EMOTIONAL BLACK MALE AT NAF: REVIEW

 

(Above: Thumamna Ndikuhlekise)

 

(Para-normal Comedy and Vibes ... Review by Dr Verne Rowin Munsamy)

When I was a young reviewer, I relished in reviewing stand-up comedy shows. The late nights of shows that would only start at midnight and end in the early hours of the morning. Listening to numerous comedians and comediennes as they haggle the crowd and made fun of politics, government, religion, culture and individuals.

To end my 2026 NAF review of shows, I went to watch Emotional Black Male by comedian Thumamna Ndikuhlekise. Formally from the Eastern Cape, now trying to live out his dreams in Gauteng, Ndikuhlekise has worked hard to refine his brand of comedy.

When one goes to a comedy show at 10h00 in the morning this signals the start of something unnaturally weird and exciting. You are promptly asked to let go, let loose and simply allow yourself to be entertained and that is exactly what this half-full audience did. He had jokes for all ages, races and personality types. He maintained a good audience rapport as he unpacks crime in Transkei, a comedic play on words that sound the same but have different meanings in different languages and his own personal flaws.

I found his comedic timing to be astute, and his punchlines fresh and delightfully unexpected. Stand-up comedy is a form of entertainment that few can master as it asks the performer to tell stories with unexpected twists, interact with the audience and then find your way back to your stories with precious and expressive language.

Ndikuhlekise was not afraid to speak his polemic voice to advocate for LGBTQIA+ rights, take a stance against crime, and highlight several of the social issues faced throughout our country. His brand of comedy is definitely one to watch in the future and I for one, hope that he too gets to become the next Trevor Noah or Loyiso Gola. - Dr Verne Rowin Munsamy

UMKHUMBANE JAZZ ENSEMBLE TO THE CENTRE FOR JAZZ AND POPULAR MUSIC

 

The Centre for Jazz and Popular Music proudly presents the Umkhumbane Jazz Ensemble (UJE) bringing South Africa's Living Jazz Heritage on Wednesday, July 22, 2026, with music beginning at 17h30.

The Umkhumbane Jazz Ensemble is one of South Africa's celebrated jazz collectives, deeply-rooted in Durban's rich musical heritage and the historic township of Umkhumbane (Cato Manor). Drawing inspiration from communities shaped by migration, cultural exchange, and vibrant township life, the ensemble creates a distinctive sound that seamlessly blends Marabi, Khwela, big-band jazz, and contemporary original compositions. Their music honours South Africa's past while speaking powerfully to audiences today.

Named after the historic Umkhumbane settlement - a place synonymous with cultural resilience, artistic innovation, and community spirit - the ensemble celebrates the rhythms, stories, and traditions of townships where music became one of the strongest expressions of identity, resistance, and hope. Emerging from performances in community spaces, UJE has grown into a respected presence on major jazz stages and cultural festivals across South Africa.

At the heart of the ensemble's work is a commitment to preserving, reimagining, and celebrating South Africa's jazz legacy. By creating opportunities for both established performers and emerging young musicians, UJE ensures that important musical traditions continue to evolve rather than fade into history. Through performance, collaboration, and mentorship, the ensemble keeps this rich cultural heritage alive for future generations.

Whether delivering infectious Marabi grooves, lush horn arrangements, or compelling original works, Umkhumbane Jazz Ensemble offers audiences an authentic, heartfelt jazz experience that is unmistakably South African.

 

Musical Style and Influences

UJE's repertoire spans Marabi, Khwela, classic big-band jazz, and contemporary original compositions. Their music pays tribute to the ground-breaking innovations of South African jazz legends while presenting fresh interpretations that resonate with diverse audiences. The ensemble honours the legacy of iconic artists including Abdullah Ibrahim, Winston Mankunku Ngozi, Hugh Masekela, and many others through dynamic live performances and recordings.

Audiences will also enjoy music from the ensemble's acclaimed debut album, Ezintabeni (2017).

The band consists of Band Leader Jerry Kunene (alto, tenor & soprano saxophone). The driving force behind the ensemble, Jerry Kunene has dedicated his career to mentoring young musicians, many of whom have gone on to establish successful careers of their own, Dumisani Hlela (drums & percussion). A highly-respected performer whose distinguished career includes serving as a member of the late Hugh Masekela's band, Sithembiso Ntuli – (tenor & soprano saxophone - UKZN Jazz Studies alumnus), Muntu Dube (tenor saxophone), Bheki Luthuli (trumpet), Mdu Mbhele (bass guitar) and Ngcebo Radebe (keyboards).

Umkhumbane Jazz Ensemble is more than a band—it is a living cultural archive, preserving the sounds, stories, and spirit of South African jazz for generations to come.

REMNANT AT NAF: REVIEW

 

(Chapters of Loss ... Review by Dr Verne Rowin Munsamy)

 

During the 14 years that I lectured at UKZN, I was fortunate enough to supervise almost a dozen student productions that toured to the National Arts Festival.

Without fail, our venue was always The Rehearsal Room in Settlers Monument. This venue holds the memories of my ingrained training of young performers and as I entered the venue, I couldn't help but be whisked on a nostalgic journey back to those days of touring with some of today's biggest names in the industry as their faces flashed in my mind.

When I was cherry-picking shows I glanced upon Remnant, a dance and physical theatre piece and was immediately draw to it like a moth to a flame, for several reasons; the venue, the allure of dance and the storyline. Remnant is a conceived, choreographed, dance and immortalize by the talented Kayla van der Merwe and Kirsten Shouw and their production company, Tumble Inn. When interviewing them, they divulged that this piece is inspired by their own grief experienced by the loss of Kayla's grandfather and Kristen's dad. They wish to share with the world the grief experienced by daughters but also the light of hope that creeps in slowly as time passes.

The music composition by Gideon Birulu is enticing and perfectly suited to the gentle, reminiscent choreography. The dance is situated around three hanging scrim cloths that are symbolic of the veil between the living and the dead. The lights were mainly in hues of blue which was significant in representing the cold, the starkness that is felt after death. I loved the shadow effects on the scrim cloth and the way the light danced off them. The scrims moved on a trellis to create different spaces and shapes. The scrim sometimes masked some of the choreography and created this space between life, death and persistent memories held onto by the dancers.

The choreography was not fast-paced but gentle with simplicity like the mourning period that leaves us questioning and aloof from the rest of the world. The two performers were magnificent in the sharing of this story and their own experiences. Death and grief is something that we all experience and I couldn't help but be swept away by this emotionally-evocative piece.

The dancing was created from genuine emotion and that made this piece even more rewarding to watch. I felt a deep sense of compassion for the dancers through this choreography.

The story in the dialogue is that of pain, anger, loss, trying to be there for someone through their grief, sadness, remembrance and of hope. The dancers say, "hope found me, lifted my chin to look up at the stars". This is the main underlying message of the piece.

The only prop on set is a chair. This chair, apart from being used as a tool and object for the choreography was also representative of the chair that one sits on while grieving, to hold the waiting body that's hoping for release from grief. The empty chair exemplified the space left behind by the dead. And lastly, it served as a bridge between what was, what is and what is yet to come. A bridge between love that was and life that is.

I was engrossed in this story and choreography and it reminded me of my own loss and grief and how I too found hope again, or if found me in the darkness. I thoroughly enjoyed this concept and execution through dance and physical theatre. Well done to these young artists and theatre-makers. Their future is bright. - Dr Verne Rowin Munsamy

RASPUTIN AND THE DOWNFALL OF THE ROMANOVS: REVIEW

 

(Generally, this is a readable and interesting addition to the literature around the Russian Revolution – and the “mad monk Rasputin. Review by Margaret von Klemperer, courtesy of The Witness)

 

Antony Beevor is a well-respected historian, and here he turns his attention to the extraordinary character of Grigory Rasputin and his role in bringing about the Russian Revolution of 1917 and the collapse of the ruling Romanov dynasty.

On the one hand, he seems a curious choice of subject for another book – Rasputin and the Romanovs have been dug over almost ad nauseam, and you wonder what new information there can be to reveal. And in truth, there isn’t much.

Nevertheless, Beevor’s book is a good retelling of the story, and he emphasises all the way through that rumour, conspiracy theories and gossip are often more powerful – and more destructive – than facts. This is something we would do well to remember in these days of social media. It wasn’t only fake news that brought down the Romanov regime, but it certainly played a big role.

In Beevor’s telling, Tsar Nicholas and his wife, the Anglo-German Tsarina Alexandra were an extraordinarily hapless couple. Neither was very bright, and neither had received any training for the roles they came to occupy. In a way, they were set up to fail – revolution would probably have come to Russia without Rasputin, but once the humourless and inept Tsarina was in thrall to him, the writing was certainly on the wall. Whether his “cures” of the haemophiliac Tsarevich were a lucky coincidence, or something more, what mattered was that the Tsarina was convinced – and the Tsar was too much of a moral coward to go against his wife.

Rasputin himself is something of an enigma, and in the century and more since his deeply gruesome murder, the myths surrounding him have grown to an extent that it seems to be almost impossible to really understand him. Beevor does his best, but Rasputin still seems to be a somewhat ill-defined character. Was he in fact sincere in his beliefs, or was he a pure charlatan? It seems that the jury is still out, and will probably remain so.

Russian high society, into which he managed to insert himself, was a curious mixture of the weirdly permissive and the rigidly correct. The first category was one that Rasputin embraced wholeheartedly, and he must have been extremely charismatic – although pictures and descriptions do make that seem somewhat surprising. And with the backing of the royal couple, he could behave pretty much as he wanted.

The assassination of Rasputin was utterly shambolic as well as vicious, though it came too late to save the regime. But as Beevor makes plain, the main damage was done by the perception of Rasputin’s power over the Tsarina. That, in the eyes of the public, fatally undermined belief in an autocratic regime – and if it is not believed in, autocracy is probably bound to fail.

As in many books on Russia, wading through the Russian names, and nicknames, is something of a problem for the reader. But generally, this is a readable and interesting addition to the literature around the Russian Revolution – and the “mad monk” Rasputin. – Margaret von Klemperer

Rasputin and the Downfall of the Romanovs by Antony Beevor is published by Weidenfeld & Nicolson - ISBN 978-1-3996-3337-6

 

PRINCE OF EGYPT: REVIEW

(An extraordinary epic adventure. Review by Charlotte Fairfax)

The Prince of Egypt is a joyous life-affirming parable of faith and hope. Taking place in the Playhouse Opera from July 10 to 19, it is an important reminder for a world, and country, in crisis.

The Young Performers Project just keeps getting better! For the July school holidays, the YPP project sees Roberto Pombo in the director’s chair for the first time, breathing new life into a quite extraordinary musical unfamiliar to Durban audiences – an adaptation of the DreamWorks film based on the story of Moses as told in the book of Exodus.

Moses’s dramatic adventurous life is well-suited to a theatrical adaptation – the story is familiar: baby in the bullrushes; walking sticks which morph into snakes; burning bushes which don’t burn; ten epic tragedies including floods of blood and plagues of frogs; the parting of the waters of the Red Sea; and Ten Commandments on Mount Sinai.

The story over-ambitiously ticks every plot box eclipsing contemporary tales like Game of Thrones with its sibling rivalry; magic and sorcery; war and pestilence; love, romance and self-doubt. Loads of self-doubt. And pure, powerful faith in bucketloads.

A big sweeping story to work with. The focus of the musical version is the complex relationship between Moses and Ramses - the two headstrong naïve young men, brought up as bothers in privilege, and the life choices they both make.

Everything about this production is bold, considered and confident. Pombo has achieved a masterful YPP debut in his deft, thoughtful, interesting direction. Every inch of the stage is used to full effect, visually emphasising the story’s scale and majesty and giving the cast lots of space to move. And move they do! Pombo’s directorial love language is physical theatre and dance, and he has forged a fabulous connection with choreographer Evashnee Pillay in what must be one of her most challenging projects to date.

The large corps of dancers set the mood, tell the story and are living props: hair forward they become horses pulling chariots; crawling on the ground they become exhausted slaves; with red streamers they are fire; and with blue silks they are the sea.

There are two teams of alternating “juniors” – 40 in each - of primary school youngsters who contribute their well-practiced singing voices to the production’s chorus and whose energy and charm adds huge value to the show.

The exceptional chorus of dancers; choir and large groups of Hebrews and Egyptians; support a slew of stand-out leads. Alex van Schalkwyk, an alumnus of YPP, is the strong voiced, earnest Moses who convincingly displays both his vulnerability and his determination with heartfelt honesty. Matthew Brown’s Ramses is regal and proud. He plays the young insecure Pharoah with great subtlety. Their close emotional but complex bond is played with tenderness and conviction throughout. They are well-supported by Dad, (James Armstrong) who displays dignity, gravitas and humanity to his role as Pharoah Seti.

Although on the surface, it appears that the story is about the two brothers, it is perhaps the feisty, favoured, faithful women whose role to support (or oppose) them which makes Prince of Egypt so extraordinary.

Starting with baby Moses’s brave mother, Jochaved (played with powerful quiet confidence by Camryn Linderboom); and equally brave adopted mother, Queen Tuya (played with great maturity by Joslyn Walters with sparkly headdress and crimson gown). Moses’s faithful and visionary sister Miriam (child Miriam played by sweet voiced Abigael Peters who alternates with Azania Mavimbela, and older Miriam played with heartbreaking raw passion by Isabella Nadauld who alternates the role with Kaitlyn Rex); and spirited wife, Tzipporah, who epitomised girl-power strength (played with guts and fun by Ntsako Mngoma) who is a good foil to Ramses’s bride, the haughty, duty-bound Nefertari (a very elegant Ezekhethelo Zulu). The young Midian daughters who saved and trusted an exhausted Moses in the desert – Keturah (a gracious Ava Govender) and little sister Leah (a delightful Mackenzie Judge.)

The villain of the piece is High Priestess, Anele Mtshali in a standout performance. With her duck like waddle, pointy shoes and deliciously rarified accent, she is the perfect Disney-type villain – simultaneously outspokenly evil, while being laugh-out-loud funny. Her hench-gal priestesses, Lilihle Mtshali and Wren Blore enjoy echoing and imitating their boss.

The always dependable Daniel Mayiza made a charming Jethro, resplendent in his flowing peach robes – the delightful, gentle giant high priest of Midian and father to Tzipporah and her sisters.

Another familiar face to YPP audiences is that of Aaron, Moses’s blood brother played by Noah Bassa. His younger self is Mveli Msomi (who alternates the role with his brother Moya Msomi).

The action takes place in front of an enormous LED screen onto which images and scenes are projected, lending a film-like, high-tech quality to the production.

The score is catchy, with some familiar numbers - Deliver Us, All I Ever Wanted, Through Heaven's Eyes, The Plagues, and the Academy Award-winning anthem, When You Believe popularised by Mariah Carey and Whitney Houston.

 As always, the hardworking production team have excelled themselves - music direction and production management by Des Govender; sound design by Ant Govender; set and prop design by Nicolene Steyn and lighting design by Evan le Roux, supported by youthful assistants: Jenna van Eyssen (assistant director); Khethukuthula Ngcobo (assistant choreographer) and Damien Butt (assistant MD).

Kathy Singery has created incredible costumes and has chosen an interesting colour pallet – muted desert hues of the chorus, contrasting with magnificent Bedouin jewel colours of the Midians; soft whites of the dancers and stark royal blues and bright whites of the Egyptians.

Working with 140 youngsters is no small task, enabling their abundant talent to develop and shine is a true gift. Hats off to Des Govender and her dedicated team for providing such an incredible opportunity.

Every young performer on stage gave 100% all of the time, infusing the audience with magnificent energy. It’s more than a musical, it’s a tonic; an elixir of hope, a beacon of faith and a reminder that what seems impossible can indeed be possible.

After all, there can be miracles when you believe… Review by Charlotte Fairfax

 

Playhouse Opera from July 10 to 19. Tickets through Webtickets.

Tues 14 – 14h30

Wed 15 – 14h30

Thurs 16 – 14h30

Fri 17 – 18h30

Sat 18 – 11h00 and 14h30

Sun 19 – 14h30 / final 

 

THE PLAYROOM AT THE NAF: REVIEW

 

(Above: Brendon Maphake)

(Numbers that anchor vs methods that float us... Review by Verne Rowin Munsamy)

 

In my early 30s, I had the privilege of working with the late wonderful writer-director Clinton Marius. Not only was I fortunate enough to bring his play Fantastic Flea Circus to NAF, but I also got to work with my best friend and award-winning actress Shona Noble.

What I remember most about the show, apart from the sheer pleasure of bringing entertainment to kids, was the amount of energy it takes to keep young minds engaged for an hour. So, when I met two graduated students of mine at NAF I pounced at the opportunity to watch their children's theatre show.

The Playroom, written by Sinovuyo Nqwili and Nwabisa Mbamba (also the director), is about using the Montessori teaching method to create an unconventional, safe learning space for learners who find it difficult to keep up with mainstream educational systems. I loved the way theatre, education, and elements of participatory children's theatre are woven together to create a piece of theatre that captivates audiences both young and old.

The story follows a young boy, brilliant at fixing gadgets but struggling in math in school. His teachers, parent, and other kids have labelled him a dunce and he himself is reluctant to go to school. The ploy also covers themes of bullying, abuse, but most importantly the reluctance of certain individuals to give up on family and friends. The underlying message is that we need to give kids the room to learn at their own pace and in areas that interest them. The repeated moto is that "I am capable, I am not stupid, I will come out on top". 

This motto is repeated in the show and taught to audiences. The show is filled with dance, amazing singing, and fantastic characters suitable for children's theatre. I was thoroughly entertained as a grown 'child' and proud to see my graduated kids making theatre that has entertainment and educational value and anti-bullying undertones.

The cast features Thabang Tshabalala as Narrator and Mvelo Maphake;  Brendan Maphake  as Okwakhe as well as Kgomotso Nkomo as teacher and mother, with Nwabisa Mbambo as Okuhle and bully.

Bravo to the team, I anticipate more revolutionary theatre from you. - Verne Rowin Munsamy

 

MUSIC ON THE RIVER

 

Acoustic Music by the Water: Music On The River finds a new home in the Dargle.

Following the success of its previous riverside iterations - including the 2021 gathering at the Umzimkulu River on the KZN South Coast - the beloved acoustic day-festival, Music On The River, is returning to capture the hearts of the KwaZulu-Natal Midlands. Driven by the community-minded ethos of For Folk Sake, the next edition of the festival seeks to transform the scenic banks of the Umgeni River at the historic Hebron Haven Hotel into a haven for music lovers.

Music On The River offers an intentional escape from the rush of everyday life. Attendees are invited to bring their picnic blankets, camper chairs, and families to spend a slow day relaxing on the grass in the winter sun while listening to a curated line-up of KZN’s finest local musical talent. Being a licensed venue, all alcoholic beverages will be provided by the Hebron Haven Hotel Bar with a beer tent also on the grounds.

 

(Right: Kellen Crystin & Tyran Roy)

 Tyran Roy - event organiser for MOTR, says: “Music On The River was created with the intention of building community and providing an opportunity for friends and families to get together on common ground, in a natural outdoor setting to enjoy a beautiful day together. What might set us apart from most live music events is that our aim has always been to provide grassroots musicians and experienced bands with a platform, not only to sing and entertain but to perform their original material, which we encourage to the highest degree. This way the audience is also exposed to new music and stories all born from South African experiences. Our focus is on raw and real, live performances and building a wholesome event rooted in community.”

 

What to look forward to:

-Live Bands

-Beer Garden

-Food Stalls

-Picnic On The River Banks

-Kids Play Area

 

The music line-up so far:

-Calling Kaine

-Tyran Roy & Kellen Crystin

-The Occasionals

 

 

Event Details:

Date: Saturday. August 1, 2026, from 12 noon to 18h00

Venue: Hebron Haven Hotel, D128, Dargle, Howick.

Admission: R100 Early Bird via Quicket (limited). Tickets will increase incrementally

Kids under 13 enter free. Pensioner discounts are available at the door.

 

Get in touch for more information through Tyran Roy on 0817071841 or email: tyranroymusic@gmail.com or visit Website/Ticketing: https://qkt.io/4f7fZz

FELIX LABAND TALKS TO PETER MACHEN

 

(Right: Felix Laband.. Pic by Dave Southwood)

 

Acclaimed electronic musician and visual artist Felix Laband is the latest creative talent to appear on Talk To Peter, a new podcast from South African arts writer and former Director of the Durban International Film Festival, Peter Machen.

Focusing on the emotional and intellectual processes behind Felix’s music, the in-depth conversation explores the ways in which Felix’s personal life and the ever-changing environment of South Africa have influenced his work. The career-spanning conversation covers a lot of ground, including the difficulties of giving up recreational drugs, a geeky discussion about remixes and covers, and why the music of Bruce Springsteen continues to resonate.

Talking about his latest interview subject, Peter commented: "I first met Felix at South Africa's National Arts Festival when he was a scrappy teenager and I was an aspiring journalist pretending to cover the festival. I remember immediately recognising a deep, punky intelligence in him, and it's that same leftfield genius that courses through his music with a shimmering grace, all these years later."

The interview, along with a showcase of Felix’s work, can be viewed in full at www.talktopeter.com/blog-posts/felix-laband. Felix is currently signed to leading independent German imprint, Compost Records.

 

(Right: Peter Machen)

Peter, who currently lives in Berlin, has been talking to creative people for more than 25 years. His Talk To Peter website and YouTube channel features many of these archives interviews, including with such revered names as Patti Smith, Will Oldham, Arundhati Roy, Baaba Maal, and John Pilger.

Looking towards the future, coming episodes of Talk To Peter include an in-depth conversation with American photographer Roger Ballen and archive interviews with musician Matthew Herbert and REM’s Mike Mills.

For more information about Talk To Peter, contact Peter Machen on peter@talktopeter.com

MY AFRICA DANCE

 

 

(Photograph: Publicity Matters)

 

Ulozolo Youth Organisation presents My Africa Dance - a dance / drama / music production reminding us of the importance of honouring our forefathers in our quest for real freedom and democracy, which will be touring to various schools in six districts throughout July.

Choreographer, Ulozolo Youth Organisation’s Lucky Cele, says: “This is a much-anticipated tour where educational stories of our democracy are celebrated, and where unity and integration depict our true democracy.”

Schools who wish to be part of this amazing experience can contact Lucky Cele directly.

The dancers will visit six district municipalities:

-eThekwini Metro on July 18

- Harry Gwala on July 24

- Ulundi on July 26

-Amajuba on July 28

-Empangeni on July 25

-Ugu District on July 30.

 

Internationally-renowned musical theatre writer, director and choreographer Lucky Cele says: “The production takes us through the life journey of some key struggle hero icons: from their early days; their contribution to the Struggle; how they died and why the country should always remember their legacy. Such stories are told through dialogue, music, and dance to give clarity on how South Africa achieved it democracy.”

“This is something I feel strongly about,” says Cele: “As a generation of young adults, we seem to have forgotten the huge sacrifices our forefathers have made in order for us to be living in a free and fair South Africa: one with a progressive constitution, ample resources, accessible education and many opportunities. We should be living the dream of our ancestors. But we seem to have forgotten what they fought for, and why.

“I want to remind a new generation of what has gone before. Men and women have given their lives for us to have the country of our dreams. Let us honour their stories and be inspired by them.”

Reflecting on some of our struggle heroes and their legacy, is told through a blend of spoken word and dance - a fusion of well-known creatives and emerging artists from around KZN. To make it accessible to a wide an audience as possible, the narration is both in English and in Zulu.

A total of 12 dances tells these amazing stories through contemporary, modern, Zulu, Xhosa, Sophiatown and township dance. The project will also promote acapella music to suit the era. Newly-composed songs will be introduced to the show, and use of struggle songs based on the story will also be used.

A prototype version of this production, called 6/666 was staged at the BAT Centre last December. It is written, directed and choreographed by Lucky Cele and musical director is SA Idols top 10 runner-up, Nkosinathi Shange, produced by Ulozolo Youth Organisation. A youth-led organisation empowering KZN artists with business skills to thrive within the Creative and Cultural Industry.

Schools who wish to be part of this amazing experience can contact Lucky Cele on 0768435499 or email Ulozolo Youth Organisation on ulozoloyouthorganisation@gmail.com

A SCAR NAMED HOME AT NAF: REVIEW

 

(Cleaning up the dusty streets of South Africa... Review by Verne Rowin Munsamy)

This year marks my sweet 16th anniversary at the Grahamstown, now Makhanda, National Arts Festival. I remember being a 2nd year student in 2000, walking around with a notepad and backpack, watching shows all day. Caroline Smart, our editor and chief, took a chance on this eager-beaver young writer and I have never looked back. I started this Festival as a young university second-year student and have progressed to a professional writer-director but the most joy lies in submerging one's self in art, theatre, dance, and the culture of performance shared by like-minded individuals.

I have seen this Festival grow and adapt to remain poignant in these shifting times. NAF has a remarkable ability to nurture talent, challenge societal norms and adapt with the shifting times. My first review this year is for the thought-provoking masterpiece offer by AFDA Johannesburg titled, A Scar Named Home.

The show is directed by one of their lecturers, Manoko Tlhako and her vision and passion to speak about the failing South African Government and institutions is excellently executed by her postgraduate students.

This devised theatre piece, rich in the iconography of physical theatre features, focuses on prevailing systems of failure that are disadvantageous to the South African youth. The story starts with the quartet singing an energetic South African classical township song and the actors playing hide and seek. This game of hide and seek is important as it foreshadows the concept of seeking for liberation that is in hiding and out of reach.

The set has four chairs that are used in a myriad ways to exemplify bags, baskets, hiding places, and in the physicalised choreography. They use bandanas in different ways throughout the show and costumes and props. I am quite fond of a prop that's used in multiple ways and this cast does well with this physical style of theatre.

From the onset we are introduced to the idea of a disappointment in South Africa. We are constantly reminded that home is meant to be a place of safety, comfort, where dreams reside and is also a state of mind; however, our home (South Africa) has become a place of fear filled with corruption and chaos.

The first focus of trauma is highlighted through the ambition and dreams of getting a university education that are stripped away by the withdrawal of NSfAS funding. This is an ongoing plight that affects students across the country.

The second is the fight to find a job and the high levels of unemployed youth in our country. The punch line to this story arrived in the job being obtained, after 180 interviews, through sexual abuse by the company owner. It highlights the abuse faced by individuals who are so desperate to find employment.

The story shifts to mention the high levels of crime in our country due to the lack of opportunities for the youth and the repossession of homes by banks when people failed to keep up with instalments. The last section deals with the corruption in government with regards to social grants.

These four young performers Agisanang Galetuke, Azwi-Hilton Mashapa, Kamagelo Ramaboya and Molatelo Sebabi are extremely powerful in their performances on stage. They displayed the skills of well-rounded artists with triple threats of acting, singing and dance. They reminded me of why I made the 14-hour drive to Makhanda, to watch theatre that was representative of culture, but also questioned and challenged societal "abnormalities". An excellent show to start my 2026 writing journal of the festival. - Dr Verne Rowin Munsamy

 

THE QUIET AT NAF: REVIEW

 

(Haunting Chills and Theatre Frills. Review by Verne Rowin Munsamy)

 

The Settlers Monument in Makhanda is a landmark building that draws travellers from all around the country to the outskirts of Grahamstown. A large square structure that looks like it is hovering like a spaceship over the forestry below it. Within it is housed several theatre spaces, art galleries, and exhibition spaces. It is the heart of the festival. One of the smaller venues, Dicks, is situated on the second floor. Here is where I watched The Quiet, written by my ex-student Thamsanqa Khumalo and Samkelele Sodlala; directed by Thamsanqa Khumalo.

 

I'm always in awe and proud of ex-graduates who enter the industry and continue to make provocative theatre. The Quiet, is written in the style of Horror Theatre, a genre that you don't see too often performed in Durban, not counting musical theatre.

The set is quite deceiving and adds to the mystery of the show. We have hanging books, articles of missing persons on walls, a white cloth covering a chair and another on a table. At first glance, one would easily make the mistake that this was an emotional drama from the aesthetics on stage. This misleading trickery is further carried out by the acting.

The actress in this one-person show, Nolwazi Khanyile, is proficient in the role. I was quite impressed with her control on stage and her understanding of the emotions behind each monologue. The writing reveals two dramatic monologues that serve as tear jerkers that touch the heart-strings of the audience. She narrated the absence of parents in her life, an abandonment that many South Africans are familiar with. She narrated the story of an individual who is forced to put on a smile while emotionally bleeding on the inside. The dramatic monologues are diffused by light-hearted dance numbers that ease the tension that was aptly built by the direction and acting.

The final chapter is where the plot twist kicks in and the Horror genre is revealed. This was foreshadowed in the beginning when the young girl recounts the story of a house that eats people. I remember, as a child, watching a movie where a house on the mountain top would devour strangers as they slept. This theatre piece was a mixture of that movie, with elements of the exorcist. The third and final chapter was chilling and hauntingly beautiful. I loved this plot twist. It was so unexpected. It's not often that I am bamboozled with a storyline but this one I welcomed as I was so engrossed in the show. If I were to add anything, I would add a fourth chapter just to round off the storyline and keep up the suspense and fear, as is evident in all Horror movies of this kind. Well done to the team on an amazing exploration of this genre. - Dr Verne Rowin Munsamy

AUTHENTICA SERIES LAB RETURNS

 

(Photo supplied: The 4th edition's cohort at the 1st in-person workshop left to right Reem Morsi, Gamel Apalayine,  Jolade Olusanya, Mona Ombogo)

 

Application Deadline: Saturday, 1 August 2026.

 

AuthenticA Series Lab returns for fifth year, inviting applications from African screenwriters

The AuthenticA Series Lab, a screenwriters programme from South African-based non-profit Realness Institute, is now open for applications for its 5th edition. This six-month programme is delivered in partnership with The StoryBoard Collective, a Swiss non-profit organisation dedicated to holding space for storytellers from underrepresented communities. Series Mania returns as the programme festival partner, where the writers will pitch their projects to industry decision-makers as part of the African Series Pitch in Lille, France, in March 2027. The Canada Media Fund also returns for a third year as a funding partner, supporting the participation of one African Canadian writer in the programme.

The programme has supported 15 African writers since its inception, with some writers currently in active co-production conversations with companies across the UK, France, Canada and the US. Now entering its milestone fifth year, the AuthenticA Series Lab comes at a time when the industry is particularly volatile and unstable, making this offering even more necessary.

The programme welcomes submissions of original series projects in any genre, from writers living in Africa or the African diaspora, provided the story concept is set in Africa. Four writers will be selected for the programme, which is conducted through a mixture of online and in-person sessions, taking place from September 2026 to April 2027. Selected writers will be mentored by Selina Ukwuoma, Story Consultant and Director of Writing Programmes, and Mehret Mandefro, Creative Producer and Managing Director of the Realness Institute.

Selina Ukwuoma says: “The lab offers writers a rare opportunity to take creative risks. It gives them the confidence to trust their most audacious ideas and shape them into series with real craft, rigour and clarity.”

Mehret Mandefro adds: “Giving writers the time and space to bring their boldest ideas at a time when the industry is so unstable is the best way we know how to meet this moment.”

Experienced industry experts are invited to engage with the cohort as guest speakers, sharing their insights and professional journeys through case studies, offering a range of industry perspectives and practical guidance. Past guest speakers have included Anthony Q. Farrell (Writer/Director/Producer, Canfro Productions), Layla Swart (Producer/Co-Founder, Yellowbone Entertainment), Aoife Lennon-Ritchie (Managing Director of Torchwood Literary & Scouting), Sameer Gardezi (Founder, Break the Room Media) and Pauline Fischer (Founder & CEO, PMF Media Group, Inc.).

For the fifth year the programme opens with in-person sessions in Ethiopia, a first, and then moving through online sessions, which culminates in a two-month residency in Geneva, Switzerland, before the cohort pitches at Series Mania in Lille, France. The outcome of the programme is that each participant will deliver a pitch deck and a pilot script. The rights to the material developed through the programme will remain with each writer.

Laure de Peretti de la Rocca, Director of The StoryBoard Collective, says: “This programme reflects what we believe in: backing bold storytelling from voices the industry hasn't made enough room for. Partnering for this lab, and hosting the AuthenticA writers in Geneva at the StoryBoard House, is how we put that belief into action.”

Francesco Capurro, Series Mania Forum Director, says “AuthenticA’s pitching sessions have become one of the Forum’s most anticipated highlights. International industry professionals continue to show a strong appetite for distinctive voices emerging from African content, and this is due to the outstanding preparation and mentoring work carried out by the teams at the Realness Institute and StoryBoard Collective. I am already looking forward to discovering the 2027 cohort.”

As part of its ongoing commitment to investing in Canadian African diaspora storytellers, the Canada Media Fund will sponsor the participation of one African-Canadian writer in the programme.

Jessica Lea Fleming, Director of Industry Development, CMF, says: “The Canada Media Fund is proud to continue its partnership with the AuthenticA Series Lab and support the participation of an African-Canadian writer for a third consecutive year. Programs like AuthenticA create meaningful opportunities for creators to develop bold, unique stories while building the international relationships that are increasingly essential in today's screen industry. We are pleased to support an initiative that strengthens creative and business connections between Canada and Africa, while helping elevate diverse voices whose stories will resonate with audiences at home and around the world.”

The call for applications is open from Monday, July 6, 2026, closing on Saturday, August 1, 2026.

For more information on eligibility and how to apply, visit https://realnessinstitute.com/2026/07/04/authentica-african-series-lab-call-is-open/ or email submissions@realness.institute