GRAND OPENING OF THE MUSEUM OF ILLUSIONS

 

Durban turns out in numbers for the Grand Opening of the Museum of Illusions

Durban showed up — and reality was officially turned upside down.

The highly-anticipated opening of the globally renowned Museum of Illusions Durban at Gateway Theatre of Shopping on Saturday, April 25, 2026, was met with overwhelming excitement, as Durbanites arrived in full force to experience one of the world’s most fascinating attractions.

From families and friends to content creators, curious minds and thrill-seekers, visitors packed the museum from day one, eager to step into a world where nothing is quite as it seems. With queues of excited guests and social media flooded with reactions, it was clear that Durban was more than ready for the illusion experience.

Already a global phenomenon with locations in cities including Madrid, Paris, Amsterdam, New York and Dubai, the Durban opening marks another major milestone in the brand’s expansion across Africa. With successful museums already operating in Johannesburg and Cape Town, the Durban location further cements South Africa as a key destination in the Museum of Illusions’ global network.

From defying gravity in the Tilted Room to multiplying themselves in the Cloning Table and stepping into the hypnotic Infinity Room, visitors fully embraced the hands-on nature of the experience. Forget quiet museum rules, this is a space built for play, curiosity and unforgettable moments.

“The response from Durban has exceeded all expectations,” says Mark Collie, owner of Museum of Illusions South Africa. “From the moment we opened our doors, the energy has been incredible. Seeing families, friends and visitors of all ages engage with the exhibits, laugh, learn and share the experience together is exactly what the Museum of Illusions is all about. Durban has truly embraced us, and we’re excited to become part of the city’s entertainment landscape.”

Built around its signature “edutainment” philosophy, the museum blends science, art and immersive entertainment in a way that appeals to both children and the young-at-heart. Whether it’s a family outing, a memorable date, a team-building activity or simply content worth sharing, the Museum of Illusions offers an experience designed to challenge perception and spark curiosity.

Located inside the iconic Gateway Theatre of Shopping, the museum also caters for birthdays, school trips, corporate events and group bookings, making it a versatile new entertainment destination for KwaZulu-Natal.

With an incredible opening weekend setting the tone, the Museum of Illusions Durban is set to become one of the city’s must-visit attractions.

The museum also caters for birthdays, school trips, corporate events and group experiences, making it a versatile venue for a wide range of occasions.

The Museum of Illusions Durban will be open 7 days a week, Mondays to Thursday from 09h00 to 20h00, Fridays & Saturdays from 09h00 to 22h00 and Sundays and Public Holidays from 09h00 to 19h00.

Tickets will be available online and at the door, although advance booking is recommended to avoid disappointment.

 

Follow the social media for sneak peeks and updates:

 -MOI Durban Facebook

-MOI Durban Instagram

-#MOIDurban

 

For more information or to book tickets, visit the website, MOI Durban

ENKUNDLENI

 

(Right: FLATFOOT dancers Sifiso Khumalo, Jabu Siphika, Zinhle Nzama, Siseko Duba, Sbonga Ndlovu and Ndumiso Dube in ENKUNDLENI. Pic by Val Adamson)

 

KZN’s premier contemporary dance company presents a new season called ENKUNDLENI for two performances only at the Elizabeth Sneddon Theatre on Friday, May 8 at 19h00 and Saturday, May 9 at 14h30.

Referencing open spaces where we gather, ENKUNDLENI offers audiences four new cutting-edge works created by company dancers, Sifiso Khumalo, Jabu Siphika, Siseko Duba, and Zinhle Nzama, with direction and dramaturgy by company artistic director Lliane Loots.

“It’s a programme of dance that reminds us of the power of our bodies to tell stories; stories of pain and triumph, of deep self-reflections and of community,” says Loots. “These works honour the storyteller in all of us, as we see the six incredible dancers of FLATFOOT tackle the most personal and most beautiful parts of being human at this time in our difficult geopolitics”.

The season begins with Siseko Duba’s quartet iPupho that dives into the powerful and mysterious terrain of dreams. The work captures the uncanny experience of awakening within a dream - where the body moves through worlds that feel intensely real, yet remain just beyond reach. Given the deep African connection to ancestral presence and dreams, this work navigates a very contemporary world of memory, self, and belonging.

Zinhle Nzama’s duet Brightest Darkness explores the deep paradox of finding light within darkness. It is an intimate duet between a man and a woman, where these two figures navigate tension, resistance, connection, and letting go, as an act of courage rather than defeat. Ultimately, Nzama’s work offers audiences a testament to survival and triumph – beautiful and painful!

Jabu Siphika’s solo work, next on the programme, Ngibize Siphi? explores the search for identity through the question of one’s surname. The solo reflects a deeply personal journey of belonging, loss, and self-discovery as Siphika navigates her own fragmented amaZulu histories and the need for recognition through how we are, or are not, named.

FLATFOOT veteran, Sifiso Khumalo ends the programme with his new work, “in transit”. Echoing a nation that sits, stands, and waits in long queues, this extraordinary male trio delves into how we stop, move on, wait to continue, and endlessly begin again and again. The work infers a deep-seated distress at the waiting on broken promises – be these local, personal, and further global politics. 

FLATFOOT partners again with lighting designer Wesley Maherry whose evocative designs see these four works sculpturally find a home on the Sneddon stage. Maherry’s lighting intensifies the narratives of each work and pulls the audience into the visions and contemporary world of ENKUNDLENI.

FLATFOOT’s ENKUNDLENI has two performances only at the Elizabeth Sneddon Theatre, on Friday May 8 at 19h00 and Saturday May 9 at 14h30.

Tickets R100 each (students, scholars and pensioners pay R80). Booking is via Webtickets - https://www.webtickets.co.za/event.aspx?itemid=1592907018

This season is made possible through a partnership with the Elizabeth Sneddon Theatre (UKZN).

 

APPLICATIONS FOR 2026 JOMBA! OPEN HORIZONS

Submissions deadline: Digital July 20, 2026. Live June 29, 2026

Applications now open for the 2026 JOMBA! OPEN HORIZONS Platforms (Live and Digital)

The Centre for Creative Arts (University of KwaZulu-Natal) has opened submissions for the 2026 JOMBA! OPEN HORIZONS Platforms, an integral part of the annual JOMBA! Contemporary Dance Experience - South Africa’s premiere contemporary dance festival which runs from August 27 to September 8, 2026, in Durban.

In its commitment to present bold, experimental, and inclusive dance, JOMBA! offers the live and digital curated OPEN HORIZONS platforms as an opportunity for dance-makers to showcase new works in a safe, and supportive environment.

JOMBA! DIGITAL OPEN HORIZONS aims to showcase screen-dance and dance film, focusing on work that is created specifically for the screen.

JOMBA! invites submissions (5–10 minutes in length) from local, African and international choreographers that engage the moving body in relation to the camera, editing, framing, and digital space, where choreography extends beyond the stage into cinematic forms.

JOMBA! Artistic Director Lliane Loots explains: “We are looking for works conceived as screen-based choreographic experiences, where movement, lens, time, and environment are integral to the making of the film.

“We welcome innovative, experimental, and critically engaged practices within the contemporary dance idiom, including interdisciplinary and hybrid forms that push the boundaries of how dance is created, perceived, and circulated in digital space.”

Selected works will be screened publicly on the festival’s YouTube channel as part of the official programme. An award of R2000 is given to a jury-selected “Jury Pick of the Platform.”

JOMBA! LIVE OPEN HORIZONS is a platform offered to live short-form dance works (6–8 minutes). The festival is looking for works that sit within the contemporary dance idiom, that are bold, experimental, and can include interdisciplinary approaches to live performance. Choreographic voices that explore innovation, risk-taking, and fresh perspectives will be at an advantage. “We want performances that can engage audiences in new ways and contribute to the beautifully evolving landscape of African contemporary dance,” says Loots.

An award of R2,500 is given to a jury-selected “Jury Pick of the Platform” work.

Both platforms are not funded, and therefore, no travel or accommodation support is provided.

Festival Director Dr Lliane Loots says: “We remain deeply committed to creating accessible, inclusive spaces for dance makers, the OPEN HORIZONS platforms are vital incubators for boundary-breaking choreographic voices, and provides a solid foundation from which to springboard new works into the world.”

All platforms have limited slots, and the selection process is competitive. Applicants are encouraged to submit their entries early to ensure full consideration.

 

For more information about JOMBA! go to https://jomba.ukzn.ac.za

Applications can be made on:

Digital https://forms.gle/ntqRy9uj23htX53QA The deadline is July 20, 2026.

Live https://forms.gle/2PVJaZUeH7tFVuRh7 The deadline for submissions is June 29, 2026.

 

Enquiries can be emailed to jombafestival@gmail.com

A WOMAN APART: REVIEW

 

(Kajal Maharaj)

This was a successful debut and I look forward to the production fulfilling more of its vision. Well done! (Review by Shannon Kenny)

A Woman Apart: starring Kajal Maharaj - written and directed by Naresh Veeran - Seabrooke’s Theatre @DHS

The multi-hyphenated Naresh Veeran - author-theatre producer-director-musician - brought his one-woman show, A Woman Apart, to the Seabrooke’s Theatre stage this weekend.

Kajal Maharaj, in a return to the stage from her work in film and TV, portrays successful corporate lawyer, Natasha (Tash) Deokaran, who is married to the ostentatious, solipsistic Dr Suvaan Singh FRCOG (Zahid Shaik), matching Porsche and all. Tash is at a crossroads.

The director’s note reads: “This production embraces simplicity - one performer, one moment in time, and a lifetime of choices unfolding through memory and reflection. By stripping theatre back to its essentials, and re- presenting it against the backdrop of social media, AI and virtual technology.”

Maharaj holds the sparsely-set stage and we are introduced to the people, influences and influencers in her life through a series of text messages; video calls; voice notes; video reminiscences and social media reels (real and AI generated), projected up-stage. Tash interacts with the people in her life through her mobile phone - a portal to the real and the artificial. And it works!

When the audience is introduced to Tash, she is dressed in baggy track pants, sweat-shirt and sneakers - a clear break from her corporate lawyer image and role as trophy-wife to Suvaan. She is waiting for an Uber to take her to the home of her school-friend and new flame, Advocate Ryan Reddy (Rahul Brijnath). Uber driver Sazi (Vukani Cele, Esq.) calls to alert her that he has been delayed because of a march/protest of sorts. The wait provides Tash the opportunity to reflect on her past and present choices and to take ownership of the trajectory of her life.

Maharaj makes for a very believable Tash who is grappling with major life choices, who must discern the authentic and genuinely constructive advice from the drivel, the trite aphorisms and AI slop that come her way via well-meaning friends, colleagues and family and the less than sincere algorithms that power social media feeds.

In his writing, Veeran skilfully weaves in ideas about the permissible and the ethical, and has Tash consider not only her career choice, but what it means to be successful, to be content, to be free.

While the play is a one-hander, a significant part of its structure is Maharaj’s interactions through video calls and text chats with more than 10 other characters (in pre-recorded inserts) - and the ubiquitous scroll through social media that has become a pattern of many of our lives.

Maharaj handles the delicate nature of this technically ambitious work with aplomb. The timing in her live performance opposite the other characters’ virtual performances is spot-on - and kudos must go also to the various artists in their video and voice over cameos. Actor-director Darren King appears as Tash’s steely boss, John Pearce, Illa Thompson as therapist, Dr Elaine, and Suria Govender as Tash’s mercenary Mum.

No matter her existential crisis, we never get the sense that Tash is spiralling out of control. Rather, Veeran/Maharaj have Tash firmly in the driver’s seat experiencing frustration and indecision, yet still resolute and at times vulnerable. Maharaj is skilled in sensitively navigating her character’s emotional shifts - and the writing keeps well away from old tropes about the hysterical woman in crisis.

Through the other characters we are given insight into the world Tash inhabits and like a clever algorithm, Veeran’s writing and Maharaj’s performance work to nudge the audience in the direction of team Tash. We root for her; we get annoyed; we are surprised; we laugh and all the while we want her to make the right decision “for Tash.” Maharaj’s performance is engaging, sensitive, subtle.

While certainly a drama, there are some notable comic vignettes amongst the seriousness: BFF Divya (Shika Budhoo) who keeps it real and rolling (IYKYK); the Estate Trustees (Daisy Spencer); driver Sazi; Didi the Stylist (Rudy Cupido); Krystal from Vintage Investments (Kristina Andreas); Tradesmen Boetie and Lighty (Andries Botha and Robin Moodley respectively) and the potty-mouthed AI chill guy.

A number of audience members commented on Tash’s relatability - not because they and their partners had matching Porsches but because of the kinds of choices Tash is faced with. They felt the story reflected much of what they, or people they knew - wrestled with: the opportunities that may or may not have passed them by; questions about identity and agency; societal expectations and personal responsibility to oneself and others; and the everyday, ordinary and extraordinary stresses and stressors that make life variously interesting and exhausting.

The director’s note goes on to say “…we hope to create a shared space where audiences can listen deeply, laugh honestly, and perhaps recognise fragments of their own journeys.” Judging from the audience’s response, I would say that Veeran and Maharaj certainly achieved just that.

Well done to the entire production team, including Ethan Sicard (Videography, Animation and Final edit - and candidate attorney Mathew), Zahid Shaik (AI visuals), Ross Hatcher (Theatre Sound and Lighting), Shane Naidoo (Design and Animation). This was no small feat. I do hope that more producers are encouraged by Prakash Naidu’s bold step to support new, ambitious theatre projects (and all theatre projects are ambitious), so that theatre-makers can do exactly what AI cannot - be live, be present and engage meaningfully, in person, with a real live audience. This was a successful debut and I look forward to the production fulfilling more of its vision. Well done! – Shannon Kenny

 

The Risk Lab launches 8-week Improv Basics Course for Durban’s actors and creatives

A playful invitation to step beyond the script and rediscover joy, spontaneity, and connection

This June and July, Durban’s creative community is invited to step into the unknown—in the best way possible. The Risk Lab, a new Durban-based creative company, is launching its 8-week Improv Basics Course, designed for actors, performers, and creatives looking to expand their craft, challenge their instincts, and reconnect with the joy of performance.

While open to complete beginners, the course is also geared toward actors and creatives who want to sharpen their skills or try something completely new. Improvisation is not just about being “funny” or quick-witted—it’s about presence, playfulness and trust – allowing yourself to let go of overthinking and embracing the unexpected.

Over eight weeks, participants will be guided through the foundational principles of short-form  improvisation, developing skills that are invaluable for any performer: active listening, spontaneity and ensemble awareness The course is facilitated by Roberto Pombo, a theatre-maker, performer, and educator who brings a process-focused approach to training—encouraging artists to take creative risks, embrace vulnerability, and move beyond perfectionism in their work.

The Risk Lab itself is rooted in the belief that meaningful, engaging theatre emerges when artists are given the space to experiment, fail, and discover. Alongside producing original performance work, the company offers training and development opportunities aimed at nurturing a more open, connected, and adventurous creative community in Durban.

This course marks the beginning of that vision in action—creating a space where artists can step out of their comfort zones, rediscover play, and build new creative muscles in a collaborative environment.

Course Details:
Dates: Tuesdays, 18h30 – 20h30
June: 2, 9, 23, 30
July: 7, 14, 21, 28
(No session on 16 June)

Venue: Kloof Civic Centre
Cost: R2000 (limited reduced-fee spots available)

Applications and more information: www.therisklab.co.za
Enquiries: risklabkzn@gmail.com

 

THE STORYTELLER’S SERIES GOES COASTAL!

An intimate night of real stories, hearty laughs, and human connection at Seabrooke’s Theatre.

This May, the Seabrooke’s Theatre at DHS will host a special one-night-only edition of The Storyteller’s Series, presented by The Risk Lab in collaboration with Johannesburg’s POPArt Theatre.

Following its origins and growth in Johannesburg since 2016, this marks the first time the acclaimed storytelling platform comes to Durban—bringing with it a powerful mix of vulnerability, humour, and unfiltered human experience.

The Storyteller’s Series is not your traditional theatre experience. There are no scripts, no characters, and no pretending. Instead, our performers step forward as themselves, sharing true stories from their lives—moments that are funny, chaotic, tender, and sometimes devastating. The result is an evening built on authenticity and connection, where storytelling becomes a shared experience between artist and audience.

(Right: Roberto Pombo)

Hosted by Roberto Pombo, the Durban edition features a remarkable line-up of voices from across the theatre landscape. Audiences can expect unforgettable stories from theatre legend Toni Morkel, celebrated Durban performers Blessing Xaba and Straw Nzimande, the dynamic Andiswa Ngcobo, and Pombo himself.

This event also marks an exciting step for The Risk Lab, a new Durban-based creative company focused on both producing original live performance and offering theatre and performance training. With its stripped-back format and focus on truth, The Storyteller’s Series is The Risk Lab’s first creative offering - bringing something refreshingly different for Durban audiences—a night that invites reflection, laughter, and perhaps a few unexpected moments of magic.

Audiences are encouraged to bring a friend—or a date—and settle in for an evening that promises to linger long after the final story is told.

Event Details:

Date: Thursday May 14, 2026, at 19h00

Venue: Seabrooke’s Theatre, DHS, Durban

Tickets: R120

Booking: https://www.quicket.co.za/events/370120-the-storytellers-series/#/

 

THE TRAMP

 

(Right: Daniel Anderson)

 

“He’s a gentleman, a poet, a dreamer, a lonely soul forever hopeful of romance and adventure. He would have you believe he is a scientist, a musician, a duke or a polo player. Yet he is not above picking up cigarette butts or stealing a baby’s candy. And, should the moment demand it, he might even kick a lady in the rear but only in extreme anger.”

The Tramp, a new mini-musical and winner of the Naledi Theatre Award for Best Performance in a Cabaret, Revue or Small-Scale Musical (Daniel Anderson), tells the story of Charlie Chaplin through the eyes of his most beloved creation, the Little Tramp himself.

In this imaginative and poignant production, the Tramp reflects on Chaplin’s rise to fame, their symbiotic relationship, and the betrayal that ultimately led to his exile.

Blending humour with pathos, the show explores themes of identity, loyalty and the blurred line between creator and creation. Through evocative storytelling, music and movement, The Tramp offers a fresh and deeply human perspective on one of cinema’s most iconic figures.

There is only one performance: May 9, 2026, at 14h00 in The Playhouse Drama Theatre.

Tickets: General Admission - R150

Book now to experience this award-winning theatrical gem.

Limited tickets available at Webtickets.

NICOLE MONROE’S MISSION TO SHOWCASE SA TALENT

 

(Nicole Monroe. Pic supplied)

 

From Playhouse Passion Play to London's West End: Nicole Monroe's mission to showcase South African talent

The toddler who appeared in the 2000 Durban Passion Play is now a professional performer in London - and building bridges for KZN artists.

Twenty-six years ago, when the Durban Catholic Players' Guild staged their millennium Passion Play at the Playhouse Drama Theatre, few in that remarkable cast of 130+ volunteers would have imagined that one of the toddlers in the crowd scenes would one day be working professionally in London's theatre district. But that's exactly where Nicole Snell - now performing under the stage name Nicole Monroe — finds herself today, and her story represents something significant about the calibre of talent the KZN arts community continues to produce.

Nicole's journey from that 2000 Passion Play to London's immersive theatre scene reads like a testament to the kind of thorough, multi-disciplinary training that has always been a hallmark of Durban's performing arts education. After graduating from Maris Stella (where she won Best Actress for the House Plays in 2015), she read Live Performance at AFDA Durban, graduating Cum Laude and winning dual Best Actress awards — for both film and stage — in her graduating year. That kind of recognition from AFDA, South Africa's premier performance school, doesn't come easily.

But it's what happened next that makes Nicole's story particularly relevant to our theatre community. Rather than seeing her AFDA success as the endpoint, she used it as a stepping stone to postgraduate conservatoire training in the UK, earning her Master's degree from Leeds Conservatoire.

(Right: Nicole’s first stage appearance as a baby in the Passion Play)

Now she's working professionally with major UK producers like Selladoor Worldwide (known for touring West End productions) and Immersive Everywhere, in productions including The Paddington Bear Experience and The Traitors: Live Experience.

What strikes one most about Nicole's approach is how deliberately she's building not just her own career, but pathways for other South African performers. She and her collaborators have established UK production companies — Nicole Monroe Ltd and Flyinghippocrockaduck Ltd — specifically focused on developing projects that can showcase South African talent in the international market in the future. This isn't just career ambition; it's the desire to foster a cultural ambassadorship of the kind our arts community has always prided itself on.

The timing is significant. There are over 235,000 South African-born residents in the UK, yet their stories remain largely untold on British stages and screens. Nicole represents a generation of SA-trained performers who recognise this as an opportunity rather than an obstacle. Her background — from competitive choral singing (she won first place at the Summa Cum Laude Festival in Vienna in 2019 as part of the KZN Youth Choir) through to her work at the Durban Playhouse in productions like August: Osage County — gives her the credentials to open doors for others.

What is particularly impressing is how Nicole navigated the pandemic period. While many performers simply waited for the industry to reopen, she pursued what she calls "purposeful parallel development" — teaching English online, training as a bodybuilding coach, and even competing in IFBB bodybuilding (achieving second place in KZN). This might seem tangential to theatre, but anyone who understands physical performance knows that this kind of body discipline and stage presence under scrutiny directly translates to professional performing skills.

Her recent return to Durban to speak at Maris Stella about her London experience wasn't just a nostalgic homecoming — she was ‘giving back’ and maintaining a connection with the community that shaped her while building international bridges. The girls she spoke to aren't just learning about career possibilities; they're seeing first-hand that the training they're receiving right here in KZN is internationally competitive.

Nicole's professional registration with Equity and her listing on Spotlight — the UK's primary casting database — represent something more than individual achievement. They signal that South African-trained performers can take their place as equals in the UK industry, not as novelty acts or typecasts, but as versatile professionals with distinctive training and perspective.

What is most exciting about her story is the forward momentum. The production companies she's establishing suggest she's thinking beyond individual roles to creating content that can employ South African artists and tell South African stories for international audiences. That's the kind of cultural export strategy our arts community has always needed more of.

From that first stage appearance as a baby in the Passion Play to her current work developing prospective productions in London, Nicole's journey exemplifies something essential about KZN's contribution to the performing arts world. We don't just train artists; we develop cultural ambassadors who carry our stories, our training methods, and our collaborative spirit to stages across the globe.

The little girl who appeared in the crowd scenes of the 2000 Passion Play is now creating space for the next generation of South African performers to find their own international stages. That's a legacy the Durban Catholic Players' Guild — and all of us who've been part of this community over the years — can be genuinely proud of.

GEORGE MARI PRESENTS MILES DAVIS TRIBUTE

 

The legendary George Mari communicates the intricacy of Miles Davis melodies and serenading solos like no other. His career of 20+ years proves him fit to tribute Master Trumpeter Davis. George Mari (trumpet), Debbie Mari (voice), Leon Scharnick (saxophone), Melvin Peters (piano), Thuto Motsemme (bass) and Sbu Zondi (Drums) take to the stage to celebrate classic Miles.

The concert takes place on April 29 at the Centre for Jazz and Popular Music. Doors open at 17h00, music at 17h30.

Tickets R130 (pensioners R100, students R70). Cash at the door

SONGBOOK SESSION MOVES TO BEAN BAG

 

(Dr Natalie Rungan)

On Monday April 27, 2026, at 18h00, The Songbook Session departures from its regular Venue at UKZN Jazzcentre and moves to Bean Bag Jazz Lounge in 17 Lilian Ngoyi Road, Windermere, Berea, Morningside.

The session will be led by vocalist Dr Natalie Rungan, who will be joined by Burton Naidoo on piano, and Bruce Baker on drums. For audiences and musicians alike, The Songbook Sessions offers a vibrant platform for collaboration, learning, and musical exploration—continuing its mission to cultivate community through live performance and shared repertoire.

The Songbook Sessions Monday night jam session is made possible through the generous funding support of Concerts SA, Festival Enterprise Catalyst, SAMRO, and the National Treasury Jobs Fund.

ANDRE THE HILARIOUS HYPNOTIST

 

Rhumbelow Theatre will present Andre The Hilarious Hypnotist in his show Planned Pandemonium at the Northlands Bowling Club, 50 Margaret Maytom Avenue in Durban North, following his successful appearance at the Durban Rhumbelow.

 The two shows take place on Friday, June 5 at 19h30 and on Saturday June 6 at 19h30.

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

Side-Splitting Laughter Meets Mind-Blowing Hypnosis in Andre the Hilarious Hypnotist.

Get ready to laugh until your sides hurt as Andre the Hilarious Hypnotist, one of South Africa’s most beloved comedy hypnotists, brings his unique blend of comedy and hypnosis to the Northlands Bowling Club.

For over 35 years, Andre has captivated audiences across the country with his fast- paced wit, outrageous scenarios, and unforgettable onstage antics - all created with the help of willing audience volunteers.

Each show is completely unscripted and unique, making Andre the Hilarious Hypnotist a must-see experience for anyone who loves live comedy and interactive entertainment.

“People come for the hypnosis, but they stay for the laughter,” says Andre. “The real stars of the show are the volunteers on stage. I simply guide the fun - what they do under hypnosis is what makes every night different.”

From convinced celebrities to accidental rock stars, Andre’s volunteers find themselves in hilarious, yet always respectful, situations that leave the audience in tears of laughter. The show is clean, family-friendly, and suitable for all audiences.

Andre the Hilarious Hypnotist has been a household name in comedy hypnosis for decades, entertaining audiences throughout South Africa and beyond. Known for his sharp improvisation, quick humour, and 100% original audience-driven content, Andre has built a loyal fan base who return year after year to see what outrageous moments will unfold next.

Whether you’re on stage or in the audience, Andre guarantees a night of safe, side- splitting, and unforgettable fun.

Tickets R180 (Pensioners R160 and under 13 -R 150) Northlands Bowling Club Members R150-00. Booking is essential on email: roland@stansell.co.za or Webtickets.

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

Limited secure parking available.

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

PALESTINE MY PALESTINE

 

(Laa’iqah Seedat. Pic supplied)

 

“Loss shaped her past. Healing defines her future.”

Laa’iqah Seedat delivers a powerful performance in this gripping one-woman play set against the backdrop of the genocide in Palestine.

Written and directed by renowned theatre stalwart Vivian Moodley (now based in Johannesburg), the production takes audiences on a deeply moving journey—first through the innocent eyes of a child witnessing unimaginable loss, and later through the resilience of an adult who returns to the frontline after being rescued from the brink of destruction.

With unflinching honesty, Moodley draws viewers into a world of despair and inhumanity, while ultimately illuminating a fragile but enduring hope: that future generations may yet find peace, dignity, and coexistence.

Moodley has invited anyone who would like to get involved in the Palestine situation to contact him on 072 567 7201.

Palestine My Palestine will be performed on May16, 2026, at 19h00 at the Patidar Hall in Lenasia.

Tickets R82.50 booked through Webtickets