FOM: CHING-YUN HU

(Pic by Sarah Shatz: Ching-Yun Hu)

Brilliant young Taiwanese pianist delights Friends of Music audience. (Review by Michael Green)

The brilliant young Taiwanese pianist Ching-Yun Hu delighted a Friends of Music audience in the Durban Jewish Centre earlier this week with a performance of music that was partly familiar and partly off the beaten track.

At the age of 29 Ching-Yun has won many performing awards and has established an international reputation, with much praise from critics in Europe, the United States and Asia. It is easy to see and hear why. She is slight of figure and modest in demeanour, but her playing has great power and conviction.

She is now based in Germany but she is indisputably Chinese, and she is further evidence of the remarkable achievements of artists from the east in western classical music.

She opened with what was probably the best-known item on her programme, Mozart’s Sonata in D major, K. 576, one of the best of the master’s twenty piano sonatas. In this arresting work she showed a strong, almost forthright, tone, with admirable emphasis of the various voices in the contrapuntal passages of the first and third movements. The slow movement was played with limpid quality.

Then came a complete contrast: four of Liszt’s 55 transcriptions of Schubert songs. I suppose that a purist could argue that these elaborate and rhapsodic arrangements are far removed from the straightforward eloquence of the originals, but there is no doubt that they are compelling piano displays. Those chosen by Ching-Yun Hu were Aufenthalt (resting place), Auf dem wasser zu singen (To be sung on the water), Hark, hark, the lark, and Erlkonig (Erlking). She showed a massive technique, generating great power in the brilliant virtuoso passages.

Some rarely played music by Russians came after the interval. Two pieces from Tchaikovsky’s Eighteen Piano Pieces, Op. 72, composed in 1893, the year of his death, revealed an interesting touch of modernism in this most romantic of composers. And Rachmaninov’s Sonata No. 2 in B flat minor, Op. 26, composed in 1913 and revised in 1931, was a big showpiece that was clearly intended to exhibit the composer’s great keyboard prowess. “Rachmaninov trying to outdo Liszt”, a member of the audience said to me drily.

It is an interesting composition, rather dense in texture but with some typical lyrical passages, and it was very well performed.

Ching-Yun gave an encore, Chopin’s Nocturne in E flat major Op. 55, No. 2, and this was played so beautifully that I was sorry that she had not included more Chopin in her programme.

The Prelude Performers of the evening, funded by the National Lottery Distribution Trust Fund, were the Breschi Recorder Group, young people trained by Sandra Breschi of Durban. Fourteen of them played an irresistible Hoe Down, an American country dance, by Brian Bonsor, a Scottish composer who died last month aged 84; and then three players played a Tango by the same composer. All very good, and much enjoyed by the audience and the performers. - Michael Green

ANOTHER MAN’S POISON

(Pic: Thomie Holtzhausen)

Entertaining two-hander explores what men talk about in bars. (Review by Caroline Smart)

Another Man’s Poison is a compilation of stories of love, lust and adventure with deadly consequences as seen through the eyes of a barman and his various clients.

Written and performed by Thomie Holtzhausen, this one-hour two-hander is a highly amusing and entertaining exploration into the insecurities and sexuality of men. Holtzhausen takes on the persona of the barman as well as his four clients while Anthony Stonier fills the role of the Pianist, tinkling away in the background during most of the action and providing droll laconic comment.

Directed by Clare Mortimer, the play moves at a good pace from its deliberately slow start which sees Stonier wandering in and setting up at the piano before Holtzhausen enters to place candles on the piano top, almost as if before an altar. Apart from the instrument, there is a good-sized bar counter which allows the various positioning of the clients so that they are clearly identifiable.

The clients share their secrets and the barman listens, encourages, analyses, sympathises and supports. He has a good method of dealing with those who are not willing to chat by asking for their CV’s under the pretext of putting them up for better jobs. This allows him the opportunity to learn more about them. He’s a pocket psychiatrist but at the end we realise he has serious problems of his own to contend with.

The clientele includes the reticent Jonathan, bitter and disillusioned Conrad reflecting on his broken marriage and stuttering energised Jaco who believes he’s found his soul mate. Then there’s the respectable church-goer, Willie, who decided to go to a Men’s Only party without realising what he was letting himself in for. Finally, there’s ultra camp Roger who boasts of his endless conquests … but who is he kidding?

The dialogue is deliciously cynical and includes lines such as: “Never trust anyone who hides their face behind paint”. The females in last night’s audience laughed as much as their male counterparts, proving that this is a show that will appeal to both sexes!

Thomie Holtzhausen is invariably seen to great success in pantomimes – both traditional and adult – so it is good to see him in a purely dramatic role which allows him to portray his acting skills. Also good to see Anthony Stonier just being himself – a good piano player with a ready repartee.

Another Man’s Poison runs at Seabrooke’s Theatre until April 10. Tickets through Ailsa on 083 250 2690. – Caroline Smart

DREAMGIRLS

(Pic by Showtime Management: Candida Mosoma, Tracey Lee Oliver and Lindiwe Bungane)

If the technology of U2, Madonna and Pink impresses you, this will blow you away … and the performances are equally fantastic! (Review by Caroline Smart)

The redoubtable Hazel Feldman, who has brought numerous mega productions to South Africa, has done it again! After a four-year period of “nagging”, she eventually persuaded Broadway producer John Breglio to bring Dreamgirls here, making South Africa the first country outside the USA to see this newly revived show.

The American production team, including Director/Choreographer Robert Longbottom, Sam Davis (International Music Supervisor), Brittney Griffin (Associate Director/Choreographer) and the host of impressive technical luminaries worked closely with the South African cast and crew over a period of seven weeks. Running the show now are Philip Godawa as Resident Director and Bryan Schimmel as Music Supervisor with Tshepo Mngoma as Musical Director and Alistair Kilbee as Technical Director.

Dreamgirls started off as a musical which debuted on Broadway in 1981 and it went on to dominate the Tony Awards. Inspired by black R&B performers such as The Supremes, it was later made into a film before its recent US revival.

The story tells the rags-to-riches story of an up and coming girl group, The Dreamettes, which changes its name as its success grows. They enter a talent competition and, not knowing that the results have been fixed, end up with an offer to work as back-up singers for the star James “Thunder” Early – excellently portrayed by Bjorn Blignaut.

Initially refusing to work as a back-up artiste, the lead singer Effie White eventually relents but it’s rocky road for her from here on until she is eventually dropped from the group. Lindiwe Bungane puts in a power-plus dramatic and vocal performance full of passion and energy as Effie claws her way back up to the top. Her ten minute singing marathon of survival, And I’m Telling You I’m Not Going, had the audience spellbound. This number should have ended the first half on a superlative high note but was somewhat diluted by bringing in another scene.

Tracey Lee Oliver is equally impressive as Deena Jones who becomes the group’s lead singer, her tall slim body showing off the glamorous costumes to good effect. Candida Mosoma as Lorrell and Hayley Christian as Michelle handle their spunky roles well, the former playing a tricky dramatic scene with control and credibility.

Aubrey Poo is in consistently fine form as the manipulative Curtis Taylor, Jr while Lebo Toko gains sympathy as the struggling writer, C.C. White. Shane ‘Duke’ Wellington is memorable as the group’s former manager, Marty Madison, and Mortimer Williams brings his comedy skills to the roles of Jerry and MC.

This is a fast-moving production and the performers never let the pace flag. Some costume changes are executed so quickly, they leave you breathless.

Hazel Feldman maintains that outside of the USA, South Africa is the only country in the world that can mount an all-black, English production of Dreamgirls” and I think she’s right. Accents and voice modulations are accurate under the careful guidance of dialogue coaches Gina Shmukler and Kate Normington and I had to keep reminding myself that I was watching South African actors and not their African American counterparts.

Set in the 1960's, Dreamgirls is a visual extravaganza with a prize-winning cast of singers and dancers that involves some 450 costumes – most of them spectacular, elegant and glamorous - created by award-winning American costume designer William Ivey Long. And there are no less than 180 wigs!.

Further breathtaking imagery comes from the show’s impressive technology with superb lighting by Ken Billington and a set that – apart from a piano that appears once and some transparent props that create a dressing room counter - consists of nothing more than a series of LED screens. These revolve collectively or independently, fly out of sight and move forwards or backwards. They twist to give the idea of watching a show from the wings, which is an important part of the storyline. The screens are a class act in themselves - an engineer’s dream!

The morning after I saw the show, Bryan Hill (Teatro’s General Manager) kindly took me up to the fly tower so that I could see the workings of the LED panels, the huge trussed grid and the vast amount of computer equipment and cabling that takes over the wings OP side. Two cast members were sick, so there was a rehearsal for the understudies for the afternoon and evening’s performances – and one of them was Londiwe Dhlomo who understudies the role of Deena. Unfortunately, I couldn’t stay to see her perform but Bryan Hill reported that she gave a great performance and that it was lovely to see the excellence of the production carried through to her own interpretation of this larger than life role.

Bryan Hill went on to say: “This show is a landmark in the history of South African musical theatre productions and I’ve been in the business for some 30 years. Dreamgirls is very rare for South Africa - and it’s not just for audiences who love music entertainment but for those who will be fascinated by its technical capacity. Montecasino is positioned to constantly be at the cutting edge of the entertainment and hospitality industry and this groundbreaking production at the Teatro reinforces this.”

The vision of the production is to ensure that many members of this cast will be able to star internationally in other Dreamgirls productions around the world. So, watch out, world – here we come!

Dreamgirls is running at the Teatro at Montecasino in Johannesburg until May 8 with possible extensions until May 22. So if Johannesburg is your nearest venue, then don't miss it. Thereafter the show moves to Artscape, Cape Town, to open on June 8 for a limited season. Book at Computicket outlets, visit www.computicket.com or call 083 915 8000. For more information, visit www.dreamgirls.co.za or Facebook. – Caroline Smart

I took advantage of the Show & Stay Package – a separate review of the Southern Sun Montecasino hotel experience to follow. More information on this package at http://www.dreamgirls.co.za

A HANDFUL OF KEYS

Brilliant script and virtuoso performances by two accomplished pianists with remarkable acting, singing and impersonation abilities has lost none of its freshness and appeal in its return visit to the Sneddon Theatre. (Review by Maurice Kort)

A Handful of Keys which originated in June 1994 has become a phenomenon and long may it continue. Roland Stansell can be thanked for bringing the production, now starring Jonathan Roxmouth and Roelof Colyn, the same duo who appeared at the Elizabeth Sneddon Theatre in May 2009, and again directed by Ian von Memerty. The cast may be the same but it has not lost an iota of its freshness, delight and audience appeal. No doubt many in the audience have seen it before and have taken great delight in seeing it again. The remarkable talent, comedic ability and synergism between the two are so great that one cannot have enough of them. These aspects are so good that one cannot stop being amazed at their piano playing virtuosity. They are really superb.

Roelof Colyn, in addition to much experience in many, many shows, has now starred in A Handful of Keys for the last nine years, having partnered Ian von Memerty and Jeremy Quickfall previously, his performance is as fresh as ever. The much younger Jonathan Roxmouth, only 24, first seen in Durban in the touring productions of the Johannesburg Northcliff High school, has won much critical and audience acclaim in his roles of Gaston in Beauty and the Beast (Naledi Award winner), Danny in Grease and Munkustrap in Cats amongst other roles. Their antics in A Handful of Keys must surely continue to be the pinnacles of their careers. If you’ve seen them before, I need not preach to the converted. If you have not, don’t miss this opportunity of seeing this fabulous show.

From the opening numbers of each of the two acts, Ragtime (The Entertainer, Maple Leaf Rag and Root Beer Rag) and Rhapsody in Blue, the talent and virtuosity of Roelof Colyn and Jonathan Roxmouth at the Yamaha “Grand” pianos are displayed. Continuing highlights of the show include the two illustrating how The Beatles song Yesterday would be played by Bach, Beethoven, Mozart, Chopin, Liszt, Debussy, Bartok and finally The Beatles in an exaggerated style of each of the composers and "in character" with a very funny script.

Their piano playing continues in the style of various women (Alicia Keys, Blossom Dearie, and Nina Simone amongst others) and then various men with amazing spot-on impersonations. Amongst others, Victor Borge, Richard Clayderman, Fats Domino, Nat King Cole and Billy Joel are impersonated and parodied. Topping them all are Jonathan Roxmouth as Elton John and Roelof Colyn as Liberace and Stevie Wonder (his I just crawled to say where are you parody of I just called to say I love you is brilliant).

There is a patriotic South African medley (The Click Song, Pata Pata and Mama Tembu's Getting Married), the instrumental Funeral for a Friend and a Queen Rhapsody.

I cannot do no better than to quote from previous reviews I have written of this show. They work well together with great synergy leading to a very funny number Nothing Without You where Roelof Colyn accompanies Jonathan Roxmouth's singing and then their roles are reversed. Their enjoyment shows and is very infectious to the audience. A tour de force is their History of Broadway in which 100 years of Broadway are performed in 12 minutes with 139 shows being covered. Their energy is amazing, coming to a climax in the last number Rock 'n Roll (Great Balls of Fire and Tutti Frutti) before the finale, in which even the end of a show is parodied in a most amusing manner. The show is a laugh and supreme entertainment from beginning to end. It is no wonder it has enjoyed the success it has and the long and extended opening night ovation was well deserved.

The show is produced by Roland Stansell of the Rhumbelow Theatre in KwaZulu-Natal and runs at the Elizabeth Sneddon Theatre until April 17 with performances from Tuesdays to Saturdays at 19h30 and Sundays at 18h30 with additional matinees on Saturdays and Sundays at 14h30. Booking is at Computicket. Tickets R130 (Discounts include two tickets for the price of one and R100 for students, pensioners and block bookings). Hurry and book, I suspect Durban audiences will leave their lethargy behind and flock to the theatre as word gets around on how good the show is. – Maurice Kort

THE CHAIN GANG

David Bloomberg provides well-written, humorous and fair-minded historical account of mayors of Cape Town. (Review by Michael Green)

A chain gang is defined in the Oxford Dictionary as a group of convicts chained together while working outside the prison. The chain gang of this book, however, is the long line of mayors of Cape Town dating back to G.J. de Korte, who became mayor of the city in 1867, and the chain is of course the mayoral chain.
The author of the book, David Bloomberg, is himself a member of the chain gang, having been mayor of Cape Town from 1973 to l975 (his father, Abe Bloomberg, was mayor from 1945 to 1947). He has written a most readable and entertaining account of the diverse characters who have occupied the chair of Van Riebeeck, used by mayors when they preside over council meetings and said to have been used by Commander Jan van Riebeeck himself.

To some extent the book touches on the history of Cape Town from Victorian times to the present, but of course the personalities dominate these pages, and there are a large number of good illustrations, including a photograph of Mayor Abe Bloomberg presenting the then Princess Elizabeth (now Queen Elizabeth) with a golden key in 1947 to mark her twenty-first birthday.

I must admit to a special interest in connection with this book. I was at school with David Bloomberg, and as the municipal reporter of the Cape Argus newspaper for several years in the nineteen-fifties I knew many of these mayors quite well (especially when they were seeking publicity while campaigning for office).

Obviously this book will have most appeal for people who live or have lived in Cape Town, but other readers who are interested in a broader historical picture than their own parish will derive much pleasure from it. It is well-written, humorous and fair-minded.

The Chain Gang by David Bloomberg is published by Ampersand Press. - Michael Green

THE OUTSIDERS

(Africa Majola, Kurt Keough, Trent Webster & Rowan Peterson)

In his Director's Note in the programme, Colin Chapman explains that he chose the play The Outsiders by Christopher Sergel, based on S E Hinton's novel of the same name, as it has a majority male cast, is not often done and the novel is often read at school level. It proved to be a very good choice and under his strong direction, the large dedicated cast worked hard on their roles. This resulted in a very stout effort from the large cast of 21 Durban High School (DHS) pupils, augmented by cast members from Maris Stella and Our Lady of Fatima schools.

The play is set in the world of gangsterism in America in the 60s when the Greasers and the Socials were at loggerheads and constantly fighting. It was very dangerous for a member of one of the gangs to be walking alone at night. The story is told through the eyes of a Greaser, Ponyboy Curtis (Trent Webster), as a school assignment. The trials and tribulations of belonging to a gang are detailed as well as the strain it places on family members and friends, particularly as he does not fit the mould of a Greaser gangster.

In addition, as the youngest of three orphaned brothers, he is severely bossed by the oldest, Darry (Kurt Keugh), who had to drop out of school to handle two jobs to look after his two brothers and battle to keep the family together. The middle brother, Sodapop (Rowan Peterson), happily dropped out of school to work as a petrol attendant.

Ponyboy has two very good friends Two-Bit (Africa Majola) and Johnny (Kyle Trytsman) and while at the cinema, Two-Bit - who really fancies himself as a ladies' man - tries to pick up Cherry (Erin Passmore) who is there with her girlfriend Marcia (Ruth de Cerff). Although completely unsuccessful, this has serious ramifications as she is the girlfriend of one of the Socials (knows as Socs), Bob (Slaine Spaan).

The result is a rumble, a la West Side Story very well staged by means of a simulated strobe lighting effect. This results in Ponyboy fatally stabbing Bob and he and Johnny run away to escape the law. They hide in a Church which unfortunately catches fire. Ponyboy and Johnny valiantly rescue children from the conflagration and Johnny becomes a hero. Unfortunately he is badly injured and ends up in hospital. Ponyboy's brothers, Darry and Sodapop, are distraught and try to find him.

A strong theme of the play is the need to find "gold" in everyone with whom one associates, which will ultimately ensure the progress of humanity. There is good in everyone, illustrated by Cherry and another of the Socs, Randy (Kyle Smith) testifying in Court on how the fight in which her boyfriend Bob was stabbed originated.

Trent Webster handled the demanding role of Ponyboy very well. He is onstage for almost the whole play and was very convincing. He was ably supported by the other leading roles. Kurt Keough as the oldest brother looked the part and was believably domineering or compassionate, as the occasion demanded. Rowan Petersen as the middle brother was a sympathetic sibling trying to keep the peace between his brothers. Kyle Trytsman and Africa Majola, as Ponyboy's two friends, made the most of their roles and they made a good team with palpable synergism among them. Erin Passmore and Ruth de Cerff as the two girls looked the parts and were good ambassadors of their schools.

As the play is set in the United States, the cast had to contend with American accents. To their great credit, the leading characters maintained their accents well throughout the play, as did the smaller supporting roles which included Brendan-Lee Johnson as Dallas, an angry young man, Justin James as Mr Syme, one of Ponyboy’s teachers, and Silo Sithole, the sympathetic Doctor who attends to the injured Johnny.

The small stage of the Chris Seabrooke Theatre was used well with the stepped lounge of the home where the brothers live being depicted on the left side by means of a couch, an easy chair and a small table. This left the rest of the stage open for the rest of the action, a bus stop, the open area for the fight, and other confrontations, props to depict the Church and later the hospital bed. The action moved smoothly with Ponyboy stepping to the front to address the audience on occasion to further the narrative. This was very effectively done. Unfortunately. the moving of props and furniture to set some of the scenes broke the mood on occasion and it is a pity this could not have been accomplished more quickly. Appropriately, when it came to the curtain calls, these were led by the backstage workers. It was a nice touch to give them credit as it is usually only the actors who receive the accolades in any play.

The play only had a short run from March 22 to 25 at the Chris Seabrooke Theatre, DHS. I went on the second last night which was sold out and the audience was mostly school children, no doubt friends and relatives of the cast. Although the play is a drama, a large part of the audience sadly were noisy giggling school girls. Very much to the credit of the cast, they were not fazed and continued with their excellent performances. Hopefully, as the youngsters are exposed to more theatre, they will learn appropriate behaviour. I must add, though, that in other ways their conduct and manners were beyond reproach. – Maurice Kort

CARMEN

(Pic by Zanele Zulu, courtesy of Independent Newspapers. Violina Anguelov as Carmen)

Violina Anguelov delivers large dollops of crowd-pleasing wow factor. (Review by Henry Presney)

The inauspicious premiere of Bizet’s Carmen at the Opéra-Comique of Paris on 3 March 1875 rivals those in the annals of 19th century opera of Rossini’s Il Barbiere di Siviglia and Bellini’s Norma which took place in Italy some decades previously.

Each event seemed to forecast future track records that would prove unmitigated box offices disasters. Each, in the long run, turned out to be quite the reverse. In the case of Bizet, tragically, the tide changed too late to circumvent the bitterly disappointed 33-year-old composer’s dying of a heart attack, just weeks after his final opera’s notorious opening night, believing his masterpiece to have been written off as a failure.

Such was the scandal that accompanied the work’s first performances before a bourgeois audience who expected their usual innocuous blend of family entertainment, that the Parisian press fell about itself, scrambling for expletives to condemn the work outright.

Bizet’s uncompromising treatment of his central character as a free spirit who lives for the moment, a law unto herself, was seen as a portrayal of an abandoned gypsy harlot, whose wilful caprices were cause for public outrage – to the point that the all-or-nothing interpretation of the role’s creatrix, Célestine Galli-Marié, was reported years later with memorable irony by the Bizet scholar, Winton Dean, as having been seen as “deserving of correction in the police court”.

No such public outrage greeted the performance that took place on Friday night in the Playhouse Company’s staging of the famous classic in Durban. The large audience that turned out to see this ‘semi-staged’ production (semi-staged = homogenously garbed chorus to meet budget restrictions), were justifiably enthusiastic about the experience.

Set in Seville in Spain around 1820, Bizet’s superbly scored work opens as Micaëla comes to find her love, Don José, a corporal under the command of Captain Zuniga. But José is fascinated by the gypsy Carmen, and when she is arrested after a fight, he contrives her release. He is in turn arrested, but refuses to desert after he is later released; however, Carmen, though beginning to fall under the spell of the Toreador Escamillo, persuades José to flee with her and a group of smugglers.

Following them, Escamillo fights with José who is led away from the now bored and disdainful Carmen by Micaela. Outside the Seville bullring, Carmen promises herself to Escamillo if he wins; but the dishevelled José appears, and stabs her as Escamillo emerges with the crowd.

Directed with immaculate integrity by Cape Town Opera’s Michael Williams and stylishly designed by Michael Mitchell, the unsinkable work was allowed to speak for itself, without any unwonted, ego-driven interpretive interventions.

Vocally, the strong cast, headed by Violina Anguelov in the title role, acquitted themselves handsomely, give or take a few minor reservations. Ms Anguelov, reprising her recently lauded assumption of the part at Artscape, proved she has the physical allure and dramatic punch to bring off this onerous role, as well as the big guns vocally to deliver large dollops of the crowd-pleasing wow factor that won her a well-deserved final-curtain ovation.

Tenor Matthew Overmeyer as Don José, likewise had the measure of his role, although his French might benefit from a dash of spit and polish to finish off an otherwise convincing interpretation. However, his delicate shading at the end of his tender duet with Micaëla was breath-taking, and the finely observed descent of his character into Carmen’s toils was wholly convincing.

Bronwen Forbay delivered an exquisitely nuanced, lovely Micaëla, strong but vulnerable, and in most respects, Theo Magongoma pulled off his role as the Toreador, although his baritone proved to be tad short on decibels the bottom of its range.

Thandulwazi Ncube’s sweet-sounding soprano and Nolusidiso Manciya’ husky mezzo were nicely contrasted in their performances as Carmen’s friends, Frasquita and Mercédès, although Ncube lacked the projection ideally needed to dominate the top line of the ensembles (reportedly she was nursing a cold, so this might have accounted for this minor vocal short-fall).

The rest of the cast sounded in fine fettle, notably the rich-toned bass, Xolela Sixaba, and the ad hoc Playhouse Company Chorale, whose strongly focused and dynamically differentiated singing bore the trade-mark imprints of their having been coached and rehearsed by veteran choral director, Juan Burgers.

Naum Rousine provided solid support at the helm of the KZN Philharmonic, making Durban’s first production of Carmen in 15 years well worth the long wait it has been. Its second and final performance is today, March 27 (Sunday) in The Playhouse Opera theatre at 15h00. Booking is through Computicket on 083 915 8000 or online at www.computicket.com – Henry Presney

DOMESTICS

New exhibition by Lesley Magwood Fraser opens at Fat Tuesday in Kloof on March 29.

“Growing up in the 60’s with three sisters and a mother who cooked and sewed for us all has left me with a strong sense of domestic life,” explains Lesley Magwood Fraser. “I have never sewed but two sisters followed in my mother’s footsteps, even making their own wedding dresses. Two of us love cooking. I prefer to express myself visually, combining drawing marks with collage for this body of work Domestics.

“Mixed media is my favourite way of working,” she continues. “My work is concerned with markmaking, using media such as graphite, lino prints, aquarelle crayon, collage, and ink washes. I enjoy exploring the element of chance with the methods used in my work, adding new meanings with each layer.”

Domestics runs from March 29 to April 16 at Fat Tuesday, Bellevue Campus, 5 Bellevue Road, Kloof. More information on 031 717 2785 and for directions, visit www.fattuesday.co.za

REALITY BITES

Listen to the experts, as they lift the veil on how to become a superstar overnight.

Move over producers of Reality TV shows…. Aaron McIlroy and Lisa Bobbert, Durban’s irrepressible husband-and-wife comedy duo, are set to unleash further waves of hilarity over their fans with their hot-property comedy, Reality Bites, which premiered in Durban last February. Due to popular demand, this not-to-be-missed entertainment is scheduled for a season at the Heritage Theatre in Hillcrest from April 5.

Reality Bites spotlights the inimitable show biz couple as they probe the global obsession with instant celebrities spawned by that media malaise of our age, the reality television show. Aided and abetted by DJ KingB, alias Nathan Redpath, McIlroy and Bobbert, in the guise of their vacuous stage alter egos, Bruce and Charmaine Siringinson, set out to demolish any misconceptions we may cling to about what it takes to become an overnight sensation.

Rule of thumb for quick-fix super-stardom? It’s simply a case or ‘Less Is More’. The less you have to offer, the greater your chance of hitting the jackpot – and becoming an overnight celebrity, say our experts. Think Paris Hilton on a shopping spree for designer pet food. Think Tiger Woods, emerging from rehab to set up shop as a marriage guidance councillor.

More specifically, picture our own, upwardly-mobile Charmaine, dragging that ultimate loser of a hubbie of hers, the hapless Bruce, mercilessly along in her wake, as she gate-crashes the tantalizing world of botoxed silver-screen sirens, nipped-and-tucked personal trainers, know-it-all lifestyle experts, ruthlessly outspoken fashion-stylists, and the rest.

Presented by MacBob Productions, Reality Bites delivers a fast-paced evening of satire and mirth. The show is liberally laced with up-beat musical interludes and in-your-face multi-media inserts, featuring ‘celebrity guests’ who are drawn from McIlroy’s and Bobbert’s inexhaustible gallery of stage characters – all quick to offer their own advice on how to upgrade your personal branding, and attain instant material success.

Reality Bites runs from April 5 to May 1.Tickets R195 pp include a two-course meal and the show, with preview ticket prices at R165 for the first three performances of the run (April 5, 6 and 7). Meals are served from 19h00 and the show starts at 20h30 (Tuesdays to Saturdays) with Sunday lunches from 12h30 and the show running from 14h00. Booking is on 031-765 4197.

KARTHIEGASEN PILLAY

Karthiegasen Pillay, South Africa's leading artist of the genre, presents a programme of Carnatic Music (South Indian Classical Music) accompanied by violin, mrdangam and tambura.

The Carnatic Music programme will take place on March 28 from 12h15 to 13h15 in the Howard College Theatre on the University of KwaZulu-Natal’s Howard College campus. More information on 031 260 3353.

CLASSICAL NOTES

William Charlton-Perkins: Seize the moment, catch Carmen live at The Playhouse. (Courtesy of The Mercury)

Say the word Carmen, and the image of a capricious Spanish femme fatale ensnaring men before discarding them, springs to mind. She lives on, an indestructible legend, not only in the flamboyant medium of opera that Bizet’s masterpiece celebrates, but also through the many dance and film adaptations the famous work has undergone, since its premiere in Paris 136 years ago.

Inspired by Proper Mérimée's 1854 novel, which itself was probably influenced by Alexander Pushkin’s narrative poem, The Gypsies, Bizet’s unique genius imbues his central character with a steely life-force that defies her being straight-jacketed. To the extent that she has become a calling-card for singing actresses through the ages, imprinting their indelible signature interpretations of the role onstage, on record or in film.

Famous operatic performances captured on disc over the past few decades alone, range from the slinky gypsy seductresses of Victoria de los Angeles and Teresa Berganza, to the firebrand assumptions of Maria Callas, Grace Bumbry and Agnes Baltsa, to name just five among a galaxy of divas who have made the role their own.

A notable addition to the work’s DVD discography is a Decca film of the 2008 Covent Garden staging. This offers a searing portrayal by Italian soprano, Anna Caterina Antonacchi, opposite Jonas Kaufmann’s heart-wrenching Don José.

But there’s nothing like the real thing. If you’ve not yet secured tickets to one or both of the two live performances of Carmen at The Playhouse next week, get yourself to that ephemeral oasis in our cultural desert before it’s too late.

Accolades in The Cape Times for the production currently running at Artscape indicate that mezzo soprano Violina Anguelov will deliver a memorable Carmen when she reprises the role here. Readers may remember her deeply affecting performance in Handel’s Messiah at The Playhouse two years ago.

Other principal singers appearing in Carmen include Cape Town’s hot-property young tenor, Matthew Overmeyer, as the love-crazed Don José, multi award-winning soprano, Bronwen Forbay, as his faithful girlfriend, Micaëla, and baritone Theo Magongoma as the swaggering toreador, Escamillo.

Directed by Michael Williams, designed by Michael Mitchell and conducted by Naum Rousine, the production features a strong ensemble cast, with the Playhouse Company Chorale and the KZN Philharmonic Orchestra.

Pre-booked tickets range from R75 to R105. Tickets purchased an hour before curtain-up range between R85 and R115. Booking is through Computicket on 083 915 8000, online at www.computicket.com, or through the Playhouse box office on 031 369 9540 (office hours).

Booking is advised through Computicket too for this evening’s final World Symphony Series concert of the KZN Philharmonic’s Summer Season. This has the 28-year-old Hungarian conductor, Tibor Bogányi, on the Durban City Hall podium. The first half of the programme comprises Handel’s Water Music Suite No 2 and Bach’s Magnificat, sung by Clermont Community, Durban Symphonic and Durban Chamber Choirs. Sopranos Thandulwazi Ncube and Nozuko Teto, mezzo soprano Mthokozo Mhlongo, tenor Mhlonishwa Dlamini and baritone Mthunzi Nokubeka are the evening’s soloists. After interval, Brahms’ Symphony No 4 brings the season to a close.

Free lunch-hour concerts take place at Howard College Theatre at 12h15 to 13h00, unless otherwise stated. Additional Wednesday concerts will be presented throughout the semester. For further information call 031 260 3353.

AUDITION FOR ACT MC

The Arts & Culture Trust (ACT) invites aspiring young presenters to audition for the role of MC at this year’s prestigious ACT | DALRO | Nedbank Performing Arts Scholarships 2011 Final.

Young presenters, performers and entertainers who are interested in presenting the Scholarships Final will have an opportunity to audition on July 3 at the space.com venue at the Joburg Theatre Complex. Six finalists will have the opportunity to showcase their acting, dancing and singing abilities to a live audience and an independent panel of judges as they compete for the Scholarships, and their performances will appear within the format of a variety performance, seamlessly knitted together by a dynamic presenter.

“What makes the Scholarship Programme so special is that it has numerous development qualities, and this year we are incredibly excited that we can nurture a future presenter through our Scholarship Presenter Search.” says Nomalanga Nkosi, Programmes Manager of ACT. “In keeping with the spirit of the programme, young individuals under the age of 23 are encouraged to audition.”

At the Final, the Arts & Culture Trust (ACT) in partnership with the Dramatic, Artistic and Literary Rights Organisation (DALRO) and Nedbank Arts Affinity awards two performing arts scholarships to the value of R105,000 each.

The ACT Scholarships Programme is funded by DALRO and Nedbank Arts Affinity. The Final, generously hosted by Gold Reef City, will take place at the Globe Theatre on October 4. The programme is supported by Sleepy Gecko Guesthouse, Talent Etc. and Classicfeel Magazine.

Schedule an audition by sending an e-mail to Deidre Schoeman at deidre@act.org.za or contact 011 712 8403. Then simply turn up on July 3, with the sole aim of being impressive!

For more information about the ACT | DALRO | Nedbank Performing Arts Scholarship or to download a registration form and guidelines for participation, visit www.act.org.za

ANTONY PEEBLES

The UKZN School of Music presents a concert by renowned British concert pianist, Antony Peebles, who will perform works by Schubert, Ravel and Liszt on March 28.

Antony Peebles has performed as concerto soloist with many major British orchestras. He has recorded six CDs and maintains a very busy international performing career, having played in 131 countries to date.

The concert takes place at 19h30 on March 28 at Howard College Theatre, UKZN Howard College campus. Contact 031 260 3353 for information.

More information on Anthony Peebles at http://www.musiciansgallery.com/start/keyboards/pianists/peebles/antony.htm for biography, discography and reviews.

BUSHFIRE 2011

Swaziland is getting ready for a three-day fever-pitch party when the fifth annual Bushfire Festival scorches into town over the weekend of May 27 to 29, 2011.

Top South African music acts such as wildly popular electronic dance duo Goldfish, “silent gig” pioneers Tonik and house music innovator Black Coffee, as well as leading Jamaican-Canadian dub poet D’Bi.Young, have already been confirmed for this year’s line-up.

More acts will be announced soon, ensuring that Bushfire 2011 will be a piping-hot fiesta of live music, theatre, poetry, dance DJs, film, interactive workshops, a crafts and design fair-trade market, a global food fair and much, much more.

Bushfire is an explosion of entertainment that lights up the picturesque kingdom of Swaziland every year at the acclaimed House on Fire performance venue. It is the country’s biggest live music happening, attracting in the region of 20,000 visitors during the three days of the event.

The festival’s theme for 2011 is “Mixing the Point”, and the focus will be on artistic and cultural collaboration, on a pan-African and international level – and audiences can expect some serious musical fireworks!

Says festival founder Jiggs Thorne: “The main concept of the theme is to promote cultural meeting points through collaboration, cultivating creative synergies and celebrating our common humanity, finding harmony in contrast. Bushfire celebrates bringing diverse people together and encouraging integration. Bushfire’s eclectic programme of World-music and multi-disciplinary performances reflects our theme ‘Mixing the Point’–and this year we’ll be introducing some very exciting collaborative projects to the line-up.”

Every year, Bushfire attracts an array of premier music acts from Southern Africa, Africa and the globe – cementing its status as one of the top festivals in the region.

Part of its allure is the enchanting venue, located on Malandela’s Farm in Swaziland’s Malkerns Valley. Eclectic, unusual and fantasy-rich – from the soapstone sculptures to the quirky performance amphitheatre – this rural dreamscape was the brainchild of Thorne, a Swazi-born entrepreneur and artist.

This international arts festival is not only about having an awesome time with good friends in a gorgeous setting, but is also a pioneer on the continent in socially responsible and sustainable event-staging. It supports the growth and development of the arts while highlighting the need to raise funds for some of the most pressing social needs facing Swaziland. As such, 100% of the profits from the Bushfire Festival will be donated to Young Heroes, an NGO providing education, healthcare, food and general support to Aids orphans.

Pre-booking for House on Fire is essential, as only a limited number of tickets are available. Discounted early-bird tickets are available online at www.computicket.com at R400 for a full festival pass, or R650 for a full festival VIP pass, which includes access to a raised, comfortable seating area in the new “Top Deck”, with a private bar and waiter service and VIP parking. One-day tickets range in price from R150 to R200, and one-day VIP tickets vary from R350 to R400. Children enjoyed discounted rates, with free admission for under-fives.

Tickets are also available internationally at http://www.swazi.travel/ which includes information on where to stay during the festival, from backpackers and campsites to chalets and hotels. Visit www.bush-fire.com for more information and updates on the festival’s artist line-up.

SPLASHY FEN SET TO ROCK THE BERG

Supported by East Coast Radio and Tourism KwaZulu-Natal, the 22nd Splashy Fen Music Festival is coming up over the Easter long weekend (April 21 to 25) and is set to rock the Southern Drakensberg with an awesome line-up of more than 90 top live music acts on two stages.

Included on the bill are the likes of Vusi Mahlasela, Boo!, Karen Zoid, Ard Matthews, The Rudimentals, Valiant Swart, Jack Mantis Band, Aquarian Quartet, Margaret’s Daughter and Good Luck, the hugely popular Cape Town electro-swing outfit.

Add to that Wrestlerish, Versus the Wolf, Isochronous, Holiday Murray, No One’s Arc, Newtown, Peachy Keen, December Streets, T.H.O.T.S, Checked Zebra, Captain Stu, 7th Son, as well as the Hairy Legged Lentil Eaters from Pietermaritzburg, Splashy Fen’s featured act honouree for 2011.

For blues fans, there’s Natasha Meister, the Redhand Blues Band, Joshua Grierson and The Town Criers, Boulevard Blues and the maestro himself, Dan Patlansky.

This year also sees a strong showing of Durban acts, among them John Ellis, Red Light Stereo, City Bowl Mizers, The Otherwise, Manuvah to Land, Sibling Rivalry, The La Els, Catlike Thieves, Habit To (who’ll be launching their brand-new album at the festival), Madala Kunene, Shannon Connolly, Sheep Down, The Kickstands and many more!

As is now tradition at Splashy, music clubs from around the country will be represented by more than 30 acoustic acts, such as Celtis, Rooibaardt, Life of Riley, Meri Kenaz, Thomas Krane, Hannah Wildflower and Miles Sievwright, to name a few. Three up-and-coming Durban school bands - New Hysteria, Toxic Candy and Black Math - will also be given a chance to shine when they kick the festival off on April 21.

Something new at Splashy Fen this year is the Freestyle Tribal Village. Situated in a separate tree-shaded area, this colourful tipi village will be home to creators of authentic handicrafts, as well as live music and daily drum circles.

Also making its debut is the Hooters Comedy Tent, featuring a showcase of the hottest, funniest and most original stand-ups on the South African circuit. Set to deliver stand-up comedy at its best are the likes of Durban School of Comedy’s Simmi Areff, Robby Collins, Glen Bo and Dusty Rich, plus Johannesburg’s Alyn Adams, Cape Town’s Martin Evans and UK comedian Martin Davis.

Also on offer are loads of fun outdoor activities for the whole family, an extensive craft market featuring over 50 stalls, a wide variety of food and drink outlets, as well as a separate family campsite and Kreef Hotel’s tented accommodation.

Splashy Fen is now more family-friendly than ever and youngsters are welcome to join in the fun at the Children's Centre, which is open from 09h00 to 16h00 each day. For no charge, children will be cared for and entertained with a variety of Easter art and craft activities, construction toys, DVDs, interactive drumming, movement education, storytelling and exciting live shows. The centre also offers a child-minding service from 19h00 to 22h00, leaving parents free to watch the evening acts.

Held on a farm near Underberg in KwaZulu-Natal, Splashy Fen was established in 1990 and is the longest-running music festival in the country. With its breathtaking mountain vistas and unique vibe and character, there is simply nothing else quite like it! Tickets R500 at Computicket and selected Game stores. The price includes camping for the entire festival. For more information and the full programme, visit www.splashyfen.co.za or contact 031 563 0824.

LAUGH LOUD COMEDY SHOWCASE

(Koobeshen Naidoo, Kumseela Naidoo and Verushka Achary)

Dingalings fans are in for a real treat this month. The comedy heavyweights present an adult stand-up comedy line-up set to leave audiences breathless with laughter.

This comic bill directed by Yugan Naidoo comprises funny man Koobeshen Naidoo last seen in Desperate Husbands, the award winning Senzo Mthethwa who rose to fame with The Boolulu Uncle as well as ever-popular Henry Ramkissoon and the effervescent Kumseela Naidoo both of Dingalings fame.

The Dingalings is a hard-working theatre group which provides a platform for new talent each year. This season the experienced comics are all joined by talented newcomers Verushka Achary and Leeanne Small (both ex-learners identified by Koobeshen and Kumseela Naidoo).

Performances of Laugh Loud Comedy Showcase take place at Suncoast Supernova on March 25 at 20h00 and March 26 at 17h45 and 21h00.

HELLO IS THERE ANY BODY THERE

The Westville Theatre Club is to present Hello Is There Any Body There written by Ian Hornby.

All is dull and peaceful at Squire Grange. Lady Amelia searches for new ideas for her latest mystery novel as Sir Malcolm sleeps off the excesses of another idle day. Meanwhile, the hapless Vic Tim arrives and is promptly dispatched by an unknown assailant. The problem is how to get rid of Vic's body, because he has to come back in ACT II as a policeman! Smalls, the butler, and Mabel, the maid, try to assist the police (and Sir Malcolm attempts to give the delicious WPC Nunnall a hand, too) but not in time to prevent the Director being murdered. There is even a suspicion that someone may have poisoned the audience. Eventually Miss Marbles arrives to reveal, Agatha Christie-style, the culprit. This hilarious farce steadfastly refuses to take itself (or anything else) seriously.

Hello Is There Any Body There runs at the Westville Theatre Club from March 31 to April 2 and again the following weekend from April 7 to 9. Tickets R50, bring your own picnic basket with eats and drinks. Bookings on 031 764 2559.

MOVEMENT LAB PHASE I

Dance Classes at Stable Theatre.

Mhayise Productions in partnership with Stable Theatre will present dance/movement classes every Saturday at Stable Theatre starting from April 2 from 10h00 to 15h00. These classes mark the rebirth of one of Durban’s most formidable dance development projects previously known as Cato Manor Vibe!! and also marks phase I of a pilot project entitled The Movement Laboratory.

The Movement Laboratory is an initiative directed by Musa Hlatshwayo that seeks to create a platform for Durban-based artists working in the medium of movement wherein they can share and exchange ideas, train and enhance their skills, create and stage work in a creative laboratory ‘peer mentorship’ setting. Phase 1 consists of open Saturday classes that will be open to everyone who wants to explore their creative movement ability or enhance their technique.

The first class of the day will see Musa Hlatshwayo conducting a movement technique class in African Contemporary style with an adaptation of African Dance, Graham, Hawkins and Release Technique. This class will be from 10h00 to 12h00 every Saturday. This class is ideal for dancers in training, professional dancers and the general public with interest in generating or enhancing their movement ability for artistic and or health/fitness purposes. This class is recommended for people older than 13 years of age.

The second class will be presented by a local guest dance teacher/choreographer specializing in a style that will be explored during that specific month. Invited choreographers will be allocated a month’s residency consisting of 4/5 consecutive Saturdays. This class will take the shape of a choreographic workshop aimed at introducing the participants to the working methodology of the choreographer; his or her style, genre, some repertoire, the language, his or her approach to choreography and his or her artistic philosophy. During the last Saturday the choreographers will be required to present an in-house showcasing of the work covered to the public and the resident artists of Stable Theatre. This class will be from 12h30 to 14h30 every Saturday. Only invited choreographers will be allowed to facilitate these classes. This class is recommended for the age group older than 14 years of age.

Both these classes will be held at Stable Theatre on 115 Johannes Nkosi Street (formerly known as Alice Street) in town, opposite the Durban Municipality Bus depot. These classes are a training pilot towards the creation of a site-specific dance theatre work that will be devised by Musa Hlatshwayo for Stable Theatre’s Women’s Month in August. Only the participants within the Lab will be allocated roles in the production. The aim behind this production will be providing a performance opportunity for the participants and will therefore be part of the project’s experiential learning. No participant will be paid for partaking in this production. Other performance opportunities will be created during the course of the project. All classes are free of charge.

Participants are required to wear clothing that encourages free movement of the body e.g. t-shirts, leggings, track pants etc. No jeans, restrictive and heavily accessorized clothing and jewellery will be allowed. A juice bottle and a face towel in a bag and clothes to change into are highly recommended. No prior technical training is required but exposure to different artistic work will be of added advantage.

Those interested in finding out more about these classes should contact the project’s coordinator Bonang Shuping at Stable Theatre on 031 309 2513. They can also reach her via email: stabletheatre@telkomsa.net or send a request to join The Movement Laboratory and Mhayise Productions on Facebook for frequent updates, news, auditions and announcements.

IMPERIAL RUSSIAN BALLET FOR PLAYHOUSE

Following their 2009 sell-out season of Carmina Burana, The Imperial Russian Ballet returns to Durban in July to perform at the Playhouse on The Nutcracker.

One of the world’s best-loved ballets, The Nutcracker will enchant audiences at the Playhouse Opera for one performance only on July 12 at 19h00. With a score written especially by Tchaikovsky, the ballet was first performed at the Mariinsky Theatre in Russia in 1892.

The Nutcracker is one of the Imperial Russian Ballet Company’s favourite ballets in an extensive repertoire, largely because they are joined by children from local ballet schools in the various towns and cities they perform in. Gediminas Taranda, a soloist of the Bolshoi Ballet, has worked closely with the famous dancer, Maija Plisetzkaya, in this innovative production.

Tickets range from R135 to R225 and are available from Computicket.

FUNERAL OF SYD KITCHEN

The funeral of guitarist legend Syd Kitchen, who passed away at Highway Hospice on March 22, 2011, will be held tomorrow (March 27) at St John’s Church in Glenwood.

He leaves his wife, Germaine Barnard as well as his daughters Sev and Jasmine. In an interview with the Daily News, Germaine Barnard said her husband would always be remembered for his beautiful music that touched the lives of so many, his sharp tongue and eccentric persona.

Long-term friend and companion, Tony Cox – another guitar legend – paid his tribute: “Syd Kitchen was one of my dearest friends, he was a musician, poet and skrumunkel of note. In the past, he often irritated me beyond belief and then would have me in fits of laughter the next. He was a one-of-a-kind and I can't quite get my head around the fact that he was making me tea just days ago....miss you so bru...”

Photojournalist and publicist Sharon Gill said: “Syd Kitchen was probably South Africa’s most underestimated poet. A brilliant, witty, irreverent, generous, untidy, lovable minstrel who was a musician of the highest order. If anyone deserved a Lifetime Achievement award in recognition of his remarkable talent and dedication, it was Syd - a musician who somehow retained both his integrity and his dignity in a country where too many people would like to give the recording industry capitalists an unceremonial boot up the butt to get their mercenary heads out of the bank statements and into the music. Syd was a legend, and the music world has lost a very bright star.”

A further tribute comes from Roger O’Neill of the Maritzburg Musicians Club: “Syd will be remembered for his extraordinary decades-long musical legacy which included iconic signature songs such as Africa is not for Sissie's. Syd has played at every Splashy Fen since it began 22 years ago. He was a truly South African musician who will be remembered for many years to come. There is a benefit/tribute concert for Syd at Forgotten Falls, Howick on May 15.”

The funeral will take place tomorrow at St Johns Anglican Church, Clark Road, Glenwood. The viewing will be at 12h45 and the service will commence at 13h30.

YOU’RE A GOOD MAN, CHARLIE BROWN

Highly professional musical about much-loved cartoon characters. (Review by Caroline Smart)

Durban Girls’ College is presenting a short season of the musical You’re a Good Man, Charlie Brown, based on the comic strip Peanuts by Charles M Schultz, book, music and lyrics by Charles Gesner with permission from Tams-Witmark Music Library, Inc.

The stage is transformed with Greg King’s bright and cheery set, the band placed at the back of the stage surrounded by what, at first glance, looks like a wiggly picket fence but closer observation reveals piano keys. The huge sized couch and kennel which fairly dwarf the characters remind us that the story is about children and a beagle of great attitude!

Said beagle is, of course, the one and only Snoopy who has delighted young and old for over 60 years and he is normally depicted in the cartoon strip as lying on the roof of his kennel, wryly observing the world of his young master go by.

The favourite characters are all there, with Annabelle Nichol taking the title role of Charlie Brown. She puts in such a fine performance as a boy that I had to keep reminding myself of her gender. She’s disarming, giving the right level of vulnerability as Charlie Brown battles with his low sense of esteem.

Minette Zwart is deliciously snippy and manipulative as loud-mouthed Lucy who wants to be a queen, while Brigette Bielovich gives stature and calm to the musically-intense Schroeder who is continually trying to extricate himself from Lucy’s clutches. They have a delightful scene when she tries to distract him as he’s playing the Moonlight Sonata.

Lucy Colepeper is disarming as the ditzy Peppermint Patty and Khanyisile Mlaba is highly amusing as Linus who is permanently attached to his blanket.

As Snoopy, Ze Mncwango shines in a spunky energetic performance, particularly as Snoopy’s dream hero – the World War 1 fighter plane pilot who is forever at odds with his arch enemy, the Red Baron. She’s also a delight in a Broadway musical type number.

Highlights of the show included the scene where the five children are writing an essay on Peter Rabbit as well as the popular numbers Suppertime and Happiness.

All kudos to director Wendy Watson, associate director/choreographer Kenlynn Sutherland, musical director Ronel Perks, lighting designer Tina le Roux and Black Coffee, who was responsible for sound. You’re a Good Man, Charlie Brown is not the easiest of musicals for young people to tackle and the second half doesn’t compare with the first, but this is due to its structure and not the fault of the director or performers.

The all-round professionalism of the production - from the standard of direction, to the mature and focused performances of the cast as well as the excellent musical back up and lighting/sound/backstage support begs a question. Isn’t it time that Durban Girls’ College looks seriously at creating a space in their well-situated grounds for a real theatre? DHS has Seabrooke’s Theatre and Westville Boys High has the Roy Couzens Theatre. It’s time the girls stood up to be counted!

You’re a Good Man, Charlie Brown has one more performance tonight (March 25) at 19h00 in the DGC Centenary Hall. Tickets R70 booked through Mrs Jacci Lewis on 031 268 7239 or email jlewis@dgc.co.za – Caroline Smart

DEATH OF SYD KITCHEN

South African music legend, guitarist Syd Kitchen passed away on March 22 at the Hospice in Durban. A short while ago, he was diagnosed with stage 4 lung cancer and the late stage at which diagnosis took place left little room for treatment except to manage his pain and discomfit. Mercifully, he was spared too much suffering.

The Durban World Music Festival due to take place between March 27 and April 3 at New Beach on the Durban Golden Mile will be dedicated to his memory. Event organisers confirmed that participants billed in the event had universally agreed that Kitchen would be remembered at the concert.

Organiser Nirode Bramdaw said Kitchen's passing had been taken particularly badly by the music community and they felt that this would be an apt gesture. “Kitchen was originally scheduled to feature on the Legends Concert programme together with his long-time accompanying partner, Madala Kunene. Kunene will still go on ahead of the Flames who will be the headline act on Sunday,” he said. “Kunene will be joined by Rob Warren, Aiden Hinds and other musicians, who will be performing Kitchen's songs. It is rather apt that we pay tribute to Kitchen at the Legends Concert as he was a living legend himself. He was a much-loved, humble and selfless human being, who helped and taught many local guitarists.

“Even though his music didn't receive the airplay it deserved, his discs would be found at most homes,” said Bramdaw. “He will leave a huge void in the musical community in Durban.”

More tributes to follow.

MOUCHE

The Schlesinger Theatre at Michaelhouse will presents Mouche written by Laine Cole who co-directs with Rob van Vuuren. Tim Redpath performs this one-man show with a girl who isn't there. A story both sad and optimistic, of love, hate and suicidal puppets.

Tim Redpath takes the audience through the wonderful story of the girl Mouche, Capitaine Coq and his travelling puppet family. Described as “a stunningly beautiful show”, it tells the story of puppeteer Luc Peyrot whose sad life has left him dark, cruel and silent and whose heart is only evident through the puppets on his hands. Entertaining, poignant and funny, it is a love story with a bit of life, death and art woven together in a charming French setting.

Mouche recently toured a very successful run in the U.K. under Sweet Entertainments at the Edinburgh Fringe Festival (2009), The Short & Sweet Festival in Leicester Square in London (2009), and the Oxford Fringe Festival in March (2010).

In 2007, the show debuted at the Grahamstown National Arts Festival in South Africa, where it played to a sold out run before going on to the Hilton Arts Festival of the same year. In 2008, Mouche toured in Cape Town at the Intimate and Kalk Bay theatres before its final run at the Grahamstown National Arts Festival of the same year.

Tim Redpath will give his acclaimed performance in Mouche on March 25 at 19h00. Tickets R60 (R45 scholars and pensioners) booked through Michelle Huntley, email: michun@michaelhouse.org or phoning 033 234 1139.

EARTH LINES

(S’fiso Magesh Ngcobo, Vusi Makanya, Mlondolozi Zondi, Sifiso Khumalo and Thobeka Quvane in "Circle")

Flatfoot revisit some of their repertoire works. (Review by Samantha Daly)

Fresh from their performance at this year’s prestigious Dance Umbrella Festival in Johannesburg, Flatfoot Dance Company return home to present earth lines, a production in which they re-visit some of their repertoire works, re-staging them for Durban audiences. earth lines is a double bill performance, consisting of two full-length works, namely Sifiso E. Kweyama’s circle (2010), and renowned Durban choreographer Lliane Loots’ controversial work, Bloodlines (2009). Both works explore theatrically and through considerably different styles and genres, the ancient tradition of story-telling.

Kweyama’s circle explores the traditional values around African story-telling, locating these within ancient and contemporary South African society. The dancers negotiate their stories on stage through both dance and spoken word. As private and intimate as the performance is, it invites the audience in to share the stories and experiences of the performers. As the title suggests, the circle is a recurring motif throughout the performance, resembling a gathering in which stories and experiences are shared. A highly captivating performance, the casual and informal tone of Kweyama’s work allows for the dancers’ personalities to shine through on stage. There is also a superb sense of interaction amongst the performers, as they respond to, comment on and share each other’s stories and experiences.

Kweyama makes good use of space, direction and pace in this production which, when combined with his skilful use of shifting groups of dancers, makes for a most dynamic and visually stimulating performance. So, too, the simple lighting design by Wesley Maherry enhances the casual element which is so dominant in this work. The presence of the audience, as well as that of the dancers on stage throughout the performance, and their viewing of each other’s stories is important in that it suggests a witnessing and validation of experience. The work culminates in an exciting and exhilarating whole-group sequence which is fast-paced and backed by a loud, rhythmic African drum beat. With perfect timing, impeccable skill and training, as well as enthusiasm, energy and incredible on-stage presence, this makes for a most magnificent and breath-taking end to an exceptional production.

Loots’ critically acclaimed Bloodlines also negotiates the tradition of storytelling on stage, albeit through a significantly different style. Bloodlines takes the form of an installation piece, weaving together suggestive and emotive choreography, costume, music, video projection, as well as spoken word poetry performed by well-known slam poet, Iain ewok Robinson. This poetry functions as a backing track, at times replacing the conventional use of music and/or sound effects. This is highly effective, since the poetry provides a social commentary or critique within Loots’ work which tackles controversial and highly contested issues including identity, history, belonging, ownership and what it means to be ‘African’. The combination of all these performance elements creates a magnificent, multi-textured performance which is a treat for the audience, as each layer is peeled back to reveal deeper interpretations, messages and long-forgotten histories.

Loots adopts an uncompromising attitude when addressing and investigating the deep set issues surrounding her Afrikaner roots, or bloodlines, as a South African. The work is a culmination of her discovery of, and subsequent preoccupation with the Boer War Concentration Camps, and the manner in which this historical occurrence has been omitted from our national and political history. A possible reason for this omission, Loots suggests, could be the subconscious concern that these men and women “were to become, not 55 years later, the fathers and mothers of the oppressive segregation history of apartheid South Africa … Perhaps we don’t want to be reminded that those who have formerly been oppressed can become even worse oppressors?” Bloodlines then, explores the multiple histories of South Africa, which are written not only on the skin, but also in blood.

There are moments within the performance which appear like a dream, or perhaps more aptly, nightmarish, as ghostly female dancers clad in white Voortrekker bonnets or ‘kappies’ and bloomers, shuffle slowly and awkwardly across the stage. This, set against a harsh, morose soundtrack, creates an eerie and unsettling feeling amongst the audience. In the background, a video plays of a white woman being washed in an old tin bath by a black woman. The video has a religious and ritualistic quality, reminiscent almost of a baptism. Considered in connection with Loots’ intentions behind this work, this observation conjures up thoughts of cleansing, cleaning and purifying. A cleansing, cleaning or purification of what then? Of being white? Of British colonialism? Xenophobia? Racism? These are neither easy nor comfortable notions with which to grapple, and Loots certainly offers the audience no easy escape from confronting these concepts in her work.

Bloodlines, is a deeply engaging and thought-provoking work, which reveals the socio-political potency with which Loots’ work has become synonymous. Add to this the politically and emotionally charged poetry of ewok, and you begin to realise why this work packs such a powerful punch: “his-story, her-story, but where’s our story? Imma take his-story and make it my story too. Take the me out of you and see how far that gets you. Stop selling us these simunye dreams and leave us to determine what simunye means.” Bloodlines is a theatrical masterpiece, which goes a long way in generating discussions and debates around our controversial South African identities and histories, as well as what it really means to be ‘African’.

There are performances on March 25 and 26 at 19h30 and on March 27 at 15h00 at the Elizabeth Sneddon Theatre. Tickets R65 (R40 scholars, students and pensioners) booked through Computicket.

Flatfoot Dance Company acknowledges the financial support of the South African National Arts Council (NAC) and HIVOS towards realising all its performance and dance educational work. – Samantha Daly

ANOTHER MAN’S POISON

(Thomie Holtzhausen and Anthony Stonier)

Written and performed by Thomie Holtzhausen, Another Man’s Poison hilariously explores the insecurities and sexuality of men. The play is tagged as “a play that shouldn’t be seen by women or the faint hearted” and has been directed by the multi-award winning Clare Mortimer with the very talented Anthony Stonier commenting on the script on piano.

The setting – a bar somewhere. The main character - a barman. He has observed people and listened to stories seldom heard anywhere else than in a pub and concluded that men do want to talk. All that is required is a bit of setting up; no candles, not even music, just the ever popular poison in a bottle.

Holtzhausen portrays several characters telling their stories of love, lust and adventure with deadly consequences. Sometimes poignant, sometimes over-the top and hilarious and other times rather daring. The barman interacts with the characters whilst Stonier as the Pianist constantly comments and underscores the play. A brilliant combination.

Another Man’s Poison opens at Seabrooke’s Theatre on March 30 and runs until April 10. Tickets through Ailsa on 083 250 2690.

THE OUTSIDERS

(Trent Webster as Ponyboy)

Durban High School will present The Outsiders by Christopher Sergel (with permission from DALRO).

Based on the S E Hinton novel of the same name, this play is set in America in the 60s when the greasers and the socials were at odds with one another. Against this background, we follow the exciting and poignant story of Ponyboy, his brothers and friends. Through their story, we realise that that there are slivers of gold within us all.

The cast comprises 21 DHS learners and the girls are from Maris Stella and Our Lady of Fatima. The show runs in Seabrooke’s Theatre, DHS, from March 22 to 25 at 19h00. Tickets R40 booked on 031 2771500.

BURTON NAIDOO GROUP- SANCTUM

The Centre for Jazz & Popular Music, UKZN will present the Burton Naidoo Group – Sanctum on March 23. The band features Burton Naidoo (piano), Bruce Baker (drums), Dane Francis ( guitar) and Llewelyn Chetty (bass).

The performance takes place on March 23 at 17h30 (doors open 17h00). Tickets R30 (R10 students). More information from luthulia1@ukzn.ac.za or on 031 260 3385.

YOU’RE A GOOD MAN, CHARLIE BROWN

Durban Girls’ College presents the musical You’re a Good Man, Charlie Brown based on the Comic Strip Peanuts by Charles M Schultz, book, music and lyrics by Charles Gesner with permission from Tams-Witmark Music Library, Inc.

This famous Broadway and Off-Broadway production is based on the characters created by Charles Schultz in the Peanuts cartoons and it includes favourites such as the stalwart Charlie Brown, his almost-human dog Snoopy, his critical friend Lucy, her long-suffering younger brother Linus, Lucy’s tomboyish friend Peppermint Patty and their intense musician friend Schroeder.

The audience witnesses snippets of their lives accompanied by a beautiful musical score that includes the jazzy Suppertime and heart-moving number Happiness. The cast has six leads, a chorus of singers and dancers and a live band and orchestra led by Musical Director Ronel Perks and pianist Kim Siedle on a set created by award-winning set designer Greg King.

The production is directed by Wendy Watson with Kenlynn Sutherland as associate director and choreographer. Black Coffee is responsible for sound and Tina le Roux will do lighting.

“The show is a wonderful celebration of our humanity and the wonder that is life!” says Wendy Watson. “It’s suitable for all ages and we hope to see families enjoying it together.”

You’re a Good Man, Charlie Brownruns from March 22 to 25 at 19h00 in the DGC Centenary Hall. Tickets R70 booked through Mrs Jacci Lewis on 031 268 7239 or email jlewis@dgc.co.za

PARIKRAMA

(Manesh Maharaj)

Kala Darshan - Institute of classical music and dance will be staging Parikrama - a Kathak dance recital by Shri Manesh Maharaj and his disciples on April 2 in Chatsworth.

“Kala Darshan was established in 1999 with the aim to preserve and promote the rich cultural heritage of classical music and dance in South Africa,” explains Shri Manesh Maharaj. “We have endeavoured to create a platform for aspiring students and upcoming artists to showcase their talents. Since its inception and through our programmes, we have assisted numerous religious and non-governmental organizations raise funds for their respective projects.

“Some of these organizations,” continues Manesh, “include The Ramakrishna Centre of S.A, The Shri Vishnu Temple Society, The Chinmaya Mission of S.A, The Aryan Benevolent Homes, Winithie Sabha, The Saraswathi Cultural Society, Dudlu Project for underprivileged woman, The Isipingo Temple Society, Lakshmi Mandir and The Arena Park Temple Society.

Originating in the temples of Northern India and later flourishing in the courtrooms of the Mughal and Rajput kings, Kathak is distinguished by intricate footwork, rapid pirouettes and evocative expression. It constitutes one of the seven major classical dance styles of India.

Parikrama is a medium of worship where the pilgrim circumambulates clockwise around a sacred image, object or temple. The pilgrim reaches a state of transcendental bliss at the completion of thework.

Using Kathak as a medium, Parikrama takes the audience on a spiritual pilgrimage from the temple in Chidambaram where Lord Shiva performed His Ananda Tandavam to the beautiful forests of Vrindavan, where Lord Krishna performed His Maharaasleela with the Gopis. The production promises to captivate and enthral a diverse audience with its rich music score, exquisite costumes and vibrant choreography.

Parikrama has one performance on April 2 at 19h00 at the Rajput Hall, unit 6 Chatsworth. Tickets R40 available at the door. Part of the proceeds from this performance will be donated to various religious organizations. Further information on 082 422 6865.

CARMEN

(Violina Anguelov appears in the title role)

A red letter event this month-end is the return to the Durban stage for the first time in 15 years, of Bizet’s Carmen. Presented by The Playhouse Company in collaboration with Cape Town Opera, Georges Bizet’s masterpiece tells a tale of love, passion and betrayal. Rich in musical highlights, this brilliantly scored work it is often called the world’s most popular opera.

In the light of this reputation, which few theatre managements would challenge, the scandal, controversy and disappointment that surrounded the premiere of Bizet’s last work make sensational telling, an episode in musical history often cited as an indictment on the perceptive powers of critics and audiences in failing to assess intelligently the significance of a revolutionary work of art.

In 1872, the co-directors of the Opéra-Comique in Paris, Adolphe de Leuven and Camille de Locle, approached Bizet to create a three-act opera, working with the librettists Henri Meilhac and Ludovic Halévy. Bizet himself suggested adapting Mérimée’s novella Carmen and, by mid-1873 had completed the first act, but complications at the Opéra-Comique caused Bizet to turn to other commissions. By the time he returned to the score, the theatre’s directors had begun objecting to the choice of subject.

The Opéra-Comique had a reputation for good, clean family entertainment, and with financial difficulties looming, box-office preoccupations were paramount. The unbridled realism of Bizet’s adaptation of Mérimée threatened unheard-of goings-on before an audience whose bourgeois respectability was hardly likely to take kindly to mutiny, theft, violent jealousy, adultery, brawling and murder as beguiling theatre fare.

Du Leuven was horrified at the prospect, and put pressure to bear on the authors to water down their material: although he seems to have had the support of the indifferent librettists, Bizet himself refused adamantly, and early in 1874 de Leuven resigned in protest.

The title role was offered to Marie Roze, who refused it as ‘scabrous’: it was subsequently accepted by the mezzo soprano Célestine Galli-Marié. Rehearsals began in October 1874 and lasted five months.

Bizet was harassed by orchestra and chorus, who found the music impossible to perform, and by du Locle who disliked the score and was haunted by mounting fear of antagonising his public. The librettists tried, behind Bizet’s back, to tone down the singers’ interpretation of their roles, but failed to restrain Mme Galli-Marié, whose portrayal of Carmen annoyed them as much as it pleased Bizet.

Carmen eventually opened on March 3, 1875. The final rehearsals had run smoothly, converting many of the company in favour of the work, but the opening night audience response was one of stony silence. Despite the congratulations of several colleagues in the audience, Bizet was deeply hurt by the public’s reception and even more so by the barrage of critical abuse which followed.

Of course, Carmen survived this historic failure. Bizet did not. It contributed directly to his death three months later following severe attacks of quinsy and two devastating heart attacks. Later, as the tide changed, and Bizet’s genius manifested itself in triumphant productions of Carmen around the world, much shame-faced covering-up went on; several of the 1875 critics recanted, while others dishonestly tried to claim their consistent support from the start.

The truth was, as posterity quickly realised, that in Carmen, Bizet had created a masterpiece beyond its own time. Few composers, Mozart and Verdi aside, have matched his dramatic punch, his extraordinary capacity to sink himself into his characters and allow them to move us as human beings living life to the limit. This gift, combined with his great gifts as a creative musician, gives Carmen its immense power in the theatre, a power that time has not dimmed.

Carmen stars the celebrated Cape Town-based Bulgarian mezzo-soprano, Violina Anguelov, in the opera’s title role as the tempestuous gypsy, with the swiftly-rising tenor Matthew Overmeyer set to burn up the stage as the love-crazed Don José. Soprano Bronwen Forbay is the faithful Micaela, and baritone Theo Magongoma the swaggering Toreador, Escamillo.

Directed by Michael Williams with designs by Michael Mitchell and conducted by Naum Rousine, the lavish semi-staged production will feature a strong ensemble cast, the Playhouse Company Chorale and the KZN Philharmonic Orchestra. With just two performances, on March 25 at 19h30 and March 27 at 15h00, early booking is strongly advised. Call Computicket on 083 915 8000 or book online at www.computicket.com

JOURNEY INTO THE UNKNOWN

Dr Adam Mohamed has launched a powerful book that will strike a chord with anyone who has ever found themselves touched by emotional suffering. In 1986, on a road from Standerton to Volksrust, Dr Mahomed and his wife Noorjehan lost their three young daughters in a single, tragic car accident. Now, more than 20 years later, and with Noorjehan having passed away in 2005, Dr Mohamed is sharing their experience with others.

Titled Journey Into The Unknown (STE Publishers), the book gathers together Noorjehan's prolific, cathartic writings in the wake of the deaths of Shamima, Humeira and Nadia that had been gathering dust on a shelf in Dr Mohamed's home in Durban, where he has a dental practice. It then adds in Dr Mahomed's own reflections, along with a number of speeches delivered by Noorjehan and Dr Mahomed at various forums over the years - and the result is a compelling, page-turning journey into the lives of two South Africans who together faced a tragedy of inconceivable proportions.

"It was the late Professor Fatima Meer who encouraged first Noorjehan and then me to write down the brutal event that took our three beautiful girls from us, as a way of articulating our feelings, and the challenges that we faced in the wake of Shamima, Humeira and Nadia's deaths," says Dr Mahomed. "The writings were not initially meant for publication, but over the years both Noorjehan and I were asked to speak out about coping with the loss of children and it became increasingly clear that this journey needed to be shared with others, hence the book."

Although Journey Into The Unknown details the all-too-familiar experiences of parents going through the loss of a child: challenges such as the stress on the parents' relationship, moments of clarity set against moments of immense grief, questioning, feeling and wading through pain are set in stark relief by the writings of this couple.

The book is also a spiritual touchpoint for those seeking answers to why they have undergone an emotional suffering of any sort - this, in particular, is brought to life through Dr Mahomed's essay at the end of the book where he reflects deeply on the life-changing experience he has gone through, losing his three daughters and then Noorjehan in 2005. "I realised we were sleepwalking through life and now live each day, fully present," he says.

Journey into the Unknown begins with some surprising elements as both Noorjehan and Dr Mahomed set out their childhoods and emergence into adulthood as Muslims in apartheid South Africa. Indeed, the presence of apartheid looms large during the almost unbearable descriptions of the accident that claimed the lives of their three daughters: brought to the Volksrust Hospital, with Dr Mahomed in theatre, Noorjehan - herself bleeding - is asked by a nurse for her details. "When I said that my surname was Mahomed, she stopped writing suddenly and, with a strange look on her face, informed me that I was in the wrong section. I was in the part of the hospital reserved for Europeans only and I could not be admitted there," Noorjehan writes, in a poignant reminder of apartheid's inhumanity.

Dr Mahomed, now 70, owns a dental practice in Durban where he oversees three dentists working for him. In this semi-retirement mode, he's determined to follow the path that Journey into the Unknown will take him on next. "It's been a long time coming," he says simply. "Most people leave children and grandchildren as their legacy. Noorjehan and I can't do that. What we can do is leave this book to speak to those who need it."

Dr Mahomed is involved in a number of charitable projects including scholarships and helping to start the Shahumna Assessment Centre for the hearing impaired in Durban. Proceeds from the sale of Journey into the Unknown will go to charitable endeavours including the funding of much-needed dialysis machines for the Chatsworth community.

Journey into the Unknown is available at leading book stores at a cost of R120 incl. VAT.

LAUNCH OF JUST IN TIME

(Bheki Mkhwane and Maurice Podbrey)

Veteran theatre producer / director Maurice Podbrey together with much-loved Durban theatre personality Bheki Mkhwane will launch of a new KZN company – Just in Time Productions - committed to the development and presentation of indigenous theatre with three remarkable plays in repertoire at the Loft Playhouse Theatre from April 5 to 24.

A theatre trust which intends to focus on development work, Just in Time Productions aims to train theatre practitioners; produce new South African theatre; raise funds to develop and stage productions, and put a touring programme in place for indigenous work. The trust’s vision is to create and stage productions in South African various indigenous languages and to encourage new and innovative writing as well as translate existing quality scripts into South African indigenous languages. The company intends to work towards offering a sustainable environment for new work to be created and staged.

Just in Time wants to begin a process of redressing the fact that there are few opportunities for indigenous work to have a meaningful presence on the main professional theatre circuit currently in South Africa. The producers were moved when they heard that even South African theatre luminaries such as John Kani has never worked on a major full length play in his own language.

The three plays chosen for the launch season for Just in Time Productions all tell distinctly South African stories – all new works with original scripts. Two of the productions: Sitting around the Fire and A Plague of Heroes are mainly in English, while the third uThembalethu – Tshepang is in isiZulu (published by Nutrend Publishers of Pietermaritzburg).

“The plays are sure to excite, entertain and inspire,” says Maurice Podbrey. “Each has a high level of theatricality and performance skills are of the best.”

Sitting Round the Fire (60 minutes - no intermission) is written and directed by Bheki Mkhwane and features Sduduzo Kawula, Bhekani Shabalala, Bheki Khabela and Bheki Mkhwane. It tells the story of four streetwise kids who have had their lives profoundly changed, and perhaps saved, by a chance meeting with Mablavana, an old man, who himself had sought refuge from a dangerous world. That was many years ago! News of his death brings them back to the site of their first meeting but no longer as boys - they are now men and their stories, too, are transformed with magical effect into an acappella musical. It won a Standard Bank Ovation Award on the Grahamstown Fest. 2010.

A Plague of Heroes (55 minutes – no intermission) is a semi autobiographical piece written by Vusi Mazibuko, directed by Maurice Podbrey and featuring Thami Mbongo. It is set in the Greyville horse racing tote call centre surrounded by the races on the big screen and the many voices and accents of Durban life calling in their bets. Vusi grew up in Kwa Mashu and, like many other youngsters, fell under the seductive spell of the gangster elite – the “heroes” of the townships. An intoxicating life-style is suddenly cut short and Vusi, now a paraplegic, has to find his way in an uncaring and lonely world. His fight back and reformation is stunning and gives new meaning to the notion of heroism. It won the Best Production Award at the Baxter Theatre Ikhwezi Festival 2010.

uThembalethu- Tshepang (80 minutes –no intermission) is written by Lara Foot; and directed by Maurice Podbrey and features Bheki Mkhwane (who translated the play) and Silindile Ndlovu. Tshepang toured extensively abroad and throughout South Africa in English, parts of the country in Afrikaans, and now arrives in Durban in isiZulu as uThebalethu. It has won countless awards and been hailed as possibly the South African play of the decade. The question that runs through a true story – one that occurred in the Northern Cape seven years ago and shook the conscience not only of this country but the world was: “When a community is brutalized by years of neglect and poverty how does it protect its own children?”

Booking is through Computicket on 083 915 8000 or www.computicket.co.za or Playhouse box office on 031 369 9540. For more information on performance dates, call up the atSMart Events List and click on the Forthcoming Events window on the right hand side of this article. On April 23, there will be a performance of all three plays.

BAROQUE 2000

Bronwen Forbay

Baroque 2000 has proudly announced the start of the 2011 Concert Series, with the Opening Concert taking place on April 3 at 15h00 at the Church of the Mariannhill Monastery

This concert will feature soprano Bronwen Forbay with aias from Handel’s Opera Giulio Cesare. The rest of the programme will consist of Handel’s instrumental works. Tickets R90 at the door.

Become a subscriber for the 2011 Season at a cost of R720 for the eight-series concerts and ensure that your preferred seat is reserved throughout the year. More information from email: sursouth@iafrica.com or fax: 031 312 5539.

Project sponsored by Die Rupert Musiekstigting