ISMAIL MAHOMED TRIBUTE TO LYNETTE MARAIS

(Lynette Marais & Ismail Mahomed)

Ismail Mahomed, the new Director of UKZN’s Centre for Creative Arts (CCA) in the College of Humanities in Durban, was formerly CEO of the Market Theatre Foundation in Johannesburg. He also served as Artistic Director of the National Arts Festival where he worked closely with Lynette Marais who passed away on August 28, 2020. This is his tribute to her:

It is with immense sadness that I share the news of the passing of my former colleague and friend Lynette Marais.

Lynette was the executive director of the National Arts Festival (Grahamstown / Makhanda). I first made acquaintance with her in 1989 when she was appointed to the post. It was the same year that I had visited the Festival for the first time. Little did I know that twenty years later that when Lynette was to retire she would be handing the baton to me.

In the years that followed after my visit to the Festival I took many high school students to the festival. My warning to all students was absolutely clear, “you can mess around with anyone but don’t mess around with that lady who wears a small bun, ankle length skirts and semi-high heels. She is the Festival boss!”

Lynette was more than just the boss of the Festival. She was the Festival’s guardian angel. Over two decades she steered the ship sometimes through the most stormiest seas.

She took it through its years under the Nationalist government and resisted censorship. She channelled the Festival through the State of Emergency years and ensured that the festival celebrated freedom of expression and promoted protest theatre.

She hosted Barbara Masekela upon BM’s return from exile and boldly held a discussion on culture in a post-apartheid society. When the Guy Butler Theatre in the Monument had burnt down Lynette let it rise like a phoenix and she hosted Nelson Mandela when he re-dedicated the building to all South Africans.

She raised millions to sustain the Festival over its two decades and she guarded and spent every cent wisely. She was totally accountable. Not a cent would go astray. She built a strong foundation for the Festival before she handed it over to Tony Lankester and I to steer it into new directions. It was a standing joke that it would take two men to do what one woman did for twenty years. It may have sounded funny but there was immense truth to that statement.

Lynette handed the baton to Tony and me with absolute grace; and she ran the race along with me cheering me from the side and supporting me when the load was a little too heavy. She was my greatest supporter, my most honest critic, my trusted confidant, my respected mentor and a loyal friend. We found that despite our vast ages, cultural backgrounds and upbringings we shared so many similar passions for the arts.

I have yet to meet anyone in the South African arts sector with her depth of absolute passion and commitment for the arts. Lynette epitomized ethics. She had a quest for excellence. She was brutally honest but compassionate in how she expressed her honesty. She suffered no fools.

As she retired and handed the baton to me we became wonderful friends. We had greater laughter together. I would teach her how to fill samoosas and make chilli bites and she would teach me how to pronounce Dvorak, Galuppi, Pergolosi, Schubert so that I didn’t sound like a philistine to classical musical lovers. We both shared a common love and laughter for all art forms; and even though we sometimes laughed at what was presented as art we were ever so cautious that our laughter was never about artists. We shared a deep respect for them. They were the reason why we had jobs that we could love.

Lynette and I had many joyous dinners at my home with friends. We laughed till late at night and sometimes debated even beyond the midnight hour. Lynette loved good food, good wine and good laughter. She had a boisterous laughter. It resonated with absolute joy!

Lynette was a huge force. Almost everyone in the city knew her; and it was not only for her remarkable work for the Festival. Lynette was much loved and respected for her charitable work with hospice, Rotary and the church.

Lynette was an absolute legend. It is impossible to write the history of South African theatre and arts festivals without acknowledging her immense contribution. She was the mother of South African arts festivals. She was a nurturer of arts careers. She was a giant who left great footprints in the sand. – Ismail Mahomed

LOVES AND MIRACLES OF PISTOLA: REVIEW

A novel smothered and oozing in rich colours, flavours and tastes. (Review by Fiona de Goede)

Loves and Miracles of Pistola by Hillary Prendini Toffoli is a novel smothered and oozing in rich colours, flavours and tastes – food plays an integral role in the life of Ettore, an ambitious young Italian boy from a tiny village in Italy. However, Pistola, as he is fondly known, has more than just a voracious appetite for food: he longs for adventure and the chance to escape the restrictions the village of Campino imposes on him.

Although Campino is a little village, the inhabitants are larger than life. Nonno Mario, Pistola’s grandfather, cooks sublimely and teaches Pistola all his skills. Frog risotto is his specialty! Then there is Zio Umberto, the butcher, with arms like Parma hams. Zia Andromaca is the village baker and the lovely aroma of her freshly-baked fare wafts in the air every morning. To add to the line-up of villagers, there is the coffin maker, the silkworm farmer and various other charming characters that add zest and zing to this tapestry of village life.

But Pistola is restless and feels stifled. His unrequited love for his second cousin Teresa is a further reason why he feels he needs to spread his wings and leave Campino. When it becomes clear that she is set on marrying the village bad boy, Pistola and his friends decide to accept the offer of a lifetime and head for Africa. Johannesburg, South Africa, to be precise. 

The South Africa of the 1950s, amid raging racism, offers Pistola and a further 109 Italian boys the opportunity to spread their wings and face an unknown future filled with travel and adventure. The Minister of Transport at the time, Ben Schoeman, deems it unacceptable that black waiters serve white passengers on the trains and the job is considered beneath whites. As waitering is accepted as a professional job in Italy, this seems to be the ideal solution.

After their contracts with the Railways ended, many of these young men stayed on in South Africa and opened trattorias serving typical Italian food – a far cry from the tinned spaghetti and bland macaroni and cheese which was the fare of that time and passed for Italian cuisine.

As the title of the book suggests, this is about Pistola’s loves and miracles – these appear in various shapes and guises. Pistola and his friends work hard but, being young hot-blooded Italians, playing hard features extensively in their after-hours pursuits. Parties in Hillbrow and Sophiatown where they rub shoulders with Miriam Makeba is just one of the incidents that is highlighted in the book. Pistola meets a young girl, Malikah, of District Six and realizes he is in love with her. However, the apartheid police thwart their illicit romance and he faces severe consequences. 

Throughout the book, the author describes the various characters in a rather stereotypical way but it manages to add charm and colour to the various role players. Two scenes stood out for me personally. One was the viewing of the promotional film shown to the Italian boys with the view of luring them to South Africa. This was truly enjoyable reading as I could visualize their awe and wonder at viewing scenes of magnificent beauty, wild animals, and gold virtually lying in the streets…

The description of a typical South African braai was another favourite: I could almost smell the charcoaled meat and taste the corn.

The author, Hillary Prendini Toffoli is based in Cape Town and is married to an Italian who spent the first 19 years of his life in a small Italian village. I recall reading many of her articles in Style magazine and therefore relished the thought of reading this, her first novel. She co-authored one other book and wrote many features for various South African publications.

Loves and Miracles of Pistola by Hillary Prendini Toffoli is published by Penguin Random House. ISBN 978-1-48590-433-5 - Fiona de Goede

LASTING LEGACY FOR CONTEMPORARY DANCE AT JOMBA!

(Introdans - Blue Journey ©Introdans HansGerritsen 2020)

Nine dance-makers and companies from the USA, Africa and Europe, will feature in the Legacy (celebrating 21 years of JOMBA!) section of the JOMBA! Contemporary Dance Experience, presented by the Centre for Creative Arts, University of KwaZulu-Natal, as a free online event running until September 6, 2020.

(Robyn Orlin © Peggy Jarrell Kaplan)

“These dance-makers have contributed to the success of the festival, by bringing their work to Durban, and sharing their techniques and dance-making skills in performances, workshops, interviews and conversations with hundreds of South African dance-makers over the years,” says Lliane Loots, Artistic Director of JOMBA!. “We welcome these extraordinary iconic creative artists onto the digital stage to share work in a celebration of what has come before and what has shaped a lot of our contemporary dance space in South Africa.”

(Adedayo Liadi – “Aya Asan” – Ijodee Dance Company from Nigeria)

Hailing from Durban’s sister cities in the USA are two dance companies that have left lasting impressions on dancers and audiences on their visits to the country:  Deeply Rooted Dance Theater from Chicago and Leslie Scott’s New Orleans BODYART Dance Company; both come to the virtual space with the kind support from the US Consulate in Durban.

Deeply Rooted Dance Theater, under the artistic direction of Nicole Clarke-Springer, re-imagines and diversifies the aesthetics of contemporary dance by uniting modern, classical, American, and African-American traditions in dance and storytelling. They have a long history with JOMBA! and have facilitated many exchanges and collaborations between South African artists and their home base in Chicago. Three of their works will be screened and these works also celebrate an on-going relationship with artists from Durban and South Africa.

(Anita Ratnam from Chennai)

Leslie Scott and BODYART Dance Company, which performed at last year’s JOMBA! to much acclaim, will present a series of their unique site-specific works created for stage and for film. As a choreographer, working in both traditional and non-traditional spaces, Scott’s work has been performed in notable venues and sites from LA, NYC, Dallas, St Louis, New Orleans, Houston, Edinburgh, New Zealand and Durban, South Africa.

From The Netherlands come frequent guests at JOMBA! INTRODANS with their neo-classical approach to ballet: one that’s creative and surprising. They offer dance work that is dynamic, dazzling and gravity-defying - they captivate in a total dance experience. They perform four works for the festival with a focus on the technologically intriguing work of David Middendorp.

Nigerian dancer and choreographer Adedayo Liadi and Ijodee Dance Company will revisit Aye Asan (Vanity) which premiered at JOMBA! in 2011 together with  Durban’s Flatfoot Dance Company. This dance piece is about the good, the bad, and the ugly in all of us - and the choices we make along the way. Ijodee works on supporting the socio-cultural and economic development of Nigeria using dance as a medium of communication.

(Germaine Acogny from Senegal)

From the city of Chennai in India comes Anita Ratnam, described as an "intersectionist", whose work weaves the many disciplines of dance, theatre, spoken word, ritual, archaeology, dramaturgy and women's issues. Her main area of focus is in the re-interpretation of traditional tropes from myth and legend using a feminist lens.  She performs two works: Stone ... once again a work which tells the story of shunned woman who represents the many facets of her gender through centuries of misinterpretation and misogyny; and excerpts from Ma3Ka about the Mother Trinity Supreme.

Staying with strong women in dance, Senegalese dance-maker Germaine Acogny, considered ‘the mother of contemporary dance in Africa’, a will perform a 2017 work Somewhere at the Beginning. Acogny has created her own technique of Modern African Dance, and with her husband Helmut Vogt, she founded the ECOLE DES SABLES in Senegal, an International Centre for traditional and contemporary African Dances. Acogny’s solo is a soulful journey into being black, African and female and is not to be missed.

(Nqcebo Nzama & Musa Hlatshwayo in “Umthombi” 2002)

Internationally-acclaimed Musa Hlatshwayo and Mhayise Productions performs Abomhlaba(Thi) which premiered in 2019. This is a full-length dance theatre piece inspired by Credo Mutwa’s stories around the creation of abantu, the earth, land and landless, the displacement of black bodies and their continuous search for belonging in a land torn by political borders and boundaries.

South Africa’s Gregory Maqoma and Vuyani Dance Theatre perform Exit/Exist choreographed by Maqoma which premiered at Dance Umbrella 2012. In this work, Maqoma returns to his ancestral past to re-interpret the complexities of our contemporary world. The narrative centres around the great Xhosa chief and warrior, Maqoma, who, in the late 1800s, clashed with the English over cattle and land and finally met his death on Robben Island.

(Gregory Maqoma)

Award-winning and internationally-renowned South African choreographer Robyn Orlin, now based in Germany, presents Beauty remained for just a moment then returned gently to her starting position.... This is a work created by Orlin in 2012 with Moving Into Dance Mophatong dancers which draws on Orlin’s iconic performance-making style and on traditional South African storytelling, song and dance.

Digital JOMBA! 2020 runs until September 6 off the website, jomba.ukzn.ac.za

All platforms for 2020 are free of charge and a full programme is available via the website.

For more information and updates on the programme visit Facebook, Twitter and Instagram and Youtube.

 

BARGAINS GALORE AT KZN TOURIST HOTSPOTS

(Cathedral Peak Hotel, Drakensberg)

All toll booths at KwaZulu-Natal borders are braced for an influx of motorists heading to KZN tourist hotspots to rewind and relax on discounted deals after President Ramaphosa shifted the country to lockdown Level 2 permitting inter-provincial travel.

“It’s time to travel again…unforgettable experiences are here again.” That is the enticing message from Tourism KwaZulu-Natal (TKZN) to coincide with the relaxation of inter-provincial travel and massively discounted offers by the tourist trade.

Cars pulling trailers crammed with holiday paraphernalia for the ‘Berg, beach and bush, including fishing rods, surf boards, braai equipment and mountain bikes, will again be a common sight on KZN’s main tourist routes.

While the impact of Covid-19 on travellers is that they cannot travel internationally as yet, TKZN’s mantra is “local is lekker”.

Hence, TKZN is leaning towards domestic tourism - identifying less explored places in the province and encouraging interest by getting product owners to offer the same experiences at lower rates - thereby sustaining the distressed sector. 

Already several owners of hotels, chalets, game lodges and holiday resorts have posted their amazing specials on TKZN’s website – see www.zulu.org.za

Phindile Makwakwa, Acting CEO of TKZN, said while the country remains in the grip of an unprecedented health crisis that necessitated a lockdown, things are slowly starting to change on the travel, tourism and hospitality front.

“Hospitality industry players in KZN have come to the party to do their bit for the recovery of tourism. Many are offering decent discounts that will renew a sense of adventure and get our people to travel and explore again.

“It’s been a long, distressful period for holiday resorts, game reserves, airlines, tour operators, transport businesses and accommodation providers. Now is the time to book a local leisure staycation for a well-deserved break, “

“The easing of inter-provincial travel will go a long way to put KZN tourism back on track whilst we prepare for the eventual return of our international travellers,” she added.

(Surfing off the Durban beach)

Under lockdown Level 2, parks, beaches and nature reserves will be open for outdoor activities. 

Ezemvelo KZN Wildlife (Ezemvelo) has opened most of its reserves to the public for self-drive. It is mandatory for all people entering Ezemvelo gates and other facilities to be subjected to the COVID-19 screening process and hands sanitisation.

As the days are becoming warmer, beaches along the north and south coasts in KwaZulu-Natal will be welcoming visitors in droves.

The lifting of lockdown restrictions on inter-provincial travel will provide a welcome boost for the Tourism Month campaign that will kick-start in September which seeks to drive local travel and encourage people to explore tourism attractions in their own backyard.

Makwakwa said: “We remain steadfast in wanting to revive the tourism sector and we cannot do it alone. It is, therefore, pleasing to note that our tourism partners have come on board with great specials to encourage a lot more people to step out of home and take a sho’t left and enjoy our beautiful province.

“Whilst our marketing initiatives will go a long way to promote KZN as the domestic tourism destination of choice, it is our tourism businesses that are ensuring that travellers have cost-friendly options at their disposal in order for them to travel to KZN and enjoy unforgettable experiences that will make them keep coming back,” she added.

Meanwhile, cyber-community of sightseers, hikers, foodies, nature lovers, bikers, runners, beach bums, travel agents and tour guides are sharing their best experiences at tourism and hospitality spots through TKZN’s MY KZN Facebook page.

The travelling public is urged to visit the TKZN digital platforms frequently for great specials on offer. 

To remind you of the tourism sights, sounds and experiences on offer, visit: https://www.facebook.com/298596960208720/posts/3182922378442816/?vh=e&d=n

KITTEN ON THE KEYS

(Calli Thomson)

Rhumbelow Theatre is back in action again with three shows coming up. The first is Kitten on the Keys, an evening of music with Calli Thomson.

There are only three performances: September 4 and 5 at 19h00 and September 6 at 14h00. (Venue opens 60 minutes before show for snacks/drinks)

Thomson pays tribute to some of her musical heroes including a few piano ladies and guys and other singers and songwriters and bands who inspire her including Billy Joel, Paul Rodgers, Kate Bush, Annie Lennox, Nina Simone, Diana Krall, Norah Jones, Fleetwood Mac, Stevie Nicks, Sheryl Crow, Supertramp, Pink Floyd, Jim Steinman, Barbra Streisand, Regina Spektor, The Cat Empire, The Dixie Chicks, Mark Cohn, Sting and Bonnie Raitt.

She is no stranger to the Durban music and theatres scene having played in many shows at the Heritage, Barnyard, Catalina and Sneddon theatres, some of them with her husband guitarist singer Barry Thomson, such as The Guitar That Rocked the World, Unplugged, Johnny Plays Guitar, Forever Young, Rock me Amadeus, La Vida and 80’s tribute show Alive and Kicking.

She has been musical director, and band member of numerous shows at the Barnyard theatre such as Glory Days, Rock Around the Clock, Walking in Memphis, Your Momma Don’t Dance, Celtic Rock, Natural Woman, Hollywood Rocks, Rocking all Over the World, Big Band Magic, Viva Las Vegas, Elvis Forever, Broadway Rocks, Route 66, LM Radio, Diamonds & Pearls, 99 Hits, Those Were the Days, Thank You for the Music and 50 Carat Gold.

She obtained a BMus from UCT in classical piano and also studied jazz at UCT for three years, taught piano in the Jazz Department at UCT for seven years and wrote the music syllabus for the sound engineering diploma at City Varsity Town where she lectured for four years. She thoroughly enjoys accompanying singers and has toured nationally with Danielle Pascale and has also accompanied Mynie Grove, Rory Rootenberg and worked with Judy Page, Kim Kallie, Joseph Clark, Vicky Sampson, Sibongile Khumalo and Anton Stoltz. She has a private piano teaching practice in Durban and continues to play a variety of gigs ranging from the KZNPO and Cathy Peacock’s Dixieland Platform Jazz to all-girl Afro Jazz band Heels Over Head to putting together bands to back the international blues artists for the annual Durban International Blues Festival to solo gigs.

Whilst Rhumbelow is not changing its 2020 pricing, the theatre asks its audiences to assist it and the performers by donating a higher ticket price.

Tickets R160 (R140 pensioners and students with a valid student card). Loyalty Card Holders (R130) ALL SHOWS

Bring food picnic baskets or buy from Kevin.

All seating will be at separate tables and the theatre will obviously be seating co-habiting couples and/or family members.

50 PEOPLE MAXIMUM PER SHOW

Rhumbelow Theatre is situated at 42 Cunningham Road off Bartle Road, Durban. Limited secure parking is available and there is a cash bar (no alcohol may be brought on to the premises)

All tickets must be pre-booked - no walk-ins allowed

Booking is essential - email roland@stansell.co.za or http://events.durbantheatre.com/

PLEASE NOTE THE FOLLOWING

COVID-19 HEALTH AND SAFETY PROTOCOLS FOR PATRONS

1. Patrons need to wear a face and nose covering at all times in the venue except when eating or drinking.

2. All patrons will have their temperatures taken on arrival at the venue.

3. All patrons will be required to complete documents relating to Travel and Covid-19 contacts.

4. All patrons will be required to complete an indemnity form.

5. All patrons will be required to complete an attendance register with all appropriate information including confirmation of co-habiting when couples attend.

6. All patrons will be hand sanitized on arrival and at interval.

7. All patrons will be requested to bring hand sanitizer with them to the venue.

8. Any patron who does not meet the required Health & Safety protocols and temperature check will be refused entry.

9. Patrons above the age of 60 or a person with co-morbidities will be discouraged from attending performances. (Note: Discouraged as per Government Guidelines)

 

LIAR: REVIEW

My favourite type of mystery, one where the killer is not immediately evident, with several twists in the plot to unravel. (Review by Christine Hann)

Liar is set in the 1970’s in West London. Renowned British author of fiction Lesley Pearce paints the story with references to the culture, music, books, shows and personalities of that era. This is true of all the books she writes, which all feature her easy to read style, an art that makes her a popular, established author across several generations of readers. She started her writing career at 49, after having worked her way through several jobs, including nanny, bunny girl, dressmaker and a full time Mother. Pearce lives in Devon and is a mother to three daughters and four grandchildren. Liar is her 28^th book.

Some of her other books are The Promise, Trust Me, Rosie, The Woman in the Wood.

The main character of Liar is one Amelia White, who escapes from an abusive family background, and creates a new life, eventually becoming an independent self-supporting woman of the early 70’s. She has embraced the hippie era, and is now enjoying the mini-skirts, hair and makeup of the 70’s, whilst living a single life in her bedsit in Godolphin Road, a street of Victorian three-story homes with basements, made into self-contained flatlets or bedsits like Amelia’s.

One day Amelia sets out for work (she sells advertising space in a weekly newspaper, but dreams of being a writer / journalist.) and spots a gorgeous pair of new white boots sticking out of the rubbish. She goes to look, and instead of a lovely find, discovers the murdered body of a pretty young woman. In her horror, she stumbles into the arms of what is to become her new man, Max. Amelia’s boss senses a story, and sends Amelia to the family of the murdered girl. Amelia writes a sensitive front-page scoop on the girl and her background, which is the envy of many of her colleagues. Has she released her dream of being a writer?

What follows are more murders and intrigue, with Amelia and Max working to find out who the killer is, with more journalistic opportunities presenting themselves in the course of events. But, sadly Max (who is frequently away on business, or off playing sport) and Amelia’s friend Kat (a successful Harrods buyer) are both not what they seem to be, and Amelia almost becomes one of the murderer’s victims.

Liar is a good read that in true Lesley Pearce style is hard to put down, from start to finish. My favourite type of mystery, one where the killer is not immediately evident, with several twists in the plot to unravel.

Liar is published in paperback by Penguin Random HouseUK – 2020. ISBN 9780241426616. Recommended price R310. – Christine Hann

2020 DURBAN FILMMART VIRTUAL EDITION

(Left: South African filmmaker Dylan Valley (Azibuye, a VR documentary film) will feature in Durban Does Docs at DFM 2020)

The Durban FilmMart Institute (DMI) has announced the programme for the 11th Durban FilmMart (DFM) Virtual Edition, which takes place from September 4 to 13 this year.

“Using the theme Brave New Cinema, we are bringing together leading and emerging African film professionals in an online space, to benchmark themselves, learn from peers, pitch their ideas and projects and network, and collectively demonstrate our courage to tell our own stories,” says Toni Monty, Head of the DFM.

“DFM 2020 will focus on African filmmakers who work to contribute cinema images that celebrate, and canonize our struggles and our beauty,” says Monty. “These are African filmmakers whose stories challenge oppressive structures, engage with dominant value systems, and reflect our daily experiences. The creation of film is an act of courage because of the ever-increasing challenges in both funding and media freedom in many parts of the continent. This will be a gathering of filmmakers in a celebration of collective African resilience, collective victories and a call for the stories of the future.”

(Right: South African filmmaker Nicole Schafer (Buddha in Africa) will feature in Durban Does Docs at DFM 2020)

The programme looks at current filmmaking development, distribution and marketing trends, with a Pan-African focus, and how the future of cinema will navigate new landscapes including the digital world. In an effort to connect African film professionals across the post-colonial divides and create new synergies and networks, this edition will include French and Portuguese, two languages largely spoken around the continent.

The DFM’s unique online approach has birthed an exciting new addition to the Market: The DFM Content Shop. Distributors, sale agents and programmers will have, at their disposal, a catalogue of 90 African projects (fiction, documentary film of all lengths as well as series) that are ready for sale and distribution. These films have been curated to reflect the unique African storytelling and high-quality content that will be discussed throughout the industry programme.

The Pitch Forum from September 4 to 7, offers financiers, funders, investors, and programmers a chance to fully explore the 70 African projects in development that will be presented. These include the selected projects from submissions, projects from the Talents Durban programme in partnership with Berlinale Talents, as well as start-up projects from the Jumpstart incubator programme, in partnership with Produire au Sud, in Durban sister city Nantes, France. Jumpstart will introduce six emerging directors from Durban and KwaZulu-Natal region to project packaging for the international market.

Engage, the pan-African think tank will discuss the difficult social, economic, and political landscapes that filmmakers are required to navigate, especially around representation and authenticity in the content created within Africa.

The industry programme includes a series of webinars, discussion forums and hangouts.

(Left: Kenyan filmmaker Wanuri Kahui (Rafiki) who will feature in DFM Conversations at DFM 2020)

Following from last year’s inaugural Durban Does Docs sessions, delegates will be able to meet and engage with documentary film directors in a series of talks that centre around the art of the creative documentary film. Filmmakers sharing their process include Sam Soko (Softie) (Kenya), Dylan Valley (Azibuye, a VR documentary film) (SA), Teboho Edkins (Days of Cannibalism) (Germany/SA/Lesotho), Nicole Schafer (Buddha in Africa) (SA) and Petra Costa (Edge of Democracy) (Brazil), amongst others.

The DFM Conversations platform is a space in which delegates can participate in in-depth conversations with industry leaders around topics like screenwriting, audience development, representation in filmmaking and pioneering an African aesthetic. Speakers include, amongst others, Roger-Ross Williams (God Loves Uganda, Travelling While Black, Life Animated) (USA), Chioma Ude (AFRIFF) (Nigeria), Kagiso Lediga (Queen Sono) (SA), and Akin Omotoso (Vaya, Ghost in the House of Truth) (Nigeria/SA) and Wanuri Kahui (Rafiki) (Kenya).

(Right: American Roger-Ross Williams will feature in DFM Conversations at DFM 2020)

Filmmaker Talks invites directors, writers and animators to discuss the stories they are telling in their works of art – ranging across feature, documentary, animation, and short film creation. Speakers include Mounia Aram (France/Morocco), Clare Tracy Louis (SA), Lemohang Jeremiah Mosese (This is Not A Burial, It’s Resurrection) (Lesotho) and Rehad Desai (Everything Must Fall) (SA).

In a Special Focus, African Content in the New Normal, speakers will discuss the challenges that national lockdowns present and the unique opportunities that these circumstances have offered filmmakers. Topics include Co-production in the New Normal; Homegrown Online platforms for pan-African content; Risk Under and After Covid – Future Prospects for the Service Industry.

(Nigerian filmmaker Akin Omotoso (“Vaya”, “Ghost in the House of Truth”) will feature in DFM Conversations at DFM 2020 - photo credit ArtsBlock)

The South African context provides interesting challenges for the production and distribution of media. In the South African Film in Focus, sessions will look at the various areas of focus for South African filmmakers, but will be of interest to all filmmakers. Topics include Mzansi Shooting in Covid Times; All Digital Now: Distributing film in 2020; State of the South African Audio-visual Industry, Connecting the Dots - South Africa VOD Market Takes Shape, with speakers drawn from across the South African landscape.

Within this virtual space the online event platform allows for opportunities for filmmakers to take meetings with other delegates and network as individuals or in teams.

“Going online has enabled us to extend our reach and include more filmmakers than ever before,” says Mandisa Zitha, Chairperson of the Durban FilmMart Institute Board. “The disruption of our world by the COVID-19 virus has led to innovation, as well as demonstrated the ever-increasing need for the creation of content. The DFM virtual space now offers filmmakers extensive opportunities to network, make connections with other filmmakers and industry professionals with whom they can collaborate, or build relationships and get down to the business of film. This we believe will provide a positive stimulus for the industry’s economy on the continent.”

DFM is presented by the Durban FilmMart Institute in partnership with the Durban Film Office, eThekwini Municipality, the National Film and Video Foundation, the Film and Publications Board, the SABC, Berlinale Talents, CAA Motion Pictures, Rotterdam Cinemart, Dok Leipzig, IEFTA, Institut Francais – South Africa, International Documentary Festival Amsterdam, Hot Docs, Norwegian South Film Fund, Produire au Sud and the Realness Institute.

Delegate registration is now open on the following link: http://www.durbanfilmmart.co.za/Brave-New-Cinema-2020

USA DANCE ON SCREEN AT 22ND (DIGITAL) JOMBA

(“Memorykeep(H)er”. Jasmine Hearn. Pic by Corey Melton)

Ten dance films will be screened at the 22nd JOMBA! Contemporary Dance Experience, in a carefully curated section of the programme called USA Dance on Screen which has been supported by the USA Consulate in Durban.

The JOMBA! festival which goes digital this year is presented by the Centre for Creative Arts, University of KwaZulu-Natal, runs free of charge from August 25 to September 6, 2020, with an array of dance works.

The USA Dance on Screen, one of the programmes on offer, has been curated by Lauren Warnecke, Peter Chu, Rachel Miller and Tara Aisha Willis. All four of the curators hail from across the corners of the US and have come together especially for the JOMBA! screen dance programme.

“When seeking films for this project, we consciously sought out films which showcased a varied American experience both culturally and stylistically” says the curatorial statement from the curators. “Our intentions were to give a voice to those who are often unheard from and to present films that have artistic integrity, show a variety of movement styles and explorations, and have multiple ways in which an audience might “read” them. Overall, we chose films that spoke to the multitude and variety of American communities, cultural experiences, sexual orientations, and gender identities to give JOMBA! audiences a taste of the diverse landscape of American dance-makers.”

The 70 minute programme features the following films:

Memory Keep(H)er acts as an archive to hold memories of the filmmaker’s grandmother growing up in Crockett and Huntsville, Texas.

(Right: Abdi “Pull Up” still)

Pull Up explores the expression of protest and how it pertains to authenticity in allyship. It is an examination of accountability, education and a commitment to progression.

Separate Sentences explores the generational impact of incarceration and the toll on families and communities. Cast members are “Bay Area” performers, some of whom have been incarcerated or are family members of people who are incarcerated.

Abbey depicts the interior life of a sheltered young Filipina alone in a university dance setting in middle America. Sakamoto and Carlos collaborated in an effort to bear witness to, and portray Carlos’s tenuous liminality as a stranger in a strange land.

Bound is a dance film in three parts as the dancers move through different relationships to an object - books - the symbolism inherent in the physical relationship vacillates as well.

(Left: “About Inertia” – TomTsai – screenshot)

About Inertia is a slow-motion, acrobatic Breakin’ moves that echo the struggle for balance when the world is flipped on its head. When being in motion becomes a state of constant regression, being at rest can feel like incredible progress. This is a meditative reflection on the effort and endurance that is demanded on the road to recovery.

Uprooted uses contemporary and Mid-Michigan site-specific dance, metaphor, and movement to address issues of immigration, migration, and displacement to a soundtrack of local immigrant stories that narrate their relationships to the concept of “uprooted.”

(Right: “submerge” -  Marcus)

subMERGE is set on Wilshire Boulevard, Los Angeles - a 16-mile corridor that spans across ethnicity and cultural and economically diverse communities in LA. The site is the echo of this film.

Supreme Love is a celebration of John Coltrane's A Love Supreme with live jazz and tap dance, Supreme Love displays the spiritual, artistic and historical values that infuse human life. Its expresses true life through the art of tap dance.

Revel In Your Body is a film with stunning choreography in glorious slow motion, amidst a breathtaking open blue sky and industrial playground, which reveals the joy of flight on wheels. This film originated as a creative concept when the dancers shared online a slow-motion iPhone video of them jumping on a trampoline while strapped into their wheelchairs.

Access components for Revel in Your Body take an insider approach for the blind and nonvisual or deaf and hard-of-hearing experience of the film. Audio describer and captioner, Cheryl Green, has composed an aural and captioned experience that, along with music and text description, creates an emotional arc with space for mystery. Rather than describing only what the dancers are doing, the description takes you inside how the movement feels. Revel can be experienced with Audio Description, captioning, or both simultaneously.

USA Dance on Screen will stream live on August 30 and September 6 at 19h00. And bonus materials will be available on the JOMBA website. The festival runs from until September 6 off the website jomba.ukzn.ac.za.

All platforms for 2020 are free of charge and a full programme is available via the website.

For more information and updates on the programme visit Facebook, Twitter and Instagram.

Digital JOMBA! 2020 runs off the website FREE of Charge on https://jomba.ukzn.ac.za Full programme here : https://bit.ly/JOMBAProgramme2020

NAC CALL FOR LOCAL BURSARY APPLICATIONS – 2021 ACADEMIC YEAR

Deadline for applications: September 30, 2020, at 17h00

The National Arts Council (NAC) Strategy prioritises capacity building as an essential element for developing the arts, in pursuit of excellence. As such, the NAC’s bursary funding programme aims to provide support to aspiring arts practitioners in the acquisition of relevant arts qualifications, and arts-related knowledge and skills. As part of its support for training and education, the NAC offers grants for bursaries and residency programmes to help grow the talent of students, arts practitioners, arts technicians, arts administrators and other industry professionals. This is designed to help ensure that South Africa retains a strong pool of talented artists and leaders.

The NAC is therefore pleased to announce its call for bursary applications for the academic year that begins in January 2021.

The invitation is open to postgraduate arts students, as well as registered education and training institutions in South Africa that are involved in providing tuition in the fields of theatre, dance, crafts, literature, multidisciplinary arts, music, visual arts, cultural policy, and arts and culture management, as well as any other arts-related course. This invitation also extends to students applying for a Bachelor of Technology degree in the arts. Applications for fashion design must incorporate a cultural element as part of the studies. Particular attention will be paid to postgraduate qualifications that address the rare skills required in the arts sector.

The invitation extends to:

(a) Individual postgraduate studies (both part-time and full-time studies) for the 2021 academic year. Please note that postgraduate students whose degree requires two to three years of study (such as MA and PhD) and who were granted an NAC bursary during 2018 and 2019 should not re-apply for funding. The grant will be renewed for the duration of their studies, subject to the successful completion of each year of study with a minimum overall pass rate of 65%. Applicants are, however, required to submit a letter of acceptance for their studies from the tertiary institution in question, as well as their estimated costs for the 2021 academic year and progress reports.

(b) Block institutional bursaries for undergraduate students who will be studying in South Africa during 2021. Institutions that apply for funding are required to support undergraduate students for the duration of their undergraduate studies, subject to their successful completion of each year of study. Institutions should be prepared to enter into a service-level agreement with the NAC in order to fulfil this requirement.

Closing date for applications: September 30, 2020, at 17h00

Outcomes: December 13, 2020

NB: Late and incomplete applications will not be considered, and no exceptions will be made. Applicants need to register and complete the online application form using the following link: https://nac.praxisgms.co.za/

For more information, contact the Arts Development Officers as listed on the NAC website.

 

TRIBUTES TO ROSEMARY DRAPER

(Rosemary Draper)

The theatre world is saddened by the death on August 20, 2020, of Rosemary Draper, a major supporter and stalwart of Durban theatre.

The following tributes are from those who knew her well and will miss her sadly:

Cathy Peacock

KZN Philharmonic Orchestra trumpeter and founder of Platform Jazz.

I first met Rosemary Draper in 1984 when, as a mature student, she went to UKZN to study drama. She was most interested in the theatre and so in her 50s she did a BA majoring in Drama.

She had a great love of drama appearing in a number of productions at the Sneddon in the 80s. She was an avid theatre-goer and supporter.

A truly gracious lady with a keen intellect and sense of humour. She will be sorely missed – Cathy Peacock

  

Mervyn McMurtry

Former head of the Drama Department at UKZN:

“There’s rosemary, that’s for remembrance…” 

Rosemary was never one to stand in the limelight, but her unassuming presence, even in the wings, proved to be a very special support to so many and on so many levels.  Personally, I will always remember her as a steadfastly loyal and dedicated colleague, as a most gracious and generous hostess, and as the epitome of genteel elegance. And yet, that shy smile concealed a sense of genuine empathy and justice; I will never forget the way in which she firmly, quietly, and rightly defended a student whom she believed had been treated undeservedly.

Rosemary, on behalf of the young people you taught and encouraged with such care and love, for a life devoted to supporting drama and theatre in our city, for your kindness in sharing your knowledge, I extend my humblest gratitude, and my deepest sympathy to your loved ones, knowing that your memory will be cherished by so many. - Mervyn McMurtry

  

Debbie Lutge

HOD: Drama and Production Studies at Durban University of Technology:

Rose Draper was glamorous and kind, with an artistic energy that always accompanied her wicked sense of humour. I completed my third year at the University of Natal with Rose who was a valued part of our wonderful final year University of Natal group. Rose and I were both a little older than the group and had both returned to study which perhaps meant that I leaned on Rose a little more for comfort and encouragement while I muddled along between studies and four young children under eight.

Tall, slim, elegant, and a former model, Rose Draper played a superb old lady feeding the birds in Peter Larlham’s production of Eugene Ionesco’s The Killing Game. The role was portrayed with great aplomb and her memorable mime work in feeding this grain to the birds was so effective that it triggered a great interest in the importance of mime and gesture, what ‘seems’ and what ‘is’, the power of silence and listening on stage. All lessons that remained.

In our final year we also put together a documentary on Egypt for Dr Neville Herrington’s class. As Rose and hubby had recently visited Egypt, all her photos supported our timeline as a guide, while her sheets and jewellery turned us into ancient Pharaohs like Hatshepsut and Cleopatra, languishing besides or bathing in her Westville pool, cleverly edited to resemble the Nile.

However, it was Rose’s sense of historical narrative that pervaded our documentary and informed our content – thank you, Rose. Rose Draper remained an ardent theatre patron and I would meet her at shows with her wonderful grandchildren. Thank you, Rose, for your unwavering support of the arts, for your gentle friendship, and your delightful laughter. We send our deepest condolences to family, loved ones, friends and old college alumni. We will miss you greatly. RIP Rose Draper, RIP. - Debbie Lutge

 

Steven Stead

Actor, director and playwright Steven Stead, co-founder of KickstArt Theatre Company.

I first met Rose when she was in her first year as a senior student at the University of Natal in 1985, when we were both cast in Pieter Scholtz’s production of The Sound of Music at the Elizabeth Sneddon Theatre. She made such an impression on me, not only for being gracious, kind, gentle and generous, and for her courage; with hindsight I can appreciate what strength and determination she possessed at the same time, entering into such a youthful and boisterous environment as the Drama Department in her middle age, and more than holding her own. She excelled.

She went on to complete her honours degree, and appeared in several high-level productions that I saw at the Sneddon over that time, including The King and I and King Lear.

Although she didn’t go into the theatre as a profession, she remained a stalwart supporter of the arts, and an avid theatre-goer. She has been a staunch supporter of our work at KickstArt, and we will miss her graceful, warm presence at our opening nights in the future. - Steven Stead

VAL ADAMSON DIGITAL EXHIBITION OF JOMBA! PHOTOGRAPHS

(Val Adamson. Photo credit John Ivins ICEM)

Award-winning Durban photographer, Val Adamson, who has photographed the JOMBA! Contemporary Dance Experience since it began in 1998, shares her work in an online exhibition 21 years of JOMBA! through the lens during the festival on the event website from August 25 to September 6, 2020.

“This is not only a moment of honouring Val’s extraordinary photographic eye for dance and performance, but it is also a moment of visually remembering the festival’s 21-year history through these amazing pictures,” says Artistic Director Lliane Loots.

Long associated with the performing arts, Adamson has carved a name for herself through the insightful and creative work she has captured for theatre, music, dance, visual art as well as in her work as a portrait photographer. Her generous contribution through supporting artists across the spectrum of the arts is legendary. So, it is no wonder that she was named a Living Legend in 2014 by the eThekwini Municipality for her work in documenting theatre.

Adamson was born in Kenya, studied in Scotland and came to South Africa, her mother’s birthplace, in 1985, when she joined the Performing Arts Council of Transvaal as an assistant photographer. In 1988 she was invited by the Playhouse Company to set up and run their photographic department in Durban.

She has been commissioned to produce six exhibitions over the years: the first, Caught in the Act (1988), featuring images of theatre, earned her a nomination for The Rising Star of the Year award. She had two further exhibitions using performing artists sponsored by AGFA in 1992 and 1993, which toured the country.

She began freelancing in 1993 and continued to work extensively in the arts but broadening her subject matter. In 2012, DanceLink recognized her photographic services to Dance with an award at the Durban Dance Awards. In 2013, she created Love Dance. This exhibition of her dance photography was commissioned by KZN DanceLink, and supported by the eThekwini Municipality Department of Arts and Living Culture and funded by the National Arts Council and the National Lotteries Commission. The exhibition was part of Giyani Lusha 2013 in Durban. It then appeared at the JOMBA! Contemporary Dance Experience 2013, The Witness Hilton Arts Festival 2013, and the National Arts Festival in 2014.

Adamson reflects on her dance work over the years: “In the early days of shooting ballet and contemporary ballet, I had such amazing artistic directors and choreographers to work with including Ashley Killar, Christopher Kindo and Mark Hawkins and many others. They would not use certain photos if a leg or foot or arm was not technically perfect or I had not captured the leap or turn at its most flattering. So, I had to hone my skills and focus my eye on exactly how the dancer's body would move, and almost anticipate what they would be doing in order to capture that moment. I was working on film and printing images myself so I had to be so careful not to shoot willy-nilly – it was an expensive exercise! Then came the fluidity and flexibility of contemporary dance where the mood and emotions became the focus, and this coupled later with digital technology enabled me to experiment and play. I would not have been able to create this work without the dancers, choreographers and stage lighting technicians. I have loved working with JOMBA! over the years, and feel incredibly privileged to have witnessed so many creative works and talented dancers up close!”

JOMBA! is presented by the Centre for Creative Arts, University of Kwazulu-Natal and features an array of dance-works. Adamson’s exhibition is available for view throughout the festival from August 25 to September 6 via the website - jomba.ukzn.ac.za

DEATH OF ROSEMARY DRAPER

(Rosemary Draper)

Rosemary Draper, a major supporter and stalwart of Durban theatre, collapsed at home on Thursday (August 20, 2020) at the age of 82, as she was preparing to leave for her hairdresser. She was comatose when found and, after a brief period in ICU, died that night from a large intracerebral haemorrhage.

Born Rosemary Gillings in 1939 in Durban where she was brought up with her younger brother Brian, she received a Catholic education at Convent High School, Durban.

Her son, Robin, shares his memories:

“She spoke often of the nuns, who seemed to me to be divided about equally into angels and child-hating psychopaths, given the stories she told. They were mainly Irish I believe, and my mother could do a great impersonation of an Irish accent well before there was any obvious interest in a career in drama or amateur dramatics.

I was always surprised at her lack of bitterness or rancour about her schooldays, she always had a great acceptance of whatever cards life dealt her and was not one to wallow in self-pity.

She had wanted to study at university, but her early choices were between training as a nurse or teacher, these being deemed the only acceptable choices for a young woman at that time. Neither appealed, so she worked as a receptionist in a travel agency. Again, she held no bitterness about this, just accepting these were the times she lived in. Clearly she kept hold of her ambitions and realised them later in life completing her BA honours in drama and a vibrant career in the theatre world.

She married my father at a young age in 1959 and subsequently had three children between 1960 and 1966. During this time she dealt with the early death of her father, supporting her grieving mother and her brother’s mental illness which was to last the rest of his life. These were hard times, I think, dealt with strength, determination and not a hint of self-pity.

She was always involved in local organisations such as the drama group of the “WI” (Woman’s Institute). This I think was where she started her interest in acting.

Around this time she began modelling clothes for a clothing agency, eventually doing a diploma. She started becoming very active in amateur dramatics, joining Pinetown Reps and even having my father participate in plays, which was quite an accomplishment. She performed in many plays, usually farces as I remember, playing always to packed audiences. She would usually be in one of the leading roles. I think these were the times before television, it seems to me people were very eager for entertainment.

Her theatre life was also reflected in her vibrant social life – my parents’ parties were legendary. There was a lot of travel with my father and she took time to learn languages – French and Italian, the latter inspired by her Italian roots – she could do a mean pasta, too!

 She decided to enrol in University after some hesitation about being a mature student, but she was never one to hold back, entering the school of Drama in the same year that her youngest son entered the same university. 

 Others can talk more about this time, but suffice to say her interest in arts, literature and culture blossomed during this time, something she kept for the rest of her life.

I think it was a disappointment for her that she couldn’t pursue an academic career in Drama, but never looking back, she went on to found and run “Saviour Faire studios”. This she ran for a number of years, mainly focusing on teaching public speaking, elocution and deportment.”

Rosemary regularly performed for the Westville Theatre Club. She held a UKZN BA Degree majoring in English and Speech & Drama (1987) going on to achieve an Honours Degree in Speech & Drama in 1988. She also had a diploma from the London Academy. She was a solid supporter of Tape Aids for the Blind and had been reading for the organisation for many years. 

Close friend Tony Toms writes about his and his partner’s Lindi Drummond’s sadness at this loss.

“It’s been a difficult week for Lindi and I as we have had to say goodbye to not one, but two special friends in the space of a few days.

A mine of information Rosemary retained her whit and cognisance to the end. Prior to her move to La Domain she had been a constant companion to Lindi and I on our frequent visits to the theatre. Her passion for the arts was unquestionable.

“Although in her eighties she fitted in well with our younger circle of friends. There was never a question that we had to tip toe around sensitive or taboo subjects, indeed we laughed together heartily, often,  at the ribald, risqué and irreverent. We shall miss her presence and elegance and cherish the friendship. RIP.”

KZNSA ONLINE AUCTION

The KZNSA Gallery is running an online auction from tomorrow (August 24 at 20h00) until Monday August 31 at 20h00. Start browsing works by exciting contemporary South African artists to line up your favourites to bid on. Link to: https://shop.kznsagallery.co.za/pages/products-on-auction?t=2

The online bidding will be live for seven days and there is no cost to participate. Works have been generously donated by the artists, who have agreed to below market reserve prices, and proceeds go towards the KZNSA gallery programme.

For queries email online@kznsagallery.co.za

Featured artists include Janet Solomon, Marianne Meijer, Akiko Nakaji, Clive van den Berg, Cedric Nunn, Bronwyn Lace, Anthony Starkey, Lee Scott Hempson, Garth Walker, Roger Jardine, Vivian Kholer, Callan Grecia, Cameron Platter, Dane Stops, Thembi Mthembu, Nikhil Tricam, Nindiya Tricam, Grace Kotze, Jennifer Morrison, Derrick Nxumalo and John Roome.

Running alongside the auction is a fundraising online quiz on Thursday August 27 at 19h00 until 20h30. Get friends together on a team and purchase quiz tickets here:

https://www.quicket.co.za/events/113088-kznsa-arts-quiz-fundraiser/#/

Tickets are R150/team. The quiz is art-themed and caters to all levels of art knowledge.

DSTV HIGHLIGHTS AUGUST 21 TO 27, 2020

(Hugh Jackman in “Bad Education”)

Bad Education (Drama)

August 23 on M-Net Movies Premiere (DStv Channel 104) at 20h15

This real-life inspired dramedy (that’s drama with a hint of comedy) tells the tale of Roslyn school superintendent Frank Tassone’s embezzlement of US$11.2 million. It also managed to score two big nominations at this year’s Emmys: Outstanding Lead Actor in a Limited Series or Movie for its star, Hugh Jackman, and Outstanding Television Movie. This made-for-TV movie is a riveting real-life-inspired dark dramedy that also stars Allison Janney.

  

Gordon Ramsay: Uncharted S2

August 26 on National Geographic (DStv Channel 181) at 21h00

Chef Gordon Ramsay is back for another adventure-filled season of fishing, foraging, cooking, baking and blanching. Join him on his pursuit of good food from the big-game wilds of South Africa, the caiman-infested jungles of Guyana and the spice-packed mountains of South India to Louisiana’s Cajun swamps, Norway’s icy fjords and the epic Indonesian island of Sumatra.

  

Love Actually (Romantic comedy)

August 22 on M-Net Movies Smile (DStv Channel 105) at 19h00

Christmas comes early this year with the world’s favourite feel-good movie. With an all-star cast that includes Hugh Grant, Keira Knightley, Liam Neeson, Colin Firth, Emma Thompson, Bill Nighy, Alan Rickman and more, this British romantic comedy follows eight couples and their love lives during the most wonderful time of the year.

  

Deadpool 2 (Action comedy)

August, 23 on M-Net Movies Action+ (DStv Channel 106) at 20h30

Ryan Reynolds reprises his role as the outrageous anti-hero of the comic-book universe. This time, the merc with the mouth must protect a young mutant from a time-travelling cyborg.

 

No Good Deed (Psychological thriller)

August 23 on BET (DStv Channel 129) at 23h00

The ideal life of Terry Granger, a devoted wife and mother of two played by Taraji P Henson, takes a dramatic turn when a charming stranger smooth-talks his way into her home, claiming car trouble.

 

The Cool Mom (Drama)

August 24 on Lifetime (DStv Channel 131) at 20h05

A budding friendship between their teenage daughters becomes a point of conflict for neighbour moms Tara and Anna. Despite Anna’s insistence that she isn’t trying to steal Tara’s daughter, her bizarre actions scream otherwise.

 

Rollerball (Science-fiction)

August 25 on TNT Africa (DStv Channel 137) at 18h00

Chris Klein, Rebecca Romijn and LL Cool J star in a 2002 remake of this sci-fi classic set in a dystopian future. Extreme sports lover Jonathan Cross is recruited to participate in a deadly sport where players are on rollerblades and must bring a heavy metal ball into a high goal.

 

The Waterboy (Comedy)

August 25 on TNT Africa (DStv Channel 137) at 20h00

Adam Sandler stars as Bobby Boucher, a college football team waterboy who proves to be a good tackler, in this iconic Nineties sports film. The coach signs him up for the team but Bobby needs to hide his new pastime from his overbearing mother.

 

I May Destroy You S1

Available on Showmax from August 26 and on 1Magic (DStv Channel 103) at 21h30

Under the gun to complete a project, up-and-coming writer Arabella gives in to procrastination and joins a friend on a wild night out.

 

Semi-Detached S1

August 21 on BBC Brit (DStv Channel 120) at 20h40

Comedian Lee Mack (Not Going Out) stars as Stuart in this farcical family sitcom about a divorced couple living on the same street. Playing out in real time, this madcap comedy is packed with exquisitely timed mayhem. Each episode presents a new crisis in Stuart’s life, inevitably bringing in his ex-wife across the street, his alcohol-swilling dad in the bedroom next door, his new girlfriend and his daughter.

  

LA’s Finest

August 24 on 1Magic (DStv Channel 103) at 20h30

Jessica Alba and Gabrielle Union team up in this police procedural as Nancy McKenna and Sydney Burnett, respectively. With clashing personalities, the two LAPD detectives need to work together while putting forth their best efforts to take down criminals.

 

My Brilliant Friend: The Story of a New Name S2

Saturday, 22 August on M-Net (DStv Channel 101) at 23:00

The first in a series of four novels by pseudonymous author Elena Ferrante, My Brilliant Friend is the first to be adapted for television. Filmed in Italian, the story continues with Elena and Lila moving in different directions: Lila works in the shoe store while Elena returns to school.

 

Tipping Point

August 24 on BBC Brit (DStv Channel 120) at 18h00

Ben Shephard hosts this game show where four players earn counters by answering questions in a quiz. The winner has a chance to win £10 000 or even double it, if they can get the large counter through the machine and out again.