: 288244419
Monica Fairall - broadcaster, author, actress, singer, musician, health guru and former Miss South Africa – died in Durban on June 21. Tributes are still being received on all online websites, blogs and facebooks honouring her special personality and contribution to the arts.
“Whether on a yoga mat, in print or on air, Monica was a special presence -- gentle but strong, passionate but immensely principled, with the ability to bring the complex and esoteric engagingly to earth. But it's her warmth and quiet serenity I'll miss most.” - Durban journalist Glynis Horning
* * *
“I, too, was saddened to read of the death of Monica. I will always remember her elegance, her beautiful voice, her sense of fun and her lovely smile.
The artSMart article mentioned her singing voice and a story I have was that many years ago, my husband John and I were privileged to work with Monica in a show called Razzle Dazzle at the Lyric Theatre in Umbilo Road. She was such fun and not only could she sing but she was a wonderful actress, especially in a Victorian Melodrama that was part of the show. Thanks to her, it was hilarious and it brought the house down every night.
She was the epitome of kindness and had compassion for others less fortunate than herself and was especially kind to my mum (indeed had endless patience with her) who was often in touch with her about health issues and nutrition.
I will always remember Monica with great fondness.” Love from me. Janet Welch Operations Manager VShe Promotions
* * *
“Our condolences on the passing away of Monica. She was indeed a very fine lady, in the old and new fashioned sense of the word. As an indication of her remarkable reach, our daughter Jess, of another generation, was aware of her presence on radio and as a Durban personality and was saddened by the news.
We'd like to extend our condolences to Monica's family, friends and fans on the occasion of her passing. Our thoughts are with them. We shall not be able to attend her farewell service as we are leaving on Saturday morning for a three week trek around East Africa, the place of some years of my childhood, with our daughters.” - Christine and Sam Sole.
* * *
“I write these few words wearing two hats: as a media colleague, and as an arts practitioner.
Monica to me was ever elegant, ever caring, and always professional. Working with her as I did for about 10 years was an ongoing lesson in meticulous planning and presentation both in front of and behind the mic. She enjoyed a very special bond with her behind-the-scenes technical staff, and they were so in tune with her methods of continuity that at times their fingers were on the buttons before she even made the request.
Whether putting out a health or music programme on radio, or appearing on TV, she was easy to watch and listen to, and her interview subjects were always eager to be part of a line-up.
Aside from electronic media, she was a journalist and author, and also no mean singer. I had the opportunity of seeing her on stage on more than one occasion, and in return, she was very supportive of my theatrical ventures in the dance world.
Still reeling from shock, I hope she is resting now, and we can go on in her memory striving to attain the same professionalism she always produced.” - Caryl Cusens
Donations in memory of Monica and in lieu of flowers to: Highway Hospice, Durban, Bank: Nedbank, Branch: Pavilion (138226), Account: 2382005432 (Savings). Or to the Donkey Sanctuary, McGregor (near Cape Town – where Monica and Robert “adopted” one of the donkeys being cared for): Bank: Standard Bank, Branch: Robertson (050413), Account: 288244419
Friday, June 26, 2009
RIVERS OF THE WORLD
(Pic: Martin Clement (Educ.Officer, Dbn Botanic Gardens), Jo Boulle (Environment Mgemnt), Shoba Ponnappa (Dir.SA for British Council) and Christo Swart (Dep.Head: Parks, Leisure & Cemeteries)The British Council presents its outdoor touring exhibition to the Durban Botanical Gardens.
The ever proactive British Council presents its outdoor touring exhibition, Rivers of the World, to the Durban Botanical Gardens.
In 2007/8 learners from various schools and educational centres in London (UK); Shanghai (China); Kolkata (India); Cairo (Egypt); Sao Paulo and Recife (Brazil); the State of Veracruz (Mexico) and Cape Town worked with artists to create a series of magnificent large-format artworks inspired by their city’s river.
The artwork, and accompanying narrative, is displayed in this innovative touring exhibition which is travelling to the riverside locations in each of the participating cities. Based on the astonishing response to their former British Council environmental-themed exhibition, the hugely successful Zero Carbon City exhibition, the British Council is including Durban in the international tour of Rivers of the World.
Rivers of the World is a creative visual art and design project which links over 2000 young people around the world. The project enables young people to collaborate with their international counterparts developing their understanding of the world. These striking artworks offer a very tangible demonstration of who different perspectives and an international dimension in education serve to enrich young people’s learning – and ultimately their futures. The British Council is delighted to be supporting this project,” says Martin Davidson, Chief Executive of British Council.
The exhibition, curated in South Africa by Cape Town photographer/ curator Paul Grendon, is being hosted in Durban in conjunction with the proactive Durban Botanical Gardens. The Gardens’ education officer, Martin Clement, is encouraging school groups to visit the exhibition and learn about the world’s major rivers, some of the issues affecting them and the people who engage with them. There are special educational kits for school groups who visit the exhibition.
The gardens are open seven days a week. Entry to the gardens is free and all are welcome. School groups are encouraged to contact Martin Clement on 031 202 5819, fax 031 201 9045 or visit www.durbanbotanicgardens.org.za
For more information, visit the exhibition website: http://rivers.thamesfestival.org
BEAUTIFUL PEOPLE EXHIBITION
(Pic: Work by Linkie Lombard)
Exhibition at The Anton Benzon @ Crouse Art Gallery captures the human form.
Running at The Anton Benzon @ Crouse Art Gallery is an exhibition entitled Beautiful People on the 27 June.
Five exceptional South African artists are working to the theme of capturing the human form in its many shapes and guises. “The idea is to examine the human form and in so doing, take visitors on a visual wander through the expression of what the human form portrays,” says Michelle Dodds of Crouse Gallery. “Colourful brush strokes, bold lines and lifelike forms jump out at you while standing and admiring the canvases that adorn the gallery’s walls.”
Capturing the true beauty of human figures are artists Ina Van Schalkwyk; Elga Rabe; Jean Abrie; Linkie Lombard and Helena Wagenaar. Rabe and Lombard are no strangers to the Anton Benzon @ Crouse Art Gallery as they have delighted art lovers with their solo exhibitions of previous work.
Beautiful People raises many images in the mind of catwalk models or sculpted men but, admiring these canvases, one admires true beauty of innocent children playing, a traditional Hamar lady or a woman resting on a couch. Everyday people captured in a moment that beautifies them forever.
One message that shines out from all the artists is the natural, simplistic beauty that comes from their work. Linkie Lombard says: “In this colourless fast world we surely need to make place for a little bit of colour and romance. My work is an effort to capture a little beauty that got lost and forgotten and bring it back."
Beautiful People runs until July 7. This exciting beautifully-lit, airy gallery space in Morningside showcases excellent works of art by inspirational South African and is a stone’s throw away from Windermere Centre. For more information phone 031 312 2315 or visit www.artdealers.co.za
NB: Anton Benzon @ Crouse Art Gallery KZN offers professional advice to the discerning art lover. They also offer free evaluations of work by known and established South African artists, and buys South African old masters.
CLASSICAL NOTES
(Pic: Andrew Warburton)
On the homefront and abroad (by William Charlton-Perkins)
Enjoying a conversation with the Netherlands-based Italian mezzo soprano, Carla Regina, who visited Durban recently, I was inspired by the extraordinarily positive spirit that drives this multi-gifted artist. Starting out as a pianist at the age of three, she graduated from the Conservatorium Nicola Piccinni in Bari, Italy, before switching to voice at the age of 18. She graduated from the prestigious Giuseppe Verdi Conservatorium in Milan in 1999, and has worked with a number of the world’s foremost conductors, among them John Eliott Gardner and Claudio Abbado. Working with the latter particularly proved a humbling experience, not least for the opportunity it gave her absorb his down-to-earth approach to the professional theatre environment.
A career highpoint has been singing the title role in Carmen, packing a 4,000-seater festival auditorium outside The Hague with successive performances of Bizet’s masterwork, a celebrated test for great singing actresses through the ages. A tantalizing online glimpse of her interpretation can be sampled on You Tube. Beside her work in mainstream opera, Regina revels in collaborating with others in the broader field of music theatre. She is looking forward to teaming up soon with the acclaimed South African creative duo, playwright Geraldine Naidoo and actor Matthew Ribnik.
On the home symphonic front, guest conductor Victor Yampolsky is back in town and takes the podium in the Durban City Hall (June 25) for the KZNPO’s penultimate Winter Season concert. Enthusiasts heard an invigorating programme that opened with Weber’s Euryanthe Overtur. Following this were two works that underwent extensive revisions after their respective premieres. Britten’s Violin Concerto formed the evening’s centrepiece. Written in 1938 and revised 20 years later, this challenging work offers a welcome change from over exposed repertoire on the local music scene. The soloist was South African-born, Juilliard- trained Zanta Hofmeyr. The second half of the programme featured a return to the mid 19th century German Romantics, with Schumann’s Symphony No 4 in D Minor. Completed in 1841 and extensively revised in 1851, this rendered richly rewarding listening to round off the evening.
Next Thursday (July 2) Maestro Yampolsky opens his programme with Glazunov’s atmospheric Valse de Concert. This paves the way for Andrew Warburton’s appearance as soloist in Tchaikovsky’s Piano Concerto No 2 in G Major. One of the great warhorses of late 19th century Russian Romantic repertoire, this 50-minute musical chase juxtaposes massively climactic passages with moments of searing beauty and passion, among them the lyrical interplay in its second movement of a solo violin and cello with the piano. In all, the work calls on the stamina and interpretive skills of a powerhouse pianist in top form. It promises a thrilling climax to the season, which concludes with a performance of another Late Romantic masterpiece, Sibelius’ Symphony No 1.
Finally, note that Baroque 2000 will team up with the Durban Chamber Choir at the Mariannhill Church of the Monastery this Sunday (June 28) at 15h00. Conducted by Christian Ashley Botha, the popular all-Bach programme features the Cantata no 147, containing the Chorale Jesu Joy of Man’s Desiring, to be preceded by the Overture Suite No 1 in C. Tickets are R80 at the door. There is ample safe parking, and tea coffee and scones can be enjoyed in the tranquil Monastery Gardens before the concert. – William Charlton-Perkins
KZNPO CONCERT: JUNE 25, 2009
Under the baton of the visiting American conductor Victor Yampolsky, the KZNPO was excellent and contributed notably to a memorable performance. (Review by Michael Green)
The twentieth century English composer Benjamin Britten used to say he played a recording of Brahms’s music once a year to remind himself of how bad a composer Brahms was.
Well, we are all entitled to our opinions, and on this particular issue Durban concertgoers have shown theirs in no uncertain terms. On 18 June a large and enthusiastic audience in the City Hall attended a performance of Brahms’s first piano concerto. A week later, there was a dismally small audience for this KZN Philharmonic Orchestra concert in which the central item was Britten’s Violin Concerto in D minor.
In my section of the hall, the lower gallery (which is admittedly the most expensive part of the house), about 50 of the roughly 400 seats were occupied, and the audience downstairs was also sparse. One of my fellow-subscribers upstairs remarked on this and added grimly: “Benjamin Britten”.
The other side of the coin is that the orchestra should sometimes play unfamiliar music as well as the old favourites. And Britten’s violin concerto is a fine and consistently interesting work. And it was very well played by Zanta Hofmeyr, a South African graduate of the Juilliard School in New York who now teaches at the universities of Pretoria and the Witwatersrand.
This music, written in the late nineteen-thirties, is slightly enigmatic in character, often bright and brilliant externally but with an underlying sense of melancholy. Much of it has an obviously Spanish influence and it is said to reflect Britten’s sadness over the Spanish civil war (he was a lifelong pacifist, spent part of the Second World War in America and was a conscientious objector when he returned to Britain).
The rhapsodic solo violin part bristles with technical problems and at this concert the difficulties were handled with aplomb by Zanta Hofmeyr, a tall, slim and elegant figure and an impressive player. The composer has given the soloist some beautiful lyrical passages (in one instance accompanied only by the soft tapping of a drum) and there is a long, meditative cadenza.
The orchestra, under the baton of the visiting American conductor Victor Yampolsky, was excellent and contributed notably to a memorable performance.
The concert opened with Weber’s Euryanthe Overture. This opera is very seldom performed, partly because the story is absurd even by operatic standards, but the overture survives as an orchestral showpiece, and it was played here with skill and panache.
Schumann’s Symphony No. 4 in D minor brought the concert to a close. Schumann’s four symphonies are all outstanding works, in my opinion, but they have never achieved great popularity. Perhaps this one was something of an eye-opener for some of the loyal supporters of the orchestra in the City Hall. - Michael Green
The twentieth century English composer Benjamin Britten used to say he played a recording of Brahms’s music once a year to remind himself of how bad a composer Brahms was.
Well, we are all entitled to our opinions, and on this particular issue Durban concertgoers have shown theirs in no uncertain terms. On 18 June a large and enthusiastic audience in the City Hall attended a performance of Brahms’s first piano concerto. A week later, there was a dismally small audience for this KZN Philharmonic Orchestra concert in which the central item was Britten’s Violin Concerto in D minor.
In my section of the hall, the lower gallery (which is admittedly the most expensive part of the house), about 50 of the roughly 400 seats were occupied, and the audience downstairs was also sparse. One of my fellow-subscribers upstairs remarked on this and added grimly: “Benjamin Britten”.
The other side of the coin is that the orchestra should sometimes play unfamiliar music as well as the old favourites. And Britten’s violin concerto is a fine and consistently interesting work. And it was very well played by Zanta Hofmeyr, a South African graduate of the Juilliard School in New York who now teaches at the universities of Pretoria and the Witwatersrand.
This music, written in the late nineteen-thirties, is slightly enigmatic in character, often bright and brilliant externally but with an underlying sense of melancholy. Much of it has an obviously Spanish influence and it is said to reflect Britten’s sadness over the Spanish civil war (he was a lifelong pacifist, spent part of the Second World War in America and was a conscientious objector when he returned to Britain).
The rhapsodic solo violin part bristles with technical problems and at this concert the difficulties were handled with aplomb by Zanta Hofmeyr, a tall, slim and elegant figure and an impressive player. The composer has given the soloist some beautiful lyrical passages (in one instance accompanied only by the soft tapping of a drum) and there is a long, meditative cadenza.
The orchestra, under the baton of the visiting American conductor Victor Yampolsky, was excellent and contributed notably to a memorable performance.
The concert opened with Weber’s Euryanthe Overture. This opera is very seldom performed, partly because the story is absurd even by operatic standards, but the overture survives as an orchestral showpiece, and it was played here with skill and panache.
Schumann’s Symphony No. 4 in D minor brought the concert to a close. Schumann’s four symphonies are all outstanding works, in my opinion, but they have never achieved great popularity. Perhaps this one was something of an eye-opener for some of the loyal supporters of the orchestra in the City Hall. - Michael Green
ROCK FOR ST THOMAS
(Pic: Back: Geoff Shaw, Sylvia Tempest, Scott McConnell, Susan Watt and Jerryn Fosteras with (front) Ruth Thipe, Rashid Fataar and Dani Cook)
Slick, talented cast sing their hearts out for a good charitable cause in a most entertaining show. (Review by Maurice Kort)
The Westville Theatre Club not only has very talented members, musically and vocally, but they also have heart. Continuing their winning formula of raising funds for worthy causes, doing what they do best - musical evenings - having performed the previous benefit shows Rock for Asia (for the Tsunami survivors) and Rock for Africa (for Aids orphans) they have now compiled and are presenting the most entertaining Rock for St Thomas under the able direction of Jill Sysum for the St Thomas Home for Children, a charity they have taken under their wings and to whom they donate a percentage of the profits from every show as well as offering support in other ways.
The St Thomas Home for Children, situated in Sherwood, Durban, is a place of safety for up to 60 children between the ages of two and ten years, from orphaned, abandoned or dysfunctional households. On this occasion all the funds raised are for this cause. What has precipitated this additional support is a devastating fire which swept through part of the building in March 2009 damaging the hall and crèche which will have to be completely rebuild causing them severe hardship and loss of revenue of R10,000 per month as they had rented out the hall to the community for events.
The enthusiastic, talented cast of ten singers, five male and five female, deliver a total of 38 songs in rapid succession moving smoothly from each one to the next, either with the full ensemble, in various combinations, or in solo numbers. With so many songs, there are bound to be many which will entertain and enthral the audience, no matter what their taste, in fact, they are all bound to be enjoyed.
It is therefore unfair to single out individual numbers and singers but the following give a sample of what you can expect to hear in this Rock & Roll show in which the audience is encouraged to participate: Teddy Bear (Jerryn Fosteras), Will You Still Love Me Tomorrow (Susan Watt), The Wonder of You (Rashid Fataar), Those Were the Days (Sylvia Tempest), A Little Help from my Friends (Lawrence Sysum), Mac the Knife (Ruth Thipe), Red Roses for a Blue Lady (Geoff Shaw), Do You Know (Dani Cook), Do You Want to Dance (Scott McConnell) and Puppet on a String (Jill Sysum). Particularly enjoyable was the harmonisation in Spanish Harlem by the men and the enthusiastic Chitty Chitty Bang Bang and Good Night Sweet Heart by the full ensemble.
With the many costume changes (credit to Lynda Hoddinott) there is never a dull moment in this very slick show. The band of Heather Dix (piano and musical director), Paul Prydderch (bass guitar), Hylton Blignault (rhythm guitar), Shawn O'Neill (lead guitar) and Richard Tempest (drums) are also most professional. Also deserving mention are the MC (Malcolm Dix), Kevin Hillier (sound) and Ross Thomson (lighting).
In addition to a raffle, the Club has a novel method of raising funds in their charitable ventures, and at the same time giving well received encores. The programme lists five popular "Songs for Sale" for which the audience bid and this bidding could be for any of the songs in the show as well. The audience is most generous in their requests. Bidding for Lily the Pink and Grandma’s Feather Bed are a must.
For a most entertaining evening, and you'll also feel good in supporting a good cause, rock up with your pennies, or rather notes, for the remaining two performances of Rock for St Thomas which is being performed at the Westville Theatre Club (next to the Westville Pool) from June 23 to 27 2009 at 20h00. Doors open at 19h00 so bring your own snacks and drinks to enjoy before and during the show. For bookings contact Shirley 082 343 6971 or Jill 083 782 1054. – Maurice Kort
Thursday, June 25, 2009
MY MEMORIES
(Pic: “Domestic Farming” by Welcome Danca))Exhibition of landscape paintings by Welcome Danca at African Art Centre.
Durban’s African Art Centre are currently hosting an exhibition of Welcome Danca’s latest landscape paintings. The show serves to fulfil the undertaking of the African Art Centre as an organization to empower young artists from underprivileged communities by offering a platform of exposure through art exhibitions.
Welcome Danca is an active young artist who is gradually gaining reputation through undeterred participation in art-related activities. His talent evolved while in high school under the mentorship of the renowned late visual artist Trevor Makhoba. Danca fondly recalls the delicate moments of art classes held under mango trees at Umlazi, where he first began paving way towards his art career. This artist’s particular interest has been the landscape paintings in which the theme of memory interfaced but was often not acknowledged as a crucial entity in his work.
Danca has ventured into the threshold of personal language expressed and interfaced in landscape scenery, largely extracted from rural childhood home in Port Shepstone. Crucial to the exhibited scenery is how each piece invites personal encounter allowing the viewer to venture into a land beyond the actual landscape surface.
The concept of memory has been delicately dispensed in Memory through the window (1,2 & 3) where viewers are allowed to gaze beyond the window into distant hazy landscape scenes. This feature is reminiscent of the manner in which memories exist as fragments and apertures to which we reflect back. Danca has explored landscapes of his former and current surroundings but was able to invite our participation in taking the journey beyond the painted surface. The nostalgic nature of the work engages our attention enabling us to project personal meaning to each exhibited piece.
The quality of memory is also heightened by the evocation of gradual erasure of recollected facts manifest in peeling crusts of dry paint, the dark dreary walls and the distant landscapes. We are confronted with walls of a dilapidated house; we all look through its window and access the artist precious recollection. This series of landscapes question the reason behind the artist’s move from Port Shepstone - was it forceful movement, and was it violence that forced the artist to evacuate his treasured hometown.
“Conceptually I explore my personal memories, specifically focusing at my rural childhood,” explains Welcome Danca. “I look at how these memories influence the manner in which I respond to my most immediate space, the urban space. I look at myself as a child growing up from a rural area, the delicate family moments and at how my current urban lifestyle contrasts with my childhood. I revisit precious family moments and try to re-experience them as if they are tangible memories; I beckon the viewer to embark on my personal journey of self discovery.”
Welcome Danca’s expertise in art and concise presentation of the landscape genre was acknowledged when he was awarded the first prize on the START Art Nivea Award in 2005 and has been a finalist in the prestigious ABSA L'Atelier Award Competition in 2008-9.
More information from the African Art Centre in Florida Road on 031 312 3805/4 or email: africanartcentre@afri-art.co.za
FRIENDS OF MUSIC: AVIGAIL & JACQUELINE
Avigail Bushakevitz (violin) and Jacqueline Wedderburn-Maxwell (violin). (Review by Michael Green)
Youth and beauty and lovely music were the themes of this outstanding concert given for the Friends of Music at the Durban Jewish Centre.
The two violinists and two pianists were all young people and all accomplished artists, and they chose a programme of high-quality music.
At the Friends of Music we have seen and heard Avigail Bushakevitz over the years. She was born in Israel, grew up at George in the south-western Cape and is now, at the age of 21, a third-year-student at the Juilliard School in New York. She is no longer an interesting and promising child musician. She is a mature and accomplished artist, a graceful young woman who is as easy on the eye as she is on the ear.
Partnered at the piano by her brother Ammiel Bushakevitz, who is much the same age, she gave an excellent performance of Beethoven’s first Violin Sonata, Op. 12, No. 1. I deliberately use the word “partnered” rather than “accompanied” because the two instruments play a virtually equal role in the Beethoven sonatas. The early sonatas are wonderful works, tuneful, stylish, often brilliant, and this one in D major gave both players the opportunity to shine. This they did, with Avigail confident and poised and displaying an admirably full tone.
Both players showed a good judgment of dynamics and contrast, especially in the second movement, a short set of variations with exquisite tonal balance.
They followed with Ernest Chausson’s Poeme for Violin and Orchestra, Op. 25, written in1896. I am never very happy when orchestral scores are transposed for the piano, but Ammiel handled his part very well, with the right degrees of emphasis and restraint. The violin part is difficult, with long ruminative solo passages and plenty of double stopping and other embellishments. Avigail played it all with power and eloquence. A memorable account of a romantic late nineteenth century work that one does not hear very often.
After the interval the Durban violinist Jacqueline Wedderburn-Maxwell took the stage, with Liezl-Maret Jacobs, head of the piano department at the University of KwaZulu-Natal. Jacqueline is 16 years old, Liezl-Maret older but still a young person. And both are very good-looking and poised musicians.
Like Avigail Bushakevitz, Jacqueline has played many times in Durban and we have watched her development with interest. Avigail is five years older, and I do not wish to compare the two as violinists. Suffice it to say that Jacqueline is now a highly accomplished performer (she will shortly be studying in London at the Guildhall School of Music) and she showed impressive technique and interpretative insight in three widely varied items.
She opened with the first two movements of Schubert’s Grand Duo Sonata in A major, a typically melodious and inventive work by this great composer, and then demonstrated her technical prowess in Sarasate’s Carmen Fantasy, a showpiece based on melodies from Bizet’s opera.
Of greater musical substance were the third and fourth movements from the Sonata in A major by the Belgian/French composer Cesar Franck. Written in 1886, this is Franck’s best work, and it was very well played, with Liezl-Maret Jacobs in splendid form at the keyboard.
Finally the violinists joined forces in a Bach concerto.
Both these distinguished and home-bred young artists will now spend some years studying and working abroad. Will they return to South Africa to pursue their careers here? We shall see.
The Prelude Performers of the evening, funded by the National Lottery, were a group of six brass players and two drummers from an organisation called the Field Band Foundation. They went to work with gusto and were particularly good in what seemed to be an item of township jazz. - Michael Green
Youth and beauty and lovely music were the themes of this outstanding concert given for the Friends of Music at the Durban Jewish Centre.
The two violinists and two pianists were all young people and all accomplished artists, and they chose a programme of high-quality music.
At the Friends of Music we have seen and heard Avigail Bushakevitz over the years. She was born in Israel, grew up at George in the south-western Cape and is now, at the age of 21, a third-year-student at the Juilliard School in New York. She is no longer an interesting and promising child musician. She is a mature and accomplished artist, a graceful young woman who is as easy on the eye as she is on the ear.
Partnered at the piano by her brother Ammiel Bushakevitz, who is much the same age, she gave an excellent performance of Beethoven’s first Violin Sonata, Op. 12, No. 1. I deliberately use the word “partnered” rather than “accompanied” because the two instruments play a virtually equal role in the Beethoven sonatas. The early sonatas are wonderful works, tuneful, stylish, often brilliant, and this one in D major gave both players the opportunity to shine. This they did, with Avigail confident and poised and displaying an admirably full tone.
Both players showed a good judgment of dynamics and contrast, especially in the second movement, a short set of variations with exquisite tonal balance.
They followed with Ernest Chausson’s Poeme for Violin and Orchestra, Op. 25, written in1896. I am never very happy when orchestral scores are transposed for the piano, but Ammiel handled his part very well, with the right degrees of emphasis and restraint. The violin part is difficult, with long ruminative solo passages and plenty of double stopping and other embellishments. Avigail played it all with power and eloquence. A memorable account of a romantic late nineteenth century work that one does not hear very often.
After the interval the Durban violinist Jacqueline Wedderburn-Maxwell took the stage, with Liezl-Maret Jacobs, head of the piano department at the University of KwaZulu-Natal. Jacqueline is 16 years old, Liezl-Maret older but still a young person. And both are very good-looking and poised musicians.
Like Avigail Bushakevitz, Jacqueline has played many times in Durban and we have watched her development with interest. Avigail is five years older, and I do not wish to compare the two as violinists. Suffice it to say that Jacqueline is now a highly accomplished performer (she will shortly be studying in London at the Guildhall School of Music) and she showed impressive technique and interpretative insight in three widely varied items.
She opened with the first two movements of Schubert’s Grand Duo Sonata in A major, a typically melodious and inventive work by this great composer, and then demonstrated her technical prowess in Sarasate’s Carmen Fantasy, a showpiece based on melodies from Bizet’s opera.
Of greater musical substance were the third and fourth movements from the Sonata in A major by the Belgian/French composer Cesar Franck. Written in 1886, this is Franck’s best work, and it was very well played, with Liezl-Maret Jacobs in splendid form at the keyboard.
Finally the violinists joined forces in a Bach concerto.
Both these distinguished and home-bred young artists will now spend some years studying and working abroad. Will they return to South Africa to pursue their careers here? We shall see.
The Prelude Performers of the evening, funded by the National Lottery, were a group of six brass players and two drummers from an organisation called the Field Band Foundation. They went to work with gusto and were particularly good in what seemed to be an item of township jazz. - Michael Green
WSS CONCERT: JUNE 25
KZN Philharmonic’s next concert and change of venue for pre-concert lecture.
Featured conductor, accomplished American maestro Victor Yampolsky, will host the Pre-Concert Lecture for the KZN Philharmonic Orchestra’s World Symphony Season concert of June 25.
Combining virtuosic brilliance with wistful lyricism, Britten's Violin Concerto No. 1 showcases the talents of Juilliard graduate Zanta Hofmeyr in her debut on the Durban City Hall stage. Victor Yampolsky, who is a regular favourite on the podium, leads a programme that also features Weber's jubilant Euryanthe Overture and Schumann's Symphony No. 4. This is the penultimate concert of the season and one that should not to be missed.
The Friends of Music pre-concert lecture venue has had to be changed due to the unfortunate fire at the Royal Hotel this week. The lecture will now take place in the foyer outside the Mayor's Box in the Durban City Hall at the usual time of 18h15. These enlightening talks are designed to enrich the concert-goer’s experience and the admission price of R30 includes light refreshments.
To be included on the KZN Philharmonic’s mailing list, please contact us on 031 369 9404 / 9477 / 9438. Season updates and information are posted on the KZNPO website (click on advert on main pages) and regular emails are sent out to keep patrons informed.
Visit the KZNPO website at www.kznpo.co.za for more information on forthcoming events.
Featured conductor, accomplished American maestro Victor Yampolsky, will host the Pre-Concert Lecture for the KZN Philharmonic Orchestra’s World Symphony Season concert of June 25.
Combining virtuosic brilliance with wistful lyricism, Britten's Violin Concerto No. 1 showcases the talents of Juilliard graduate Zanta Hofmeyr in her debut on the Durban City Hall stage. Victor Yampolsky, who is a regular favourite on the podium, leads a programme that also features Weber's jubilant Euryanthe Overture and Schumann's Symphony No. 4. This is the penultimate concert of the season and one that should not to be missed.
The Friends of Music pre-concert lecture venue has had to be changed due to the unfortunate fire at the Royal Hotel this week. The lecture will now take place in the foyer outside the Mayor's Box in the Durban City Hall at the usual time of 18h15. These enlightening talks are designed to enrich the concert-goer’s experience and the admission price of R30 includes light refreshments.
To be included on the KZN Philharmonic’s mailing list, please contact us on 031 369 9404 / 9477 / 9438. Season updates and information are posted on the KZNPO website (click on advert on main pages) and regular emails are sent out to keep patrons informed.
Visit the KZNPO website at www.kznpo.co.za for more information on forthcoming events.
HEXAGON TO NAF
Pietermaritzburg audiences offered a preview of Hexagon shows for Grahamstown.
There will be a short opportunity next week for audiences to see Pietermaritzburg's Theatrical contributions to the National Arts Festival. Three shows will be going to Grahamstown this year: The Hexagon Theatre's production Coming Up Roses and Janet van Eeden's In-Gene-UityA are entries in the Fringe Festival. Local post-graduate student Mandisa Haarhof's Crawl is the entry in the Student Drama Festival.
Coming Up Roses is a delightfully engaging comedy by local playwright Louise Buchler and directed by veteran director Peter Mitchell, with local actors Buchler, Ron Barbour and Caitlin Kilburn. Meet Christine, Earnest and Cadence, three people stuck in a rut. Christine's boyfriend just ran off with her brother, Earnest wants to be a 'Serious' writer and Cadence ... well, no-one's really sure about Cadence. Follow these three unwitting characters as they deal with life's curveballs - jail, dead fish and ruby red stilettos, Supermarket aisles and internet dating, and then again there are the signs. If you've ever had your heart broken, if you've ever lost your way - if you've ever felt that the universe is trying to speak your language but you just don't get it? This may be the sign you need ... because there is a sign in everything...
Directed by Ian Roberts, In-Gene-Uity is a humorous look at cross-cultural adoption. When Jean and Lucy adopt the son of their deceased domestic worker, they think love and affection are the only things needed to bring up orphaned young James. However, when James turns 16, he seems to turn into someone else. When they discover that James has been missing school, Lucy and Jean decide to intervene. Little do they know that they are not the only ones helping James to discover his roots. Just Do It Productions presents this new play by Janet van Eeden. It will premiere at the Grahamstown Festival in July and is funded by the National Arts Council. It stars Kiara Worth as Lucy, Arifani Moyo as James and Janet van Eeden as Jean.
Coming Up Roses and In-Gene-Uity are being performed as a double bill on June 30 at 18h00 in the Hexagon Theatre. Tickets R40 available at the door.
Crawl is a physical theatre production directed by Mandisa Haarhoff and Mlondolozi Zondi. The storyline follows a set of individual stories told through narration and movement, looking into the personal lives of the characters as everyday personalities. Using music, poetry, sound-scapes and dance, this physical theatre work examines aspects of our lives as systems of existence. Crawl puts forward the painful struggles faced by individuals as they seek to exist free in their identities, functions, circumstances, expectations and new ground. Rich with questions and proclamations, Crawl invites the audience to ask, search, remember, understand, maybe anew or even assured that which they hold as their philosophical notions and religions.
Performances of Crawl will take place on July 2 and 3 at 18h00 in the Hexagon Studio Theatre. Tickets R20 at the door.
Enquiries about all shows can be made to the Hexagon at hexagon@ukzn.ac.za or 033 260 5537.
There will be a short opportunity next week for audiences to see Pietermaritzburg's Theatrical contributions to the National Arts Festival. Three shows will be going to Grahamstown this year: The Hexagon Theatre's production Coming Up Roses and Janet van Eeden's In-Gene-UityA are entries in the Fringe Festival. Local post-graduate student Mandisa Haarhof's Crawl is the entry in the Student Drama Festival.
Coming Up Roses is a delightfully engaging comedy by local playwright Louise Buchler and directed by veteran director Peter Mitchell, with local actors Buchler, Ron Barbour and Caitlin Kilburn. Meet Christine, Earnest and Cadence, three people stuck in a rut. Christine's boyfriend just ran off with her brother, Earnest wants to be a 'Serious' writer and Cadence ... well, no-one's really sure about Cadence. Follow these three unwitting characters as they deal with life's curveballs - jail, dead fish and ruby red stilettos, Supermarket aisles and internet dating, and then again there are the signs. If you've ever had your heart broken, if you've ever lost your way - if you've ever felt that the universe is trying to speak your language but you just don't get it? This may be the sign you need ... because there is a sign in everything...
Directed by Ian Roberts, In-Gene-Uity is a humorous look at cross-cultural adoption. When Jean and Lucy adopt the son of their deceased domestic worker, they think love and affection are the only things needed to bring up orphaned young James. However, when James turns 16, he seems to turn into someone else. When they discover that James has been missing school, Lucy and Jean decide to intervene. Little do they know that they are not the only ones helping James to discover his roots. Just Do It Productions presents this new play by Janet van Eeden. It will premiere at the Grahamstown Festival in July and is funded by the National Arts Council. It stars Kiara Worth as Lucy, Arifani Moyo as James and Janet van Eeden as Jean.
Coming Up Roses and In-Gene-Uity are being performed as a double bill on June 30 at 18h00 in the Hexagon Theatre. Tickets R40 available at the door.
Crawl is a physical theatre production directed by Mandisa Haarhoff and Mlondolozi Zondi. The storyline follows a set of individual stories told through narration and movement, looking into the personal lives of the characters as everyday personalities. Using music, poetry, sound-scapes and dance, this physical theatre work examines aspects of our lives as systems of existence. Crawl puts forward the painful struggles faced by individuals as they seek to exist free in their identities, functions, circumstances, expectations and new ground. Rich with questions and proclamations, Crawl invites the audience to ask, search, remember, understand, maybe anew or even assured that which they hold as their philosophical notions and religions.
Performances of Crawl will take place on July 2 and 3 at 18h00 in the Hexagon Studio Theatre. Tickets R20 at the door.
Enquiries about all shows can be made to the Hexagon at hexagon@ukzn.ac.za or 033 260 5537.
NATIONAL EISTEDDFOD ACADEMY 2009
Final call for entries for NEA.
The National Eisteddfod Academy (NEA), a platform for youth development in music, dance, drama and visual arts, offers prospective candidates that missed the closing date for entries a last opportunity to submit entries before July 10, 2009, after which a double entry fee, as applicable for a particular region, will apply.
The NEA platform is not limited to talented performers who might eventually follow careers in the arts, but allows opportunities for everyone who is young at heart to experience the magic of the performing arts. Even the so-called “mediocre” or “untalented” performer will derive value from participating in the eisteddfod due to the impact it has on personal development and growth. Many teachers and parents have attested to the fact that participating in the NEA Eisteddfod builds self-confidence, assertiveness and the courage to take a stand in this world.
The NEA Eisteddfod provides quality adjudication, closely monitored by the NEA Adjudicators’ Forum in order to maintain the integrity and credibility of the process. NEA adjudicators are required to approach all participants with passion, compassion and respect to ensure them of a positive experience.
The NEA Eisteddfod opens up unique opportunities for talented learners: in each region the annual eisteddfod is followed by a Young Performers Showcase concert where top performers are featured and acknowledged by means of awards, medals, and certificates. The popularity of these events has been proved by completely sold-out events during 2007 and 2008. In addition to this, all recipients of diploma awards are also invited to participate in the annual National Eisteddfod Academy Awards. This event provides a next level of participation where the best young performers from various regions in South Africa can compete and showcase their talents in music, dance and drama. Recently cash prizes totalling R20,000, as well as two scholarships (a Damelin College Bramley Scholarship and an Academy College Scholarship) with a total value of R100,000+ were awarded to the winners in the NEA Awards 2009.
For more information contact the office of the National Eisteddfod Academy on 011 886-6005 or e-mail: info@eisteddfod.co.za or log onto www.eisteddfod.co.za
The National Eisteddfod Academy (NEA), a platform for youth development in music, dance, drama and visual arts, offers prospective candidates that missed the closing date for entries a last opportunity to submit entries before July 10, 2009, after which a double entry fee, as applicable for a particular region, will apply.
The NEA platform is not limited to talented performers who might eventually follow careers in the arts, but allows opportunities for everyone who is young at heart to experience the magic of the performing arts. Even the so-called “mediocre” or “untalented” performer will derive value from participating in the eisteddfod due to the impact it has on personal development and growth. Many teachers and parents have attested to the fact that participating in the NEA Eisteddfod builds self-confidence, assertiveness and the courage to take a stand in this world.
The NEA Eisteddfod provides quality adjudication, closely monitored by the NEA Adjudicators’ Forum in order to maintain the integrity and credibility of the process. NEA adjudicators are required to approach all participants with passion, compassion and respect to ensure them of a positive experience.
The NEA Eisteddfod opens up unique opportunities for talented learners: in each region the annual eisteddfod is followed by a Young Performers Showcase concert where top performers are featured and acknowledged by means of awards, medals, and certificates. The popularity of these events has been proved by completely sold-out events during 2007 and 2008. In addition to this, all recipients of diploma awards are also invited to participate in the annual National Eisteddfod Academy Awards. This event provides a next level of participation where the best young performers from various regions in South Africa can compete and showcase their talents in music, dance and drama. Recently cash prizes totalling R20,000, as well as two scholarships (a Damelin College Bramley Scholarship and an Academy College Scholarship) with a total value of R100,000+ were awarded to the winners in the NEA Awards 2009.
For more information contact the office of the National Eisteddfod Academy on 011 886-6005 or e-mail: info@eisteddfod.co.za or log onto www.eisteddfod.co.za
SOUTHERN MOVES
Flatfoot Dance Company presents latest performance offering.
Featuring the Woodpecker Percussionists, and opening on the UKZN campus on July 2 for a three-day run, Southern Moves is the award winning Flatfoot Dance Company’s latest performance offering which promises a stunning visual and danced spectacular that celebrates all forms of rhythm. This 70 minute work is sure to delight and dazzle and features choreography by the six resident and multi-talented dancers.
Southern Moves opens to the powerful rhythms of traditional African ngoma and ndlamu and then quickly travels through the South African landscape of dance forms that use rhythm as a base. Look out for gumboot, Kwaito and pantsula (and a little hip-hop … ) like you have never seen it before! Childhood games playing with the sounds made by banging two cans together, quickly turn into an orchestra of sounds and rhythms. Dancers whirl and leap and contemporary African dance is certain to generate energised audience response!
Flatfoot is also delighted to be collaborating with the Woodpecker Percussionists whose master drummer, Mandla Matsha, is consider one of Durban and South Africa’s top percussion musicians. The Woodpeckers provide rhythm and music that makes all the collective African heart sing with joy. These drummers are some of the finest musicians in South African and layer Southern Moves to create an unforgettable theatre experience under the Durban sky.
While bar and coffee bar facilities will be available, patrons are encouraged to bring picnic baskets and join Flatfoot Dance Company in the Pieter Scholtz Open Air Theatre to watch Flatfoot create, dance and beat some of the best rhythms in Africa!
Southern Moves runs in the Pieter Scholtz Open Air Theatre on the UKZN Howard College campus from July 2 to 4 at 19h00. Tickets R45 (R25 scholars and students). Bookings on 082 875 6065 or tickets available on the night at the box office
July 3 is a special benefit performance where proceeds from ticket sales will be donated to Action In Autism. Tickets for this performance R60 booked prior to the performance from Liza Aziz on 083 777 4468 or available at the box office on the night.
Flatfoot Dance Company acknowledges the generous support of the National Arts Council of South Africa and HIVOS.
Featuring the Woodpecker Percussionists, and opening on the UKZN campus on July 2 for a three-day run, Southern Moves is the award winning Flatfoot Dance Company’s latest performance offering which promises a stunning visual and danced spectacular that celebrates all forms of rhythm. This 70 minute work is sure to delight and dazzle and features choreography by the six resident and multi-talented dancers.
Southern Moves opens to the powerful rhythms of traditional African ngoma and ndlamu and then quickly travels through the South African landscape of dance forms that use rhythm as a base. Look out for gumboot, Kwaito and pantsula (and a little hip-hop … ) like you have never seen it before! Childhood games playing with the sounds made by banging two cans together, quickly turn into an orchestra of sounds and rhythms. Dancers whirl and leap and contemporary African dance is certain to generate energised audience response!
Flatfoot is also delighted to be collaborating with the Woodpecker Percussionists whose master drummer, Mandla Matsha, is consider one of Durban and South Africa’s top percussion musicians. The Woodpeckers provide rhythm and music that makes all the collective African heart sing with joy. These drummers are some of the finest musicians in South African and layer Southern Moves to create an unforgettable theatre experience under the Durban sky.
While bar and coffee bar facilities will be available, patrons are encouraged to bring picnic baskets and join Flatfoot Dance Company in the Pieter Scholtz Open Air Theatre to watch Flatfoot create, dance and beat some of the best rhythms in Africa!
Southern Moves runs in the Pieter Scholtz Open Air Theatre on the UKZN Howard College campus from July 2 to 4 at 19h00. Tickets R45 (R25 scholars and students). Bookings on 082 875 6065 or tickets available on the night at the box office
July 3 is a special benefit performance where proceeds from ticket sales will be donated to Action In Autism. Tickets for this performance R60 booked prior to the performance from Liza Aziz on 083 777 4468 or available at the box office on the night.
Flatfoot Dance Company acknowledges the generous support of the National Arts Council of South Africa and HIVOS.
Wednesday, June 24, 2009
TRIBUTE TO MONICA FAIRALL
(Pic: Monica Fairall as she appeared in "Those Were the Days". Pic by Peter Gardner)
Tribute to Monica Fairall from Patrick Collyer.
This is a tribute to Monica Fairall from lecturer, songwriter and guitarist Patrick Collyer – a long-time friend:
I first encountered Monica in 1968 when she performed in the Rag Variety Show on the Durban Campus of the then Natal University. She looked quite angelic, and I, like most of those in the audience, was awed by her grace and beauty. Most striking for me, however, was her lilting voice as she sang with Dave Gibbon and Hugh Morrison, in a style very much like that of Peter, Paul & Mary; a musical style that was sweeping the world at the time.
Later that year, she and I performed for the very first time - and only time - in a purely dramatic piece - a modern reworking of Aristophanes' Lysistrata directed by the late Geoffrey Sutherland. And so began a firm friendship stretching from her beauty pageant days to her early involvement in yoga and eastern philosophy; her teaching years; our participation in numerous Rag Variety shows and other music "gigs"; our love of the arts and music; and, a mutual closeness with the now-deceased Durban poet, Douglas Livingstone.
Somewhat wistful and mindful of the lost innocence of the dizzy days of the sixties, I approached Monica late in 2000 and suggested that we stage a nostalgic, retrospective show that would try to capture the mood of the 60s.
And so Those Were the Days was born and thus began a delightful journey for the cast - Dave Atkinson, Angela Dodds, Fiona Tozer and Will Wallace - and a highlight in our musical journey. How we laughed. How bowled over we were by the success of the show. How elated we were. Sold-out performances night after night. Here was a different Monica - Monica the hippie! And I am glad I grew to know her in this way. She made my life richer for it and I bless her for this. - Patrick Collyer
NB: A memorial service will be held on Saturday June 27 at 14h45 at the St Olaf’s Norwegian Hall in St Thomas Road, Durban.
Donations in memory of Monica and in lieu of flowers to: Highway Hospice, Durban, Bank: Nedbank, Branch: Pavilion (138226), Account: 2382005432 (Savings). Or to the Donkey Sanctuary, McGregor (near Cape Town – where Monica and Robert “adopted” one of the donkeys being cared for): Bank: Standard Bank, Branch: Robertson (050413), Account: 288244419
MESSAGES AND MEANING
MTN South Africa showcases MTN Art Collection in collector’s edition book
The exhibition Messages and Meaning, which comprises some 130 artworks from the MTN Art Collection, opened at the Polokwane Art Museum on June 4. Many of the artworks on display are also featured in a sumptuous book, Messages and Meaning: the MTN Art Collection, published by the MTN SA Foundation.
Arguably one of the most ambitious art books to have been published on a collection in South Africa to date, all the proceeds of the book sold at the Polokwane Art Museum will go towards its library and education programmes.
Messages and Meaning: the MTN Art Collection affords students, researchers, lecturers and artists unique access to the artworks of which MTN is custodian.
“The MTN SA Foundation is committed to sharing its artworks as widely as possible, having already donated copies of this comprehensive publication to a large number of libraries and art organisations” says Eunice Maluleke, general manager of the MTN SA Foundation.
The book recounts how the MTN Art Collection, which totals some 1,400 works, was initiated almost serendipitously in September 1997, when MTN made a modest purchase of artworks: a woodblock by Lucky Sibiya, two screenprints by Mmakgabo Sebidi, and some beadwork pieces from KwaZulu-Natal. This marked the beginning of what was to become a leading corporate collection of South African art. Now 12 years old and comprising African and South African works – both classic and contemporary – the collection’s holdings have been energetically researched, published, travelled, exhibited, discussed, debated, and admired.
Messages and Meaning: the MTN Art Collection captures some of these exchanges and explores the diverse messaging strategies artworks engage. It also celebrates the wealth of South African and African artistic ‘voices,’ and the heritage they continue to create. Thirteen writers, art historians, anthropologists and curators have contributed essays to this extensive volume: Andries Oliphant, Emile Maurice, Nessa Leibhammer, Khwezi Gule, Pattabi Ganapathi Raman, Philippa Hobbs, Ronel Kellner, Colin Richards, Clive Kellner, Wilma Cruise, Judy Seidman, and Elizabeth Rankin. The writers share their insights on the artworks in the Collection, the messages they embody, the stories they tell, the ideas they communicate and the spaces they occupy – both architectural and psychological.
This comprehensive volume also explores the many-layered role of the MTN Art Collection: its value as a tool for social investment, an educational resource, a means of inspiring in-house communication and debate, and a showcase of South African and African art to visitors. Edited by MTN’s resident art curator, Philippa Hobbs, this publication aims to be an informative, diverse and sumptuous read for years to come.
Published by David Krut Publishing, the book features 308 pages in full colour. ISBN 0-9584860-6-9
The exhibition Messages and Meaning, which comprises some 130 artworks from the MTN Art Collection, opened at the Polokwane Art Museum on June 4. Many of the artworks on display are also featured in a sumptuous book, Messages and Meaning: the MTN Art Collection, published by the MTN SA Foundation.
Arguably one of the most ambitious art books to have been published on a collection in South Africa to date, all the proceeds of the book sold at the Polokwane Art Museum will go towards its library and education programmes.
Messages and Meaning: the MTN Art Collection affords students, researchers, lecturers and artists unique access to the artworks of which MTN is custodian.
“The MTN SA Foundation is committed to sharing its artworks as widely as possible, having already donated copies of this comprehensive publication to a large number of libraries and art organisations” says Eunice Maluleke, general manager of the MTN SA Foundation.
The book recounts how the MTN Art Collection, which totals some 1,400 works, was initiated almost serendipitously in September 1997, when MTN made a modest purchase of artworks: a woodblock by Lucky Sibiya, two screenprints by Mmakgabo Sebidi, and some beadwork pieces from KwaZulu-Natal. This marked the beginning of what was to become a leading corporate collection of South African art. Now 12 years old and comprising African and South African works – both classic and contemporary – the collection’s holdings have been energetically researched, published, travelled, exhibited, discussed, debated, and admired.
Messages and Meaning: the MTN Art Collection captures some of these exchanges and explores the diverse messaging strategies artworks engage. It also celebrates the wealth of South African and African artistic ‘voices,’ and the heritage they continue to create. Thirteen writers, art historians, anthropologists and curators have contributed essays to this extensive volume: Andries Oliphant, Emile Maurice, Nessa Leibhammer, Khwezi Gule, Pattabi Ganapathi Raman, Philippa Hobbs, Ronel Kellner, Colin Richards, Clive Kellner, Wilma Cruise, Judy Seidman, and Elizabeth Rankin. The writers share their insights on the artworks in the Collection, the messages they embody, the stories they tell, the ideas they communicate and the spaces they occupy – both architectural and psychological.
This comprehensive volume also explores the many-layered role of the MTN Art Collection: its value as a tool for social investment, an educational resource, a means of inspiring in-house communication and debate, and a showcase of South African and African art to visitors. Edited by MTN’s resident art curator, Philippa Hobbs, this publication aims to be an informative, diverse and sumptuous read for years to come.
Published by David Krut Publishing, the book features 308 pages in full colour. ISBN 0-9584860-6-9
MANTRA
Stockhausen's masterpiece to be performed at Howard College Theatre on June 30.
There will a performance of Stockhausen's masterpiece, Mantra, at Howard College Theatre, UKZN on June 30.
This forms part of the SASRIM conference which the university is hosting. Written for two pianos, crotales, woodblocks and electronics, the work has only been performed twice before South Africa. The pianists are Jill Richards and Lisa Joubert, with sound engineer Shaughn Macrae, and Jean Pierre de la Porte as producer.
Unlike those digital versions (also performed by Richards and Joubert), this performance recreates the original technical specifications that Stockhausen used in 1970, the date the work was written. This particular technical setup using module 69b is something which Stockhausen himself developed, during the course of many live and electronic performances.
Mantra is a culmination of the work that preceded it. The ring modulation which is an inherent part of Mantra changes and distorts the sound. The expressive characteristics of this analogue sound are diametrically different from the digital version, in that the louder the sounds that are made, the more the distortion increases - exactly the opposite from the digital version, which becomes ring modulation in name only. This performance respects the composer's intentions to the utmost.
The concert starts at 19h30 at Howard College Theatre, UKZN. There will be a short introduction to the work given by the pianists from 18h45 to 19h15. Tickets at the door.
There will a performance of Stockhausen's masterpiece, Mantra, at Howard College Theatre, UKZN on June 30.
This forms part of the SASRIM conference which the university is hosting. Written for two pianos, crotales, woodblocks and electronics, the work has only been performed twice before South Africa. The pianists are Jill Richards and Lisa Joubert, with sound engineer Shaughn Macrae, and Jean Pierre de la Porte as producer.
Unlike those digital versions (also performed by Richards and Joubert), this performance recreates the original technical specifications that Stockhausen used in 1970, the date the work was written. This particular technical setup using module 69b is something which Stockhausen himself developed, during the course of many live and electronic performances.
Mantra is a culmination of the work that preceded it. The ring modulation which is an inherent part of Mantra changes and distorts the sound. The expressive characteristics of this analogue sound are diametrically different from the digital version, in that the louder the sounds that are made, the more the distortion increases - exactly the opposite from the digital version, which becomes ring modulation in name only. This performance respects the composer's intentions to the utmost.
The concert starts at 19h30 at Howard College Theatre, UKZN. There will be a short introduction to the work given by the pianists from 18h45 to 19h15. Tickets at the door.
NIBS VAN DER SPUY & DARANGO
Much-loved acoustic guitarist returns to Luna Kloof on June 26.
Much-loved acoustic guitarist Nibs van der Spuy with guest star Darango can be seen on June 26 at the Luna Lounge in Kloof.
An acoustic guitar legend of Southern Africa, Nibs van der Spuy’s impressive style was first taken notice of, with his band, Landscape Prayers, performing live and on their four highly acclaimed Acoustic/Instrumental albums, between 1993 and 2003. His diversity as a songwriter, singer and finger stylist, reached a broader audience with the release of his solo albums; Lines on my face(1999) and Flower in the Rain (2002). Both these acoustic gems were nominated in the best instrumental category at the South African Music Awards in their respective years of release.
Nibs's versatility to cross-pollinate various musical styles, from, African, Classical, Celtic, World, Maskanda, Indian and folk can be traced back to his formative years growing up in the old mining town of Benoni, 20 miles east of Johannesburg, South Africa.
Nibs recorded a beautiful duo album, Sweet-Thorn (2004) with Mozambican, Gito Baloi and Hadeda (2004) with drummer extraordinaire, Barry van Zyl, from Johnny Clegg's band. He has also got to perform and record with folk legend, Shawn Phillips and Italian band, the Modena City Ramblers. Mostly touring as a soloist, Nibs also plays across the globe with his young virtuoso guitarist/multi instrumentalist friend Guy Buttery and the incredible violist, Brendan Jury.
A Bird in the Hand comes hot on the heels of his internationally critically acclaimed, Beautiful Feet.
Having just returned from a tour of Europe, Nibs van der Spuy and guest artist Darango, who has recently produced his first album, can be seen at 19h30 on June 26. Entrance R60 booked on 074 1192 999. Luna Lounge Kloof is situated at 16 Dan Pienaar Road, near Kloof High School.
Much-loved acoustic guitarist Nibs van der Spuy with guest star Darango can be seen on June 26 at the Luna Lounge in Kloof.
An acoustic guitar legend of Southern Africa, Nibs van der Spuy’s impressive style was first taken notice of, with his band, Landscape Prayers, performing live and on their four highly acclaimed Acoustic/Instrumental albums, between 1993 and 2003. His diversity as a songwriter, singer and finger stylist, reached a broader audience with the release of his solo albums; Lines on my face(1999) and Flower in the Rain (2002). Both these acoustic gems were nominated in the best instrumental category at the South African Music Awards in their respective years of release.
Nibs's versatility to cross-pollinate various musical styles, from, African, Classical, Celtic, World, Maskanda, Indian and folk can be traced back to his formative years growing up in the old mining town of Benoni, 20 miles east of Johannesburg, South Africa.
Nibs recorded a beautiful duo album, Sweet-Thorn (2004) with Mozambican, Gito Baloi and Hadeda (2004) with drummer extraordinaire, Barry van Zyl, from Johnny Clegg's band. He has also got to perform and record with folk legend, Shawn Phillips and Italian band, the Modena City Ramblers. Mostly touring as a soloist, Nibs also plays across the globe with his young virtuoso guitarist/multi instrumentalist friend Guy Buttery and the incredible violist, Brendan Jury.
A Bird in the Hand comes hot on the heels of his internationally critically acclaimed, Beautiful Feet.
Having just returned from a tour of Europe, Nibs van der Spuy and guest artist Darango, who has recently produced his first album, can be seen at 19h30 on June 26. Entrance R60 booked on 074 1192 999. Luna Lounge Kloof is situated at 16 Dan Pienaar Road, near Kloof High School.
BAROQUE 2000
Baroque 2000 perform in the majestic surroundings of the Church of the Monastery)Next concert to take place on June 28 at Church of the Mariannhill Monastery.
Baroque 2000 team up with the Durban Chamber Choir for an all-Bach programme at the Church of the Monastery, Mariannhill on June 28.
The concert will be conducted by Christian Ashley Botha, for 26 years the conductor of the fine Drakensberg Boys Choir. The Cantata no 147, containing the Chorale Jesu Joy of Man’s Desiring, is preceded by the Overture (Suite) no 1 in C.
The concert starts at 15h00 on June 28. Tickets R80 at the door for this programme of great music, which is the last of Baroque 2000’s concerts until September. There is ample safe parking, and tea coffee and scones can be enjoyed in the tranquil Monastery Gardens before the concert. Enquiries to Michel at sursouth@iafrica.com or on 031 312 5539.
GIRLS BEHAVING BADLY
Four sassy ladies take their successful show to the Hexagon Dive in Pietermaritzburg on June 25.
Direct from two sell-out runs in Durban, Shelly MacLean, Marion Loudon, Janna Ramos-Violante and Elizabeth Perkins can be seen in their successful show Girls Behaving Badly at the Hexagon Dive in Pietermaritzburg from June 25 for three performances.
Well-known in Durban for their individual work as vocalists, actresses and dancers, the four performers turn up the heat with this fast-paced look at all the naughty girls in music, from Diana Ross to Britney, Amy and Madonna.
The show is cheeky, fun, and with stylish choreography and stunning costumes and these not so naughty girls are sure to have audiences on their feet as they belt out hits from Pussycat Dolls, Gwen Stefani and Tina Turner and even include oldies from Connie Francis and Nancy Sinatra.
This fun cabaret is a powerhouse of talent. Pietermaritzburg will rock as these good girls let their hair down and pay tribute to some of the world’s legendary Bad Girls of the music industry. A rollercoaster of hits from the 1950s to the present day is sure to appeal to all ages.
Girls Behaving Badly runs at the Hexagon Dive on the UKZN Pietermaritzburg campus from June 25 to 27 at 19h00 for 19h30. Running as picnic evenings (BYO), tickets R70pp booked on 033 260 5537 or e-mail hexagon@ukzn.ac.za
Direct from two sell-out runs in Durban, Shelly MacLean, Marion Loudon, Janna Ramos-Violante and Elizabeth Perkins can be seen in their successful show Girls Behaving Badly at the Hexagon Dive in Pietermaritzburg from June 25 for three performances.
Well-known in Durban for their individual work as vocalists, actresses and dancers, the four performers turn up the heat with this fast-paced look at all the naughty girls in music, from Diana Ross to Britney, Amy and Madonna.
The show is cheeky, fun, and with stylish choreography and stunning costumes and these not so naughty girls are sure to have audiences on their feet as they belt out hits from Pussycat Dolls, Gwen Stefani and Tina Turner and even include oldies from Connie Francis and Nancy Sinatra.
This fun cabaret is a powerhouse of talent. Pietermaritzburg will rock as these good girls let their hair down and pay tribute to some of the world’s legendary Bad Girls of the music industry. A rollercoaster of hits from the 1950s to the present day is sure to appeal to all ages.
Girls Behaving Badly runs at the Hexagon Dive on the UKZN Pietermaritzburg campus from June 25 to 27 at 19h00 for 19h30. Running as picnic evenings (BYO), tickets R70pp booked on 033 260 5537 or e-mail hexagon@ukzn.ac.za
SAPNO KA SAFAR
(Pic: Much-respected music personality, Tansen NepaulAn exciting musical with a difference, called Sapno Ka Safar (or Journey of Dreams, takes place at Sibaya from the 26th of June to the 5th of July.
“Most youngsters aspire to become Bollywood actors but we have two youngsters that aspire to become popular playback singers,” explains much-respected music personality, Tansen Nepaul. “They participate in a local radio competition and win an all expenses paid trip to Mumbai for an audition and a studio recording. Unknown to them, the entire competition is a farce and is the efforts of a major con syndicate in India. The syndicate targets South Africans and finds ways to siphon money from wanna-be Bollywood artist.
”The girls go through interesting events and finally realise that they were better off in South Africa. They try to get back into the Tansen Nepaul Show band, the group that they let down, who are now set to perform at Sibaya. They beg forgiveness and want to be part of the band again. The Showband takes over from there and the performance ends with a spectacular dance and music segment. “
The musical is directed by Tansen Nepaul, scripted by Pranesh Maharaj and features well-known vocalist Umita Kalyan, Pravesh Sunker, Orith Maharaj and Suresh Nathoo. This will be their debut acting performance and is sure to draw interest from their many fans.
Also appearing in the show, Pranesh Maharaj is a top class actor in his own right and has performed in numerous plays across South Africa. He is currently involved in writing for Lotus FM radio drama. His contribution to the fine arts has a long and illustrious history.
With a significant fan base that’s growing steadily, Umita Kalyan has become immensely popular recently and has done numerous radio and TV productions. A versatile artist at ease with stage acts, Pravesh Sunker is a much sought-after vocalist and entertainer. Orith Maharaj is well known for his great vocal ability and, more recently, his amazing resemblance to the great Amithabh Bhachan which is put to good use in this production.
Actors Assia Mohamed, Anesh Dusrath, Rahul Brijnath and Ilasha Ramaloo complete the 30 member cast which includes dancers and the Tansen Nepaul Showband. The musical is great family entertainment with songs, dancers, comedy and ends with an explosive live music extravaganza.
A talented actress playing a pivotal role in Sapno Ka Safar, Ilasha Ramaloo made a name for herself with the Bad Girls Do Go to Heaven drama. A popular actress and vocalist, Assia Mohammed has taken part in many productions as well as roles in Essop Khan’s stage shows. She writes her own music and has a captivating stage personality.
Dancer and actor Rahul Brijnath is ultimate Bollywood hero material and has performed in many shows with the Nateshwar Dance Academy and can be seen regularly doing promotions for the Sun Coast casino. Stand up comedian Anesh Maharaj has been part of Tansen Nepaul Showband acts and has been in numerous stage plays.
Dancing sisters Darshana and Harshana are a relatively new find in the entertainment world but are already making inroads to a huge fan base. Choreographer Melani Kistens and her dance academy will feature with a team of 12 dancers. Technical Direction is by Varsha Sharma, a qualified Kathak dancer who puts her years of production skills to use in Sapno Ka Safar.
The Tansen Nepaul Showband is South Africa’s most sought-after light music group catering for all genres of Indian music. The group has the finest selection of musicians and adds the finishing touch to the event.
Sapno Ka Safar runs in the iZulu Theatre at Sibaya Casino and Entertainment King from June 26 to July 5. Tickets R100 book through Computicket outlets and the Sibaya box office.
THE CHOCOLATE CARNIVAL
Durban to be smothered in chocolaty goodness this July.
The Chocolate Carnival is set to smother Durban in chocolaty goodness this July with a festival based at The Suncoast Casino and Entertainment World on July 10, 11 and 12.
The festival features exhibitors and products from all corners of the chocolate industry in South Africa and abroad. Patrons will be treated to chocolate sculptures, designer cakes, special prices on chocolate merchandise and entertainment. The Chocolate Carnival has a central theme of chocolate, however it also comprises of decadent desserts, a coffee bar, kiddies corner and a chocolate kitchen where live demonstrations will take place.
Patrons can view live demonstrations by professional and celebrity chefs throughout the carnival. Kiddies will be treated to a kid’s corner where they will participate in cake decor activities at a nominal fee. Ladies can look forward to the Friday night’s entertainment featuring Men’s International Dancers also at a nominal fee. Saturday night will feature a liqueur-eating contest were selected patrons will compete for a chocolate hamper. Patrons will also be able to participate in a chocolate cocktail making competition where they will be assisted by professional bartenders.
The Chocolate Carnival has something for everyone. Patrons will also be able to relax at the chocolate coffee bar where they can listen to smooth jazz music.
Tickets R40 (R20 children and pensioners) for the gate entrance and are available at the door. The Men’s International Segment is R100 per lady including the gate entrance. For more information contact 031 584 6856 or visit www.choccarnival.co.za
The Chocolate Carnival is set to smother Durban in chocolaty goodness this July with a festival based at The Suncoast Casino and Entertainment World on July 10, 11 and 12.
The festival features exhibitors and products from all corners of the chocolate industry in South Africa and abroad. Patrons will be treated to chocolate sculptures, designer cakes, special prices on chocolate merchandise and entertainment. The Chocolate Carnival has a central theme of chocolate, however it also comprises of decadent desserts, a coffee bar, kiddies corner and a chocolate kitchen where live demonstrations will take place.
Patrons can view live demonstrations by professional and celebrity chefs throughout the carnival. Kiddies will be treated to a kid’s corner where they will participate in cake decor activities at a nominal fee. Ladies can look forward to the Friday night’s entertainment featuring Men’s International Dancers also at a nominal fee. Saturday night will feature a liqueur-eating contest were selected patrons will compete for a chocolate hamper. Patrons will also be able to participate in a chocolate cocktail making competition where they will be assisted by professional bartenders.
The Chocolate Carnival has something for everyone. Patrons will also be able to relax at the chocolate coffee bar where they can listen to smooth jazz music.
Tickets R40 (R20 children and pensioners) for the gate entrance and are available at the door. The Men’s International Segment is R100 per lady including the gate entrance. For more information contact 031 584 6856 or visit www.choccarnival.co.za
L’ENFANT (THE CHILD)
Alliance Française to present supper evening – movie with English subtitles.
The Alliance Française of Durban’s Cine-Supper-Club is to screen the film L’enfant (The Child) with subtitles in a supper theatre format on June 26.
The film is directed by Jean-Pierre & Luc Dardenne (2004) and stars Jérémie Renier and Déborah François. Winner of the prestigious 2005 Palme d’Or, it is a compassionate yet unsentimental account of guilt and redemption.
A powerful, gripping and suspenseful drama that packs a devastating emotional force, L’enfant (The Child) sees an outstanding performance by Jérémie Renier.. He plays Bruno, a young petty thief who has fathered a baby with his 18 year old girlfriend Sonia. But when the temptation of easy money leads him to commit an act of shocking recklessness, its grave repercussions force a remorseful Bruno into a desperate and dangerous attempt to make amends.
Dinner will be served after the movie. Tickets R90 (R80 members and students of Alliance). Booking and payment essential before June 24 (limited to 30 people). The menu includes: Seafood ‘’panier’’; Lamb blanquette; white rice; Fish blanquette (vegetarian only) and Chocolate duo for dessert.
L’enfant (The Child) can be seen at 17h30 on June 26 at the Alliance Française of Durban at 22 Sutton Crescent (corner Windermere Road). Bookings on 031 312 9582 or email: durban@alliance.org.za
The Alliance Française of Durban’s Cine-Supper-Club is to screen the film L’enfant (The Child) with subtitles in a supper theatre format on June 26.
The film is directed by Jean-Pierre & Luc Dardenne (2004) and stars Jérémie Renier and Déborah François. Winner of the prestigious 2005 Palme d’Or, it is a compassionate yet unsentimental account of guilt and redemption.
A powerful, gripping and suspenseful drama that packs a devastating emotional force, L’enfant (The Child) sees an outstanding performance by Jérémie Renier.. He plays Bruno, a young petty thief who has fathered a baby with his 18 year old girlfriend Sonia. But when the temptation of easy money leads him to commit an act of shocking recklessness, its grave repercussions force a remorseful Bruno into a desperate and dangerous attempt to make amends.
Dinner will be served after the movie. Tickets R90 (R80 members and students of Alliance). Booking and payment essential before June 24 (limited to 30 people). The menu includes: Seafood ‘’panier’’; Lamb blanquette; white rice; Fish blanquette (vegetarian only) and Chocolate duo for dessert.
L’enfant (The Child) can be seen at 17h30 on June 26 at the Alliance Française of Durban at 22 Sutton Crescent (corner Windermere Road). Bookings on 031 312 9582 or email: durban@alliance.org.za
WINNIE THE POOH
(Pic: This tale of Christopher Robin and Winnie the Pooh is sure to enchant)
Lively treat for the full family from KickstArt and the Playhouse Company these holidays.
These July holidays will be made livelier and brighter for the whole family with a welcome return of KickstArt’s award-winning production of the colourful children’s classic, Winnie-the-Pooh, at the Playhouse Opera from July 2 to 19.
This charming production played to capacity houses and was hailed by critics as the holiday highlight of 2006.
Now, the celebrated team of director Steven Stead and designer Greg King will be remount this holiday favourite for a limited two and a half week season. The production is being re-directed by Peter Court from Steven Stead’s original 2006 production. Set design is again by Greg King, lighting design is by Mike Broderick, musical direction by Justin Southey and costume design is by Peter Court.
The delightful adventures of Winnie-the Pooh, Christopher Robin and their funny, loveable friends in the Hundred Acre Wood, are bought to vivid life by a first-class professional cast, and select team of talented younger actors. Catchy, hummable songs are by the inventive local composer, Justin Southey.
The cast is much the same as it was in the original 2006 production, with Rowan Bartlett heading the company as the loveable bear and Carol Trench flying out from Norway to don squeaky Piglet’s fat suit. Other seasoned professional cast members include Peter Court (Eeyore), Anthony Stonier (Rabbit), Michael Gritten (Tigger), Liesl Coppin (Kanga) and Marc Kay (Owl).
Book at Computicket, and for more information visit KickstArt’s website: www.kickstart-theatre.co.za
Presented in association with the Playhouse Company, Winnie-the-Pooh runs from July 2 to 19 in the Playhouse Opera with performances from Tuesday to Sunday at 14h30 and Fridays at 19h00. Tickets R100 (R80 children under 12) throughout. There is a special low price preview on July 3 (R80 throughout). Book at Computicket or Playhouse Box-Office on 031 369 9540.
YOUNG PERFORMERS’ PROJECT
(Pic: The cast of “Curtain Up”, the first Young Performers’ Project show)Sifiso Sikhakane takes a look at this project which develops young talent.
Last year, Durban thought that the Young Performers’ Project was taking its last bow with its performance of School of Rock SA. This project which has been running for the last eight years had to face the loss of their major sponsor, Unilever, but due to its major contribution in developing young talent, Rainbow Chicken has been more than willing to take over from where Unilever left off.
In 2001, the project’s founder, Linda Van Der Veen, had a dream to help talented youth get a taste of the entertainment world, and help them decide if this was a possible career choice for them. “I spoke to Miles Dally who was the CEO of Robertsons at that time about having a charity show and he was more than delighted to come on board,” said Linda. With the funding she had received, Linda was then able to team up with Durban’s much-acclaimed professionals in the arts industry such as Themi Venturas, Charon Williams Ros, Dawn Selby and Peter Court.
Over 300 young people showed up to the first auditions, with talent waiting to be unleashed. Curtain Up, which was the first show, laid the foundation of this successful project which has managed to produce a number of professional performers around South Africa and internationally. To name a few, Adhir Kylan, who was in Oliver and is now based in London, took a leading role in the British comedy series Aliens in America. In 2005, Pume Zondi, the Durban Diva became a Top 10 finalist in the television series, Pop Idols.
“The young performers’ project has served as a springboard to other reputable shows,” said Krystle Temmerman who played Grandma Tzeitel in Fiddler on the Roof and is currently recording her debut album.
After producing mind blowing shows such as One Voice, Grease, Oliver, Fiddler on the Roof, The Wiz, Annie and last year’s School of Rock SA, the project still manages to grow in talent and publicity. This year’s production will be the hit musical, Big River, which will be staged at the Elizabeth Sneddon Theatre from the July 3 to 19.
The project combines youngsters from different classes and social backgrounds and helps them achieve a common goal. Production manager and director Themi Venturas ensures that the less fortunate youngsters are also catered for within the project by ensuring that they receive as much help as possible, such as transport assistance.
The Young Performers’ Project has helped shape the future of these high school learners, thus reducing the rate of talented youth who run away from the arts industry and its perceived bleak future. “These young people are the future,” added Charon Williams Ros, “When audiences watch these young people exploding onto the stage, they are reminded how important the arts are and how we must safeguard its future.”
With the assistance received from Rainbow Chicken, the Rainbow Young Performers production team promises to bring onto the stage another superb show this July, with the young performers who are determined to keep the dream alive. - Sifiso Sikhakhane
PLAYHOUSE HOSTS BASADI WORKSHOP
(Pic: Linda Bukhosini, Gcina Mhlophe and Nokulinda Mkhize with participants of the Playhouse Company’s Basadi workshop)
As part of its 2009 Disability Arts programme, the Playhouse Company hosted a Basadi workshop for young people with various physical challenges on June 19. Participants in the event were Grade 10 to Grade 12 girls, aged between 15 years and 18 years, from God’s Golden Acre in Cato Ridge and Emalandeni in Umlazi.
“Following the highly successful collaboration we enjoyed with The Playhouse Company in presenting last year’s Basadi programme, we were delighted to be back for last week’s workshops,” said the project co-ordinator, Nokulinda Mkhize. “While working as a volunteer in Umlazi recently, I was able to identify areas in which physically challenged learners stood to benefit from a workshop such as Basadi. This special awareness stood us in good stead putting together our 2009 workshops.”
“The workshops were based on learner-centred activities, which incorporated various learning styles (visual, kinetic, communicative and auditory modes of learning), to encourage active participation. The creative and collaborative lessons were arts-oriented, including drama, movement and auditory interpretation, captivating and engaging the young participants in a way that was innovative, inclusive and inspiring.”
Linda Bukhosini, Playhouse Company Chief Executive and Artistic Director, adds: “In formulating our annual Arts Plan, we take great care to ensure that our programming embraces the needs of all sectors of our greater community. In this regard we strive to ensure that we sensitively embrace those members of our community who are differently abled or who live with physical challenges. We are pleased to have hosted this year’s Basadi Workshop.”
Monday, June 22, 2009
DEATH OF MONICA FAIRALL
One of SA’s most popular broadcasters dies in Durban. (Report by Caroline Smart)
One of South African’s most popular broadcasters, Monica Fairall, died yesterday (June 21) at 13h30 in Parklands Hospital with her husband Rob Morrell at her side. She died of myeloma – a cancer of the blood – and had been undergoing treatment for some time. She was 60.
The news of her death is very sad – particularly from the point of view that Monica was one of South Africa’s major promoters of healthy living.
I’ve known her for over 30 years from the time when I first started working in radio drama. When she started her radio programme Durban After Dark, she offered me a slot to cover the arts events in Durban. The corridors of the SABC – let alone the airwaves – aren’t the same without her.
She was one of radio’s finest exponents – meticulous in her work and presentation, yet making it all sound so effortless. And her writings bore the same efficient and comprehensive outlook.
Not many people know that she was also a very good singer and we managed to haul her onto the stage again some years back to appear with old band colleagues in Patrick Collyer’s very successful Those Were the Days.
“I am really sorry to hear this,” says former colleague radio presenter actor and director Alan Swerdlow.” Monica was a lovely, vital and intensely intelligent soul.”
Another close friend and former broadcasting colleague, now the DA’s shadow of Minister of Police, Diane Kohler-Barnard said “The world has lost one of the truly serene people it has ever known. She was my mentor in broadcasting and one of our golden girls from our Golden Girls journalists group who met regularly. The world is such a poorer place for her passing”.
A former Miss South Africa, Monica will be remembered for her graciousness, her serenity, her clear intellect, her compassion – and her delightful sense of humour.
Her last email to me said that, while she was spending a lot of time in bed, she wasn’t being idle and had even unearthed some unfinished embroidery from years back.
I am truly grateful for her sake that her suffering is over … but we’ll miss her terribly. – Caroline Smart
NB: A memorial service will be held on Saturday June 27 at 14h45 at the St Olaf’s Norwegian Hall in St Thomas Road, Durban..
Donations in memory of Monica and in lieu of flowers to: Highway Hospice, Durban, Bank: Nedbank, Branch: Pavilion (138226), Account: 2382005432 (Savings). Or to the Donkey Sanctuary, McGregor (near Cape Town – where Monica and Robert “adopted” one of the donkeys being cared for): Bank: Standard Bank, Branch: Robertson (050413), Account: 288244419
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