THE CHAIN - THE FLEETWOOD MAC STORY

 

Back by popular demand!

Rhumbelow Theatre will present The Reals (Barry Thomson, Dawn Selby, Mali Sewell, Robz Millar and guest guitarist Colin Peddie and Durban singer Marion Loudon) in THE CHAIN - The Fleetwood Mac Story at the Durban venue and at the Northlands Bowling Club on these dates:

42 Cunningham Road off Bartle Road, Durban

Saturday, February 7, 2026. Show starts at 19h30

Sunday, February 8, 2026. Show starts at 14h00 – DBN

&

Northlands Bowling Club, 50 Margaret Maytom Ave, Durban North

Saturday, February 21, 2026.  Show starts at 19h30.

 

(Venue opens 90 minutes before show for snacks/drinks) 

 

The Fleetwood Mac story is an episodic saga that spans more than 30 years, starting in 1967 as a British blues band that later became a California-based pop group in the mid-Seventies. In between came a period where Fleetwood Mac shuffled personnel and experimented with styles, all the while releasing solid albums with chart topping hits.

Perhaps just as well-known for their tangled relationships and addictions, as they were for their music, Fleetwood Mac had massive success and can be found on every list of the world’s top selling bands.

Mixing relationships and business together can either be a disaster or lead to success. With Fleetwood Mac, although the breakups of band members John and Christine McVie as well as Lindsey Buckingham and Stevie Nicks created chaos, it led to the creation of the hit album Rumours with hit singles Go Your Own Way, Dreams and Don’t Stop. To date, Fleetwood Mac has sold more than 100 million albums worldwide.

The Reals, with Durban favourites Dawn Selby on the keyboard, Barry Thomson on the guitar, Robz Millar on the bass and Mali Sewell on drums, will cover all the great hits of Fleetwood Mac, which will also feature regular guest, Durban singer Marion Loudon as well as guitarist Colin Peddie. Expect to hear all your favourites Little Lies, 7 Wonders, Everywhere, Landslide, The Chain and then some.

Authentic-sounding and always respectful, The Reals will take the audience on a sweet ride down memory lane, replicating the sounds of one of the world’s best-loved bands.

Tickets R220 (R200 pensioners. R180 under 13) (R180 Northlands Bowling Club Members)

Bring food picnic baskets (Northlands & Durban) or buy at the venue (Durban ONLY). Bar available (no alcohol may be brought on to the premises)

Limited secure parking available   

Booking is essential on email: roland@stansell.co.za or WEBTICKETS

For more information contact 0824998636 or visit http://events.durbantheatre.com/

 

 

FUNNY THING, GETTING OLDER: REVIEW

Inevitably, in a miscellany of this kind, some of the pieces will appeal more than others, but I emerged from “Funny Thing, Getting Older” feeling that I had been in the company of a warm and wise man. And I had very much enjoyed that company. (Review by Margaret von Klemperer)

It is hard to categorise this utterly delightful book Funny Thing, Getting Older (and other Reflections). It is not really a memoir, although the author tells us a fair amount about himself and about his past. It is not a collection of essays, although there are essays here. It is really a collection of the author’s thoughts, and in one way, a book about hope for the future.

Michael Morpurgo is probably best known as the author of what started life as a children’s book – War Horse. It later became, in collaboration with the Handspring Puppet Company, an award-winning play and then a film. (Joey, the wonderful puppet horse from the play has been seen here on a visit to the Hilton Arts Festival, and those who saw him will never forget it.) 

Morpurgo has written many books for children, and been the Children’s Laureate in Britain, and he and his wife started the organisation, Farms for Children, which gives urban children a chance to work in the countryside, living and working on a farm. He writes about that in the book.

I have had reservations about some of his children’s books, finding them both dark and overly sad, but he explains in this collection that he includes sad events because they are part of life and, if carefully handled, easily accepted by the young. Fair enough. I know I am not in his target audience’s age range. He divides the book into sections – Childhood, Peace and War (and I think the way he places those two words is an important clue to his thought processes), Telling Tales and Searching for Wonder.

For Morpurgo, writing is for “passing it on” whether it is incidents from his own life or from history, showing future generations the similarities and differences between their lives and those who have gone before. Often, he displays a gentle humour, and also anger, particularly at the plight of refugees. There are pleas for compassion and understanding, and, above all, he stresses the importance of reading and storytelling, something that is sadly endangered the world over by the stress on educational outcomes and the disappearance of libraries, in the name of economy.

Inevitably, in a miscellany of this kind, some of the pieces will appeal more than others, but I emerged from Funny Thing, Getting Older feeling that I had been in the company of a warm and wise man. And I had very much enjoyed that company. – Margaret von Klemperer

Funny Thing, Getting Older is published by Hodder Press: ISBN 978-1-399-73972-6

THE LONELINESS OF SONIA AND SUNNY: REVIEW

 

The overall reading experience of this epic novel will stay with me for a very long time.  (Review by Fiona de Goede)

 

Kiran Desai won the prestigious Booker Prize in 2006 for her novel The Inheritance of Loss.  She was again nominated for the 2025 Booker Prize for The Loneliness of Sonia and Sunny, nineteen years later.

At just shy of 700 pages, this is an epic saga set between 1996 to the early 2000’s. It is a cross-over genre consisting of a love story, family saga, cultural and social ideas as well as fantasy. She was not awarded the Booker Prize for this offering.

Sonia Shah is an aspiring author but gets sidetracked into a relationship with the artist Ilan de Toorjen Foss, many years her senior. The relationship is borderline abusive – not physically but emotionally. She battles to break free from the cycle of dependence on the artist and by doing so, has to confront her loneliness. 

The fantasy aspect of this novel is in the shape of an amulet that has been in Sonia’s family for generations.  The loss of this talisman is a powerful thread that is woven throughout the book.

Sunny Bhatia is a journalist trying to “make it” in New York City. His overbearing, controlling mother impacts hugely on his choices and decision making – he wants to flee that part of his life but his guilt invariably intervenes. 

Their families try to arrange a matchmaking between them but this goes awry. It is therefore hugely ironic that they then meet, randomly, on an overnight train and instantly they feel drawn to one another. Their relationship grows, but underlying feelings of fear and identity are evident and serves to act as a stumbling block in the natural progression of their ongoing union.

This is a saga with many twists, turns, subplots, minor characters, and world events. It is primarily set in India, USA (Vermont, NYC), Mexico and Goa. The issues of the immigrant experience, racial class and caste as well as cultural identity loss is dealt with. 

I doubt whether there are many readers that will complete a 700-page tome and not experience moments of boredom as well as moments of pure reading pleasure. I certainly fall into that category. The bulk of this book (pun intended – it is heavy and takes its toll on your forearm muscles!) is enjoyable. By comparison, the irksome bits are in the minority and my main criticism would be that several of the characters felt superfluous to requirements.

However, it is a small price to pay and I happily waded through the bits that did not excite me – the overall reading experience of this epic novel will stay with me for a very long time.  - Fiona de Goede

The Loneliness of Sonia and Sunny is published by Penguin Random House:  ISBN978-0-241-77084-9

 

TOO OLD FOR THIS: REVIEW

 

One should read this book with one’s tongue firmly in one’s cheek.  It’s a dark comedy with several rather improbable scenarios being played out – but it’s a laugh. (Review by Fiona de Goede)

 

Too Old for This is the fifth offering by Samantha Downing – her debut novel, My Lovely Wife, was a Sunday Times bestseller and published in thirty languages. It also won several rewards, including The CWA John Creasy Dagger. 

Lottie Jones has several skeletons in her closet. And there’s a journalist wanting to expose her deepest, darkest most tucked-away secrets. Lottie will have to rely on all her tricks up her sleeve to stymie this investigation and to continue to live her unassuming, relatively boring life.

The highlight of her week is bingo at the local church and meeting up with her friends for a good old chinwag. She can feel old age creeping up on her and realises it’s time to start thinking about moving into a retirement home – her only son is getting married for the second time, his young pregnant wife-to-be is not giving any indication that Lottie will feature in their lives any time soon.

So, when Plum Dixon, the journalist who approaches her for a tell-all expose of her past knocks at her door, Lottie has to brush off her rusty skills and get rid of Plum. The murders that have never been solved and which she was implicated in, need to stay firmly in the past. Therefore, without further ado, Lottie does the deed and Plum is no more. 

Naturally, things do not end there. Lottie has to take drastic action to dispose of the body, one thing leads to another and before she knows what hit her, she is immersed in a life of crime. Various people connected to Plum start asking questions and the evasive action Lottie has to take to shake them off her tracks, leads her further and further into deception and darkness.

One should read this book with one’s tongue firmly in one’s cheek.  It’s a dark comedy with several rather improbable scenarios being played out – but it’s a laugh. A caper. And totally addictive. - Fiona de Goede

Too Old for This is published by Penguin Random House: ISBN 978-0-241-44693-5

PLAYHOUSE DURBAN FESTIVE SEASON WRAP

 

Durban’s Playhouse Company brought us a joyful festive programme. (Review by Shannon Kenny)

 

Umang: The Spirit of Kathak - Playhouse Loft Theatre - 12 December

Manesh Maharaj’s Umang: The Spirit of Kathak gave us a celebratory, devotional presentation of grace and rhythm, to the delight and awe of the appreciative audience.

Manesh Maharaj choreographed and led the programme with six dancers who are also his students - and of whom he is rightfully proud.

Each set of dances, linked by a voice-over, took us on a journey from the origins of Kathak as a form of worship and devotion centred around the Hindu god, Krishna; the significance of the various musical rhythmic cycles and symbolic gestures in the movement; Kathak’s further development in the Mughal courts and its continued resonance today for worshipers of Krishna who seek to connect with the divine.

This feast of storytelling about devotion, human and divine, arrived to the stage in colourful costume; movement that was graceful and synchronous, executed with symmetry and precision - and with a generosity of spirit that emanated from each performer. Manesh and his company held our gaze and charmed the audience with every pirouette, every allusion to love and longing, every celebratory flourish.

Choreographing for the polyrhythmic complexity of the music was certainly no mean feat, and here again, Maharaj must be applauded not only for his talent and skill that have produced such artistry but for honouring the musical tradition with which Kathak dance is inextricably enmeshed.

The final dance vignette told the story of Holi - a spring awakening; celebration of new life - depicting the meeting of the mortal and the divine through Krishna’s playfulness.

Umang: The Spirit of Kathak - at times meditative, at times hypnotic, always elegant and dynamic - was truly a treat.

 

Voices of Home: Mzansi National Philharmonic Orchestra - The Playhouse Opera Theatre - 13 December

 

(Marin Alsop)

South Africa’s Mzansi National Philharmonic Orchestra took to the road this December with concert dates in Johannesburg, Cape Town and Durban, where they not only played to concert hall audiences but also brought the magic of orchestral music to children at hospitals in those cities.

Under the baton of the illustrious Marin Alsop - a pioneering conductor who was the first woman to lead orchestras in the USA, South America, Austria and the United Kingdom - the orchestra mesmerised and thrilled the expectant audience as we journeyed with them across history and continents and concepts of being and belonging.

The programme featured works by Shostakovich, Rachmaninov; five time Emmy award winner and Oscar nominee, US composer Laura Karpman (whose game score credits include Guardians of Middle-earth and Kung Fu Panda 2); and South Africa’s own Abel Selaocoe who is charting a path in contemporary classical music defined by his genre-fluid collaborations and compositions, as well as redefining  the traditional role of the cello - and the cellist.

The programme opened with Shostakovich’s very apt Festive Overture (opus 96), just the kind of elegantly boisterous piece - with a fabulous backstory (Shostakovich was given three days to complete the work) - to mark the occassion. We were then treated to Rachmaninov’s Symphony No.2 in E minor, with its lyricism and elegiac themes also leading to a gloriously festive climax.

Laura Karpman’s All American - a work dedicated to and celebrating American female composers - made its South African debut with Mzansi Philharmonic. There is much to excite eager listeners. Along with a few familiar references, the propulsive rhythm is powered by some very non-traditional percussive instruments - silverware for a triangle, pots and pans for tubular bells, a butcher block played with a meat tenderiser and a Le crest 5-quart braised used as an anvil.

For this tour and the performance of his Four Spirits Cello Concerto, Abel Selaocoe was joined by Austrian percussionist extraordinaire, Bernhard Schimpelsberger. Their partnership is a meeting of minds, exquisite talent and skillful, dynamic musicianship. Comprised of four movements, the listener is invited to engage in meditation, reflection, playfulness, introspection and celebration with the orchestra, with the soloists, with each other. Emotionally and rhythmically moving to the final, rousing Malibongwe, Four Spirits is a celebration of our shared humanity. 

There is something wonderful about an orchestra filling the opera stage - an orchestra comprised of younger and older skilled musicians, some familiar faces and many more new to me. I look forward to many more Mzansi Philharmonic concerts. Long may they prosper and make beautiful music wherever over the continent and the globe they may travel.

 

A Christmas Celebration - The Playhouse Opera Theatre - 20 December

 

After just a week, The Opera theatre was abuzz with an audience eager to feast on a smorgasbord of festive music, from classical oratorio to African jazz, contemporary ballads, Gospel and traditional Christmas carols.

Playhouse Director, Linda Bukhosini’s welcome to the audience was also an encouragement to reflect on the birth of Jesus more than 2000 years ago and the significance of Christ’s presence in the world today through the programme. This was an audience ready to celebrate, guided by MC, Krijay Govender who compered the show with warmth, wit and grace - who was the perfect choice for this occassion.

Ralph Lawson, stage director, brought together performers that included the KZN Philharmonic Orchestra, the Playhouse Chorale, the Playhouse Children’s Choir, Tim Moloi, the legendary Don Laka and Ayanda Ntanzi. Added to that was the surprise of the most charming pas de deux by ballroom champions, Sthembile Ndwalane and Nkululeko Khumalo that left the crowd wanting more. This diverse ensemble of performers delighted at every turn.

The Playhouse Chorale, in mellifluous and dramatic a cappella, opened the programme and were followed by the KZNPO, under the baton of Chad Hendricks, with a vibrant medley of Christmas favourites.

Tim Moloi reminded us once more why he is an audience favourite and a consummate musician: the effortless phrasing, the stage presence that is at once commanding and inviting; the warmth he conveys to the audience and fellow performers - and that smile. His solo performances of The Christmas song, which evoked both Nat King Cole and Luther Vandross and You raise Me Up brought the house down. Equally comfortable in an ensemble, listeners were thrilled by the duet, All I ask of you (Phantom of the Opera) with mezzo-soprano Busisiwe Shezi and his appearance with the Durban Chorale.

Pianist, Don Laka, an OG of South African jazz, and his great band brought to the stage an effervescence that belies Laka’s age. The gracious Laka mesmerized the audience with his playing. What a treat to enjoy some of a legacy of performance, composition collaboration and much more besides, that stretches back some fifty-two years. The set culminated with the KZNPO’s strings and brass providing a celebratory flourish to Laka’s work.

The Playhouse Children’s Choir delighted with every appearance and their Silent Night in English, Afrikaans and isiZulu with the Durban Chorale certainly warmed the cockles of many a heart.

Durban Chorale’s dynamic renditions of O Holy Night and Haydn’s The Praise of God accompanied by the KZNPO and featuring Busisiwe Shezi as soloist, reverberated through the auditorium.

Gospel sensation Ayanda Ntanzi had the audience singing and dancing along, his rousing vocals and exhortations to worship enthusiastically received by young and old alike.

The finale featured the Playhouse Chorale, Children’s Choir, the KZNPO and the audience joining in Hark the Herald Angels Sing. Of course the audience was not going to let go of the performers that easily, so an encore by the Durban Chorale - Handel’s Hallelujah Chorus - rounded off the evening.

What a fitting conclusion to a truly joyful celebration of Christmas for all that it is meant to be. – Shannon Kenny

BUMP AND GRIND: REVIEW

 

The joy in a MacBob sketch comedy is the helter-skelter journey through scenes populated by an array of zany characters. (Review by Shannon Kenny)

Bump and Grind - starring Aaron McIlroy and Lisa Bobbert-McIlroy - at Northlands Bowling Club from December 18, 2025, to January 4, 2026.

Aaron and Lisa bring their inimitable brand of comedy to the stage once more, delighting audiences with lovable and riotously funny characters, high energy dance numbers and poignant ballads.

Daisy Spencer directs and choreographs this endearing caper that opens with enough light, lurex and beats per minute to put the festive into season! 

The joy in a MacBob sketch comedy is the helter-skelter journey through scenes populated by an array of zany characters.

In this instalment, expect more hilarity from Elvis impersonators, Bruce and Charmaine, Dot and Max of Sunsets and Glory Retirement Home and super-sage, Dr Veejay - alongside a pair of intergalactic EDM rave androids, Latin salsa sensations and Father Michael. Our charming characters' rapid-fire one-liners and uproariously funny anecdotes are served with home truths and points to ponder on everything from navigating new technologies, family dynamics and appropriate funeral attire.

Aaron and Lisa’s talent and skill lie in their seemingly effortless transformations from one character to another - and making every dance hit and ballad that character’s own. Their on-stage chemistry and utter believability had the audience whooping and cheering and wanting more.

Stand-out musical numbers include Bruce’s You are always on my mind; an Obla-di Obla-da sing-along with Dot and Max and Charmaine’s When you believe.

Costumier, Kathy Singery, has poured her creativity into draping Bump and Grind’s characters in costumes you simply cannot imagine them without. Kudos!

Declan and Kayleigh on sound and lights ensure that all is technically ship-shape.

Our two stars have produced another musical comedy show with heaps of laughs and plenty of space for us to reflect on the preciousness of those we love and the miracle of life in all its crazy, bumpy exuberance. This is perfect festive season fare for the whole family - the tweens in the audience howled with laughter at every pun and double entendre. It is a VIBE. Be sure not to miss out.

Long may we continue to enjoy the fabulous, joy-bringing partnership that is MacBob Productions' Aaron and Lisa.

The show is presented by Rhumbelow Theatre and will run from December 18, 2025, to January 4, 2026.

All seats are allocated by the theatre management. Tables seat 8.

Tickets range from R180 to R220. Bookings: Webtickets or contact Roland directly on 0824998636

Bring food picnic baskets . Bar available (no alcohol may be brought on to the premises).

Limited secure parking available.

The Rhumbelow venues are wheelchair friendly. Please liaise with Theatre management for wheelchair parking and seating arrangements - 0824998636

The venue opens 90 mins before show.

Northlands Bowling Club is located at 50 Margaret Maytom Avenue in Durban North. - Shannon Kenny

4 SHOWS AT KZNSA

 

(Member's Group Show. Photo: Paulo Menezes)

December is in full swing at the KZNSA! They currently have four shows on at the gallery, with lots of retail opportunities for your Christmas shopping and inspiration from local creatives, crafters and makers:

 

MAIN GALLERY: Members Group Show | Sizwekandla Ngezandla

KZNSA members really showed up this year - over 200 individual pieces were submitted by over 45 member artists!

Comment from the KZNSA: “Thank you so much to all our members who went to the effort to create and make for this show. We wanted to treat this show as a formal exhibition so we reserved the use of the Main Gallery for our Members' Group Show, and we're so glad we did! Support our local artists and creatives this December and pop in to browse and purchase a one-off, handmade piece of art! Buyers take home their piece on the day of purchase. “

 

PARK GALLERY: Okwethu Okwezandla by ArtsResearchLab

Okwethu Okwezandla is an exhibition of the heritage documentation of ifa crafted, undertaken by ArtsResearchLab over a number of months and in various locations across KwaZulu-Natal. Curated by Dr Rachel Baasch and Russel Hlongwane, the exhibition details the legacy of craft in KZN that has informed ifa crafted design, their approach and, most importantly, the crafters and makers whose skills and work have produced the pieces we are so proud of!

(MEZZANINE GALLERY | ifa crafted shop. Photo: Paulo Menezes)

MEZZANINE GALLERY: ifa crafted shop

A number of pieces from our ifa crafted craft and heritage project are displayed and available to purchase on our Mezzanine Gallery! It's a rare chance to see the ifa products in person, and to buy directly from ifa crafted in a retail setting. The KZNSA is the ifa crafted birthplace, and the connections the KZNSA Shop has with crafters and makers in KZN served as a starting point for the project. We are proud to be exhibiting and selling ifa pieces!

 

4. KZNSA SHOP: BUZZART25

Comment from the KZNSA: ‘The shop is PACKED with treasures and goodies - thank you to our suppliers who submitted their amazing stock this year! Many have asked us why we have kept BUZZART in the KZNSA Shop this year, and the decision to do so was based on a number of reasons, but mostly because we love our KZNSA Shop space, and wanted to highlight it, and our suppliers, as our retail branch.”

All shows are on until January 18, 2026.

The KZNSA Gallery is situated at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1705 or cell 082 220 0368 or visit www.kznsagallery.co.za

THE IMPOSSIBLE FORTUNE: REVIEW

 

Osman has created a fantasy world for his quartet of retirees, but it is a world with enough reality, warmth and heart for anyone. (Review by Margaret von Klemperer, courtesy of The Witness)

 

The endearing quartet of Richard Osman’s Thursday Murder Club – Elizabeth, Joyce, Ron and Ibrahim - are back in their retirement complex of Coopers’ Chase for a fifth outing. Of course, it’s not entirely believable, but then, it’s not meant to be. And it is enormous fun. 

If you are looking for a relaxing read over a stressful holiday season, you can’t do much better than this one.

In The Last Devil to Die, the previous novel in the series, Elizabeth’s husband died from dementia – a topic Richard Osman handled with charm and gentleness – there is enough reality in this series to make it compelling. Elizabeth is perhaps not back to her sharpest, but the others are supporting her, and things begin to prickle her antennae at Joyce’s daughter’s wedding when the best man confides to her that someone is trying to kill him. The wedding itself is vintage Osman – funny and clever as it deals with the prickliness that can be a part of the mother/daughter relationship in stressful moments like a wedding. And Joyce and Joanna are very good at rubbing each other up the wrong way.

Meanwhile, Ibrahim is feeling lonely, even though he is busy counselling a convicted drug dealer, and Ron is facing troubles of his own with his daughter and beloved grandson struggling in an abusive domestic relationship.

However, it is the misfortunes of the best man that drive the plot. He has a business partner, and they run a storage facility for secrets – much safer than storing them on a computer it seems. But to open the safe that holds their own secret fortune, each of them has to put in a code – and each of them only knows their own code. And as things move along, one of them ends up dead and the other missing.

But it would take more than that to defeat the Murder Club. They have a wide range of contacts – police, ex (or maybe not ex) secret service agents, criminals, scammers and possible hit-men and hit-women – and they put them to good use in their efforts to crack the codes and, just maybe, get their hands on a fortune in crypto currency as well as find the missing person. But, inevitably, not everything is going to be quite what it seems.

Yes, Osman has created a fantasy world for his quartet of retirees, but it is a world with enough reality, warmth and heart for anyone. - Margaret von Klemperer

The Impossible Fortune is published by Penguin Viking: ISBN 978-0-241-74399-7

BAROQUE 2000 CHRISTMAS CELEBRATION!

 

(Right: Antoinette Lohmann. Pic supplied)

 

Baroque 2000 will present a Christmas Celebration on December 21 at 11h30 at St James Church in Venice Road.

Performing will be the exceptional virtuoso Antoinette Lohmann - Baroque Violin (Netherlands)

 

Programme:

Biber - From the Rosenkranz sonatas: Annonciation

Kuhnau – Wie schön leuchtet der Morgenstern

Schmelzer - Serenata con altre Arie

Corrette - Les plus beaux Noëls François et Etrangers

Sammartin - Concerto Grosso opus 5 no.6 (Christmas Concerto)

Bach - From Christmas Oratorio Ich stehe an deiner Krippen hier

 

Tickets at the door @ R180. Children enter free.

Guarded parking available in Venice or Sir Arthur adjacent roads.

For more information contact: Michel. sursouth@iafrica.com 082 303 5241

CHRISTMAS OPERA AT THE AVENUES

 

(Right: Nozuko Teto)

 

KZN-born soprano, Nozuko Teto, will be joined by Maxine Matthews-Meyer (saxophone) and pianist, Christopher Duigan, for Christmas Opera at the Coffeeberry Avenues, Hilton on Thursday December 18, 2025, at 18h00.  This delightful musical treat, with opportunity to enjoy a delicious dinner, is an evening not to be missed!

Music lovers can look forward to an entertaining performance by star soprano Nozuko singing popular Italian operatic arias from "La Bohème", and "La Wally", complemented by classical Christmas favourites; O Holy Night, The Holy City, Panis Angelicus, Silent Night and other carols. 

On completion of her studies at the University of Cape Town Nozuko was awarded a scholarship to study Belcanto Singing Technique in Modena, Italy with soprano, the legendary late Mirella Freni.

 

Christmas Opera at the Avenues

Coffeeberry, Avenues Hilton

Thursday 18 December 2025 at 18h00

Coffeeberry Hilton Avenues, Cnr Hilton College Road &, Elizabeth Dr, Hilton,

Concert Tickets: R200. Booking is essential as space is limited.

Booking: info@coffeeberry.co.za  to reserve your table

Full Coffeeberry menu available from 18h00.

NAF: A SEASON OF REFLECTION

 

(Above: The Cirk’s Malo and the Moon Maiden at the National Arts Festival 2025. Picture: Mark Wessels)

 

Message from the National Arts Festival:

Every festival has seasons that shift perspective. This year has brought change - in numbers, in energy, in how we think about what we do and why we do it.

The cultural landscape is changing. Market conditions are shifting. The way people engage with festivals, with each other, with live culture is changing, and we're paying attention. We're also rethinking our own role. How do we serve artists and audiences in ways that are sustainable and meaningful? These aren't questions with quick, easy solutions but we’re asking the questions. And rethinking the future.

 

New Leadership, New Ideas

We believe deeply in our mission to be a platform for diverse stories and extraordinary talent from South Africa and the world: and a genuine connection point for artists, audiences and creativity. Our new Chairperson, Professor Siphiwo Mahala, is bringing fresh energy and clarity to our governance, working with the Board and the Festival team to rethink how we operate in a changing environment. We're taking time to do that properly, intentionally and in a way that’s reflective of our commitment to the future.

The 2026 National Arts Festival is set to be presented in Makhanda from June 25 - July 5 and we look forward to sharing some news about what to expect from early next year.

 

(Left: National Arts Festival Chairperson, Professor Siphiwo Mahala at the National Arts Festival 2025. Picture: Mark Wessels )

 

Beyond the Festival

Here in Makhanda, the National Arts Festival’s team is once again applying its project management skills to the fourth round of the Social Employment Fund. 

This project, a partnership with the Presidential Employment Stimulus Programme and the Industrial Development Corporation (IDC), is part of a national effort to create employment and improve the lives of communities which has shown strong gains in getting people out of long-term unemployment through short term work contracts.

This year we also flighted the Festival Enterprise Catalyst (FEC) along with our partners, The Jobs Fund, arts festivals; Woordfees, KKNK, Suidoosterfees, Aardklop, and organisations - Concerts SA, SAMRO, NATi and the Tribuo Fund. The project is focused on creation and mobility; connecting work across festivals and stimulating mobility for musicians, artists and technical crews in South Africa. While we made great strides in our first round, we look forward to expanding and refining this impact. The FEC has also fostered a new spirit of collaboration between some of South Africa’s key arts festivals and facilitators and we look forward to taking this into next year and a new round of work

 

(Right: The SEF Project operates various projects including recycling, greening, cleansing and infrastructure repairs. Image Mark Wessels)

Time for Rest

To everyone who shared and showed up, partnered and supported, travelled and created, wrote, reinvented and remembered, kicked up dust, kept us going and gave us hope - thank you. We love what you do and we’d also love to know what you think about what the next year should bring…

 

Tell Us

Our team will be out of office from December 12, 2025, until January 12, 2026, but we look forward to a new year and new energy.

Till then, wishing you all a time of rest and celebration as we close out a busy year and hit pause.

Best wishes

The National Arts Festival Team

 

https://nationalartsfestival.co.za/

SINBAD THE SAILOR: REVIEW

Director and writer, Steven Stead, has once again brought together a cast that is equal parts magic and professionalism. (Review by Shannon Kenny)

A fun-filled family pantomime by Kickstart.

The Elizabeth Sneddon Theatre was LIT!

From the bustling foyer to the auditorium seats, the excitement was palpable. I just love that an outing to the theatre gives young and old permission to let their hair down or - as was the case on opening night - tuck that hair into a bejewelled turban or pirate hat, brandish a sword and shout “Argh” at the top of your voice. The joys!

This year’s panto is Kickstart’s off-piste take on the tales of Scheherazade. Designer, Greg King, has created a breathtaking set, the perfect backdrop for our beloved characters' questing and frolicking; Shanthi Naidoo’s sumptuous costumes; fabulously arranged vocals and sound design by Evan Roberts and Colin Peddie, respectively; gorgeous choreography by Evashnee Pillay; and Tina Le Roux’s exquisite lighting design.

This magical romp whisks us from Baghdad to the Port of Al-Havanotha, where our crew of heroes, villains and hapless sidekicks set sail on the infamous pirate vessel, the Salty Sultana, to the distant Island of Oonoze on a quest to retrieve the Black Pearl of Power from The Temple of Disting. Yes, there is slapstick galore; puns aplenty; chase scenes and local references that had the pensioners and pre-schoolers alike giggling and guffawing their way through the show.

Director and writer, Steven Stead, has once again brought together a cast that is equal parts magic and professionalism. Each performer expertly fills their role with the kind of joy and energy that draws an audience in and keeps them on-side with great on-stage chemistry and comic timing.

When an audience gives you a pre-emptive standing ovation, I think you’re pretty much assured you’ve done more than just a good job.

Belinda Henwood - as the deliciously wicked Morgiana the Magnificent, sultana of Baghdad - at once terrified and delighted the little people in the audience with every pernicious threat and “mwahahahaha” that punctuated her entrances and exits. Those evil laughs deserve a stand-alone credit in the programme.

Blessing Xaba, our irrepressible Genie of the Sea, is pure sass and magical solutions in sleek slippers, bringing cheers and sighs of relief that all would be well when our heroes find themselves in sticky situations.

Ameena Labeeba, played by Marion Loudon, is the funkiest chaperone in Arabia - whose exuberance and willingness to take every opportunity to sing or bust a move is a delight.

Bryan Hiles is the sarcastic widow and cheesemaker Dame Donna Kebab, always ready with a quick jibe or double entendre. Dame Donna’s Milkshake (Kelis) and My Humps (Black Eyed Peas) mash-up featuring Dimple the dromedary is just fabulous!

Her sons are the hapless and loveable Silly Billy Souvlaki (Kyran Brady Taylor) - who snagged the favourite character spot in my informal poll of pre-teen audience members - and valiant hero and romantic lead, Sinbad the Sailor (Rory Booth). Booth not only had the audience in thrall to his performance but sparked some debate about whether "the ink on his arms was proper or just henna, specially done for the show."

The sweet, adventurous Marina played by Roshanda Lewis is both Sinbad’s love interest and the daughter of pirate king, Long John Slither. One absolutely believes her in her sparkling rendition of My Heart Will Go On.

Lyle Buxton is the blustery, scowling pirate king Slither, and captain to bumbling bosun, Mustapha Kitkat played by Mthokozisi Zulu. Their sea-shanty rap is hilarious, energetic fun.

Grace McIlroy, Sarah Tyrell, Tshadiso Kabulu and Priyen Naidoo - as the chorus of citizens, pirates and temple acolytes amongst others - skilfully supported the cast in every scene.

Some other artfully-reimagined musical numbers include How Far I’ll Go (from Moana), beautifully performed as a duet by Marina and Sinbad and Taylor Swift’s Look What You Made Me Do as a voodoo anthem.

And who would have thought that a disco ball would crack a mention as a stand-out tech feature? One young theatre-goer was excited to see "an actual real live disco-ball" in action - they’d never seen one IRL, only in movies. It’s the little things or in this case, the big, round, sparkly, glitzy things.

Man-eating serpents and a gargantuan winged Roc (not a typo - IYKYK - go see the show) added to the hi-jinks and enchantment.

Bring the entire family to see Sinbad - you might even be as lucky as me to catch a sweetie from Dame Donna. You’ll definitely be able to join in the audience sing-off and soak up the magic.

There is nothing tame about panto - it’s meant to be big, bold, glitzy, raucous, sing-along, clap-along, boo-the-villain, cheer-the-hero rambunctious - and Sinbad The Sailor delivers in all its kaleidoscopic exuberance.

PS: There are sweeties (cash only at the kiosk) tea, cake and vino (cards welcome) and a Street-Lit bookstore for the bookworms.

Thank-you to Kickstart and the Elizabeth Sneddon Theatre team for another great night out! – Shannon Kenny