WRITE OF REPLY

Write of Reply brings an exciting celebration of South African literature, poetry and storytelling to the UKZN Jazz Centre in Durban.

Taking place on Sunday, November 15, 2026, the event will bring together talented writers and poets for a memorable literary experience connecting South Africa’s rich literary heritage with contemporary voices and perspectives.

Write of Reply is inspired by literary pioneers such as Dr B W Vilakazi - who is the first black South African to get a PhD and the first to publish a book of Zulu poems in the year 1935. Write of Reply celebrates the writers of today who will be performing poems and storytelling in response to these classic South African authors like Dr BW Vilakazi and others through their art 

Whether you are a poetry enthusiast, a writer, a student or simply someone who appreciates a good story, this is your opportunity to experience South African literature in a fresh and engaging way.

Your next literary experience is waiting, book your ticket now!

Tickets to this event will also exclusively be sold through a Durban-based ticketing company called Zishapp

Book now: https://www.zishapp.com/event/write-of-reply

 

EVENT DETAILS

● Date: Sunday, November 15 2026

● Time: 13h00

● Venue: UKZN Jazz Centre, Durban

● Ticket price: R150 via Zishapp

 

Come celebrate our stories, discover extraordinary voices and be part of a conversation between generations. Book your ticket today!

RUGBY MAD

 

Aaron McIlroy tackles the beautiful game in a hilarious one-man show.

Get ready to laugh until the final whistle as award-winning performer Aaron McIlroy returns to the stage with his brand-new one-man comedy, Rugby Mad, a fast-paced, character-driven celebration of South Africa’s favourite sport, which comes to the Elizabeth Sneddon Theatre on UKZN campus from November 11 to 15, 2026.

In this side-splitting solo performance, McIlroy dives headfirst into the world of rugby, bringing to life a host of unforgettable characters who live and breathe the game. From the overzealous referee and passionate coach to die-hard spectators in the stands, Rugby Mad captures the humour, intensity, and sheer madness that surrounds rugby culture.

Directed by Bryan Hiles this high-energy storytelling, physical comedy, and laugh-out-loud moments, Rugby Mad is a winning theatrical experience that promises to score big with audiences everywhere.

 

Good to Know:

Elizabeth Sneddon Theatre: November 11-15, 2026

(Wednesday November 11 at 19h30 - Special Price - R165

 

12 -14 (Thursday-Saturday) at 19h30.

Tickets R200 (R180 - pensioners/students)

 

Sunday November15 at 14h30.

Tickets R200 (R180 - pensioners/students)

 

Booking: Webtickets

KZN FREE STREET DANCE FESTIVAL

North Beach Amphitheatre: Saturday, November 14 from 10h00

Street Dance is the new big thing! Dance makers globally are infusing energy into public spaces and Durban is getting in on the trend with the free KZN Street Dance Festival being presented at Durban’s North Beach Amphitheatre on Saturday, November 14, 2026, from 10h00 until 16h00.

12 different dance groups - all exploring street dance styles - will be participating in the day-long festival.

The festival will also host a mini-carnival to display, promote and celebrate KZN street dance. This is an opportunity to showcase costumes, dance moves, music and culture of the street dance. The groups come from across all townships of KZN.

Entry is free and all are welcome!

Bring refreshments, water to drink, something to sit on, sunhats, sunscreen and shades.

For more information, call Lucky Cele on 0768435499 or email ulozoloyouthorganisation@gmail.com

 

36TH ANNUAL JAZZ JOL

The Centre for Jazz and Popular Music at UKZN is looking forward to welcoming audiences back on Saturday November 14 for the 36th annual Jazz Jol.

Proceeds from the event accrue to the Ronnie Madonsela scholarship that supports jazz students at the University and the jazz and jazz education outreach activities of the CJPM.

 

Line up:

Featuring UKZN Faculty band (A Tribute for Miles Davis and John Coltrane)

-UKZN Large Ensemble

-A Piano tribute to Abdullah Ibrahim by Melvin Peters, Sibusiso Mashiloane, Obakeng Thamage (Masuda)

and more.

https://www.webtickets.co.za/v2/event.aspx?itemid=1606269343

 

Date: Saturday, November 14, 2026

Doors open: 17h00

Venue: Centre for Jazz and Popular Music, UKZN

Tickets R100 to R250 at Webtickets

 

 

KAREN AND ME

 

(Above: Shannon Kenny & Alan Judd)

 

Karen and Me, a tribute to Karen Carpenter, the voice that touched generations.

In Karen and Me, chanteuse Shannon Kenny accompanied by virtuoso musician Alan Judd make a unique journey to celebrate an international musical great of the 20^th Century through snapshots of Karen’s life and illustrious career – and its indelible imprint on generations of people around the world from the USA and the UK and on Shannon’s life in good old RSA.

Karen and Me is directed by Darren King.

The performance will take place at the Old Mushroom Farm in Hilton on Saturday, November 14, at 15h00.

Bookings: Watsapp 082 413 9843 or Quicket

IT COULD HAVE BEEN HER: REVIEW

 

I was drawn in from the start of the book and my attention did not flag.  (Review by Fiona de Goede)

 

When Jane Trevally goes for her usual walk with her dogs, in her neck of the woods in the countryside, she comes across a little lost dog – and being the dog lover she is, she takes him home with her, intending to trace his owner. When she discovers he is from a neighbourhood in London, she is intrigued that he was found so far from home. She decides to take him back to his owner, a young teenage girl, in Hampstead.  And that is when the mystery starts.

Arriving at Thornwood House in Hampstead, she recognizes it from an incident that happened to her 25 years ago.  Furthermore, she then finds out that the owner of the little dog has also gone missing. Her interest is now thoroughly piqued and she decides to put her sleuthing skills to the test and try and unravel the mystery.

The story unravels quite slowly but thankfully the author does not milk the drama by using cliched methods to build suspense. The underlying sense of the dark and macabre history of the house is dealt with convincingly and I never once experienced an eye-roll moment – I have found this can often be the case when reading psychological thrillers.

The time line of the story is quite complex and the reader is challenged to keep track of the events of 25 years ago and the current development taking place. The cast of characters is also rather substantial.  The thread of family dysfunction is woven through the unravelling tale and when all is finally revealed, the full extent of the horrific domestic secrets is laid bare in all its gory details.

The Black family, who lives at Thornwood, are extremely dark and dysfunctional. Allen Black, the manipulative patriarch, Annie Black, his wife who was aware of everything that was going on in the house, their two damaged children, Jessamine and Jasper, each with their own demons to fight. The character that somewhat baffled me is Stuart Tucker – initially an innocent bystander but eventually an integral part to the mystery.

As with most thrillers, it is a fine balance of commenting on the plot whilst walking on a tightrope to not give away too much. I was drawn in from the start of the book and my attention did not flag. The author had me in her grip and I was keenly invested in reading to the end to get to the bottom of the mystery.

Apparently, Jane Trevally appeared in a previous book by the author, Don’t Let Him In.  I have not read that particular book and can therefore confidently say that this follow-up serves as a stand-alone in its own right. - Fiona de Goede

Published by Penguin Random House: ISBN  978-1-529-19600-9

ORGANIST CHRISTOPHER COCKBURN IN CONCERT

(Christopher Cockburn. Pic supplied)

 

St Thomas Church: Sunday November 15 and Sunday November 22, 2026

Pre-concert lectures: 14h30 / Concert: 15h00

 

Acclaimed organist Dr Christopher Cockburn returns to Durban to play two different organ recitals at St Thomas’ Church, Musgrave, both featuring works of German composer Josef Rheinberger, the first on Sunday November 15 and the second on Sunday November 22 both starting at 14h30 (pre-concert lecture) for 15h00 (concert 

Each of these two programmes by Dr Cockburn contains one of the Rheinberger sonatas, along with a selection of other music by a variety of composers which are in some way related either to the particular sonata or to Rheinberger himself. They range from the solemn Passacaglia in D minor by the German Baroque composer Dietrich Buxtehude through the quirky Scherzino by Horatio Parker, to the virtuosic Toccata by Seth Bingham.

This November marks the 125th anniversary of the death in Munich of organist and composer Josef Rheinberger. Many choral singers will have performed his most famous piece, Abendlied, and perhaps some of his other choral music, but for the organ he composed a monumental series of 20 sonatas, which are admired for their mastery of formal structure and compositional technique combined with a Romantic warmth and expressiveness.

 

Good to know:

Pre-concert lecture: 14h30 / concert at 15h00

Prebooking at Quicket, or tickets at the door.

Tickets R120 (concessions R100). Season tickets R180 for both concerts.

St Thomas Church, Musgrave, Durban

 

Denis Hurley Centre Street Lit books will be on sale.

 

 

THE TROUBLE WITH SISTER FRANCIS: REVIEW

 

Matt Coyne’s ‘The Trouble with Sister Francis’ is a warm, funny and feelgood novel (Review by Margaret von Klemperer, courtesy of The Witness)

 

Set in the north of England in the 1980s, with a parallel story from the early years of the Second World War, Matt Coyne’s The Trouble with Sister Francis is a warm, funny and feelgood novel – good holiday reading.

The central characters are four 11-year-old kids from a council estate in the north of England: Richie, Bennet, Kenny and Stan. And, of course, Sister Francis. She is a most unlikely nun who smokes like a chimney, swears like a trooper, and has a remarkable past which the reader learns about as the novel progresses.

The boys have time on their hands, and there is not much to do except get into mischief. Richie, the first-person narrator, lost his father some time before and lives with his mother and grandfather while Kenny has a troubled home life. Then they get to hear about the reopening of a boys’ club at the local church, and, under pressure from Riche’s mum, they go along, expecting very little.

The club is being run by the alarming Sister Francis, and the first thing she does is put the boys to clearing up the ancient premises – and that is where Richie finds the old wartime diary, written by a teenager evacuated to the area from London. Excerpts from the diary intersperse the text, and we learn about the early days of the club from them. They give a context to the 1980s story, and gradually, deeper links will be revealed, links that are poignant to the point of tragedy.

As the boys develop their relationship with Sister Francis, they come to respect her – and her determination to make the club work, despite the considerable obstacles that are put in her way, often by the church itself. And she will take on anyone, from a nastily snobbish local priest, to the bishop, to the local thugs if she feels the need to protect her club and her boys.

Coyne does a pretty good job of getting the voice of an 11-year-old right. There are, particularly in the first two-thirds of the book, plenty of very funny moments, but Coyne also knows how to pull at the heartstrings, and makes sure that he does.

The long arm of coincidence is sometimes stretched pretty thin, but The Trouble with Sister Francis works well as what it sets out to be – a warm, feelgood tale set in a past that it makes the reader realise was very different from our difficult, contemporary world. - Margaret von Klemperer

The Trouble with Sister Francis is published by Wildfire: ISBN 978-1-03-542507-5

KZN PHILHARMONIC ORCHESTRA 2026 SPRING SEASON

 (Right: Canadian conductor Jean-Claude Picard)

 

Playhouse Opera: Thursday, November 12

and

Playhouse Drama: Thursday, November 19

 

The KwaZulu-Natal Philharmonic Orchestra opens its two-concert 2026 World Symphony Spring Season of familiar, easy-listening popular favourites, in The Playhouse Opera on Thursday, November 12 and in the Playhouse Drama, November 19, both starting at 19h00.

The Spring Season opens on November 12 under the baton of Canadian conductor Jean-Claude Picard, featuring renowned pianist Polina Osetinskaya as soloist.

 

(Left: Polina Osetinskaya by Deda Sasha)

 

The evening begins with one of the world’s most beloved concert showstoppers. Sergei Rachmaninoff’s deeply emotional Piano Concerto No. 2 in C minor is widely celebrated for its lush lyricism, sweeping piano passages, and dramatic interplay between soloist and orchestra.

The concert concludes with Tchaikovsky’s monumental Symphony No. 5 in E minor, a captivating masterpiece built around a recurring ‘fate’ motif that journeys from dark introspection to a triumphant, life-affirming finale.

Bongani Tembe, KZN Philharmonic’s Chief Executive and Artistic Director, said: “We invite our family of music lovers in Durban and across KZN, to join us for our exciting Spring Season. Our distinguished guest artists are set to collaborate with our resident musicians in making music for the delight of our dedicated KZN Phil audience.”

A change for regulars is the first concert will be in the usual venue of the Playhouse Opera, but due to the Opera theatre not being available for the second concert on November 19, this has now been moved upstairs to the Playhouse Drama.

KZN Phil’s Reena Makan said: “The Drama Theatre seats just under 500 patrons, compared with the Opera Theatre’s capacity of more than 1,000. We will therefore need to adjust seating allocations and the corresponding sections and ticket categories. We appreciate how important it is to concert regulars to have their preferred seats, and we will take care when making these adjustments.”

The second concert on 19 November in the Drama theatre, is led by conductor Christian Schumann, whose international career spans symphonic music and opera, featuring acclaimed Japanese pianist Yu Kosuge as soloist, who is celebrated for her expressive playing, technical brilliance and musical insight. The repertoire opens with Beethoven’s dramatic Coriolan Overture, a tense and powerful piece that sets a striking theatrical tone. This is followed by Beethoven’s lyrical and introspective Piano Concerto No. 4 in G major, renowned for its ground-breaking dialogue between the piano and orchestra, where the soloist gently opens the work in serene contrast to traditional bravura. The evening concludes with Georges Bizet’s sparkling Symphony in C Major, a youthful and effervescent creation brimming with infectious melodies, classical grace, and buoyant energy.

Beyond the mainstage performances, the KZN Philharmonic’s commitments are rooted in the community. Tembe added: “As always, the KZNPO seasons complement the orchestra’s ongoing school visits, community engagement, and skills transfer programmes, all geared towards reaching out to new-generation artists and audiences alike.”

Season Tickets available through KZN Phil office on 031 369 9438 or info@kznphil.org.za and individual tickets through Quicket.

For those preferring not to self-drive to the concerts, there is a park and ride bus service offered from major arterial points: Upper Highway (St Agnes Church, dep 17h50) North Coast (Grace Family Church, dep 18h10); Westville (Westville Senior Primary, dep 18h10) and Berea (Caister Lodge, dep 18h20). Bus tickets though 031 369 9438 or info@kznphil.org.za and individual tickets through Quicket.

KZN Philharmonic tickets are available through Quicket. For more information, call 031 369 9438, email info@kznphil.org.za, or visit www.kznphil.org.za

 

Good to Know

Date: Thursday, November 12, 2026

Time: 19h00

Venue: Playhouse Opera Theatre, 231 Anton Lembede Street, Durban

Conductor: Jean-Claude Picard

Soloist:Polina Osetinskaya, piano

 

Programme:

Rachmaninoff’s Piano Concerto No. 2 in C minor

Tchaikovsky’s Symphony No. 5 in E minor

 

 

Date: Thursday, November 19, 2026

Time: 19h00

Venue: Playhouse Drama Theatre, 231 Anton Lembede Street, Durban

Conductor: Christian Schumann

Soloist: Yu Kosuge, piano

 

Programme:

Beethoven’s Coriolan Overture

Beethoven’s Piano Concerto No. 4 in G major

Bizet’s Symphony in C Major

 

GREASE SING-A-LONG AT RHUMBELOW

 

(Left: The poster features COO Leanne Banks and Raymond Perrier, director of DHC)

After the great success of the Sing-a-longs’ Sound of Music and Mamma Mia, the Denis Hurley Centre is pleased to invite audiences to join for a Grease Sing-a-long on Sunday November 15 at the Rhumbelow Theatre in Umbilo at 14h30.

A chance for an afternoon of great fun and to raise much-needed funds for the DHC’s work with the homeless. And if you wish, you can dress up: take inspiration from the movie or fish out your coolest 1950s outfits!

Suggestion donation is R220 pp or R1,500 for a table for 8.

Please email: news@denishurleycentre.org or what's app Raymond on 0765702497 to reserve your place before they sell out.

You can bring a picnic or buy food on site; all drinks (alcoholic and non-alcoholic) are to be bought on site.

KZN INTERNATIONAL ARTS FESTIVAL LAUNCH

 

(Above: Xola Nxasana and Sibusiso Sthole, festival organisers. Picture by Artivist Media)

 

A bold new chapter for the province's creative (Review by Akhona Jr Mhlungu)

On a busy cultural, artistic, and sporting weekend, one marked by Amakhosi bending the knee to the Buccaneers, I found myself at the Courtyard Theatre on Sunday for the launch of the inaugural KZN International Arts Festival. While stadiums echoed with football chants and venues across the province hosted artistic gatherings, this event felt like the beginning of something that KwaZulu-Natal has long needed: a flagship arts festival capable of standing alongside the country's most recognised cultural celebrations.

From the moment guests arrived, the festival's ambitions were evident. Media houses moved through the venue capturing interviews and documenting the occasion, while exhibitions by Isizotha Arts and Design, Wushwini Arts Gallery, and Xola Arts transformed the space into a vibrant showcase of visual expression. The displays served as a reminder that the festival seeks to embrace the full spectrum of the arts rather than privileging a single discipline.

The programme began with Usiphetho by Sabelo Jili, setting an engaging tone for the day.

This was followed by a range of poetry and musical performances that created an atmosphere of celebration and artistic fellowship. The diversity of the programme quickly became one of the festival's defining strengths.

The Paramathman Dance Theatre Company's Indian dance performance brought elegance and cultural richness to the stage, while the Batswana Musical Production reinforced the event's international aspirations. The inclusion of a sign language performance further demonstrated a commitment to accessibility and meaningful representation.

The launch balanced performance with meaningful engagement through presentations by Dr Disi Sindo, who emphasised networking and collaboration; Zawadi Yamungu, who spoke on cultural preservation and representation; and Saliwa Seyntombi, who explored emerging artistic traditions and trends and their impact on society.

What I appreciated most was that this was not merely a gathering of theatre practitioners. Visual artists, musicians, poets, performers, cultural practitioners, media professionals, and arts administrators occupied the same space. It felt less like a theatre event and more like what an arts festival should be: a meeting place for artistic communities.

Radio personality Thulani Zondo highlighted the role of radio and media houses in supporting artists and creating visibility for creative work. The formal programme then closed with Senior Citizens by Edmund Mhlongo, a fitting theatrical conclusion before audiences moved into an evening of jazz and poetry.

Among the highlights were reflections by Festival Director Xola Nxasana and Festival Manager Sbusiso Sthole, who shared the journey of bringing the festival to life and the vision behind its creation. They addressed a significant gap in South Africa's festival landscape: despite KwaZulu-Natal's rich cultural heritage and tourism appeal, the province has never enjoyed a flagship arts festival on the scale of the National Arts Festival or the Vrystaat Arts Festival.

Their vision was bold. Rather than positioning the KZN International Arts Festival as a small local initiative, they presented it as a festival capable of standing alongside South Africa's leading cultural events. They painted a picture of an annual platform that would attract artists, audiences, and cultural tourists from across the country and beyond, contributing meaningfully to artistic development, collaboration, and cultural tourism in KwaZulu-Natal.

For a first launch, the event succeeded in creating excitement, fostering dialogue, and showing a clear sense of purpose. As the evening concluded with jazz, poetry, and conversation, there was a feeling that this was more than the launch of a festival. It was the beginning of a movement determined to secure KwaZulu-Natal's place on South Africa's cultural map.

Rating: ★★★★★

The inaugural KZN International Arts Festival launch was a confident and inspiring statement of intent, celebrating artistic diversity while presenting a compelling vision for the future of arts and culture in KwaZulu-Natal. - Akhona Jr Mhlungu

THE BAMBOOZLED BREAK-IN: REVIEW

 

(Above: Marion Loudon & Cara Roberts )

 

(“The Bamboozled Break-in” is a fast-paced, light-hearted caper of sheer, rollicking fun Review by Shannon Kenny)

The Bamboozled Break-in - The Seabrookes Theatre, DHS: Friday October 30 - Saturday October 31, 2026. - The Seabrookes Theatre, DHS:

Two strangers meet at the site of a burglary - the house they both intend to burgle.

Sophisticated and notoriously elusive Vivian (Marion Loudon) is there for items of great worth, while small-time crook, Zanie (Cara Roberts), is working “the kitchen department” for fence, Dougie, in hopes of a promotion to cellphones.

The audience is swept along in a high-energy comedy filled with all the chaos and mirth that accompanies the collision of two worlds, two very different personalities, two sets of plans - and Alexa. There are flared tempers and fights; flights of fancy and commiseration - and all the while we get to love and root for our burglars as they reveal their dreams, aspirations and what it means to really get even.

This quirky two-hander is based on Jacolien Lüneburg's Dubbeldief. The play is translated from the Afrikaans and adapted by first-time director, Ilana van den Berg, and produced by AfriArtsConnect.

The set is a decidedly less-than-tastefully-decorated room, replete with gold-trimmed, purple velour curtain; dodgy art; a couch that sees a lot of action, and Alexa (every home needs one) - in the opulent abode of fabulously wealthy Jordan Jacobs, our protagonists’ intended victim.

The incidental music is wonderfully tongue-in cheek and the sound-scape includes news inserts (voiced by Bryan Hiles) and telephone messages delivered by Alexa.

Stars of the show, Loudon and Roberts, fill their roles and maintain a peppy pace, delivering effervescent performances throughout the 80-minute show. Kudos to their focus and meeting the demands of roles that are both physical and emotionally nuanced.

Along with hilarious, rapid-fire lines, some delightful moments include Zanie’s reverie in a Top Billing-worthy celebrity wedding and the best ever “Dear John” letters, that had the teenager in stitches. We laughed.  A. Lot.

As a first outing, Ilana van den Berg and AfriArtsConnect deserve every plaudit for this project - and especially for highlighting just how an art project is more than just “the feels” - it is collaboration, it is sustainability in action, it is livelihoods - and it stays with us long after we’ve left the art space.

The Bamboozled Break-in is a fast-paced, light-hearted caper of sheer, rollicking fun! May it see many more performances in the future. – Shannon Kenny