RUGBY MAD: REVIEW

 

McIlroy and Hiles have brought us a gem of a one-man show - heartwarming, wry, hope-filled and thoroughly funny. (Review by Shannon Kenny)

 

Rugby Mad: Starring Aaron McIlroy; directed by Bryan Hiles - Elizabeth Sneddon Theatre until Sunday, November 15, 2026

Rugby Mad will tickle all the funny bones! It opens with a humorous voice-over accompanying an illustrated journey through rugby’s origins and metamorphosis. The set is minimal: a projector screen; an astro rugby field at centre stage; a desk to stage right; art stage left, a bench and a cupboard that serve as both ‘dressing room’ and treasure chest and a mannequin, a substitute BFF, for the host of instantly recognisable characters we meet throughout the show.

In this one-hander, Aaron McIlroy is masterful in his character transformations - a wig-change here, a shirt tuck there; a change in accent; an eye-roll, the flick of a hand and tilt of a hip. McIlroy wields these devices like a Jedi wields a light-sabre, the effortlessness belying the skill that delivers the magic. He wends his way through what makes his characters - and fans in the audience - Rugby Mad. All to hilarious effect, with remarkable energy and physical agility.

The script cleverly pokes at rugby lore and the attendant rugby-fan stereo-types - and let’s not kid ourselves, they exist because they are true - among them, the khaki shorts and puffer-jacket clad farmer at Newlands and the teenage rugby groupie at derby day.

One particular voice-over - a man of the match interview - is deceptively poignant for the way it traverses tough territory with a light touch. The wry social commentary, cleverly layered between laugh-a-minute one-liners, paints a picture of rugby as a South African social phenomenon that has bridged class, ethnicity, a politically-chequered past and a country still trying to steady itself; and internationally has been a lightening-rod for issues around migration, nationality and equity.

It was quite poignant that a member of the 1995 Rugby World Cup Springbok team was in the front row.

In classic Aaron McIlroy fashion, there was a good dose of audience participation - not least from some properly muscle-bound, actual rugby players. The rugby players were good sports (they were at an Aaron McIlroy show, after all) and quite graciously took direction from the Aussie ref who needed to demonstrate the finer points of a scrum. And the referee from Down Under is not the only ‘international’ who gets to delight us with their clever commentary and insights. 

If you know rugby, you’ll love this show. If you don’t know rugby (like one or two of my companions for the evening), you’ll still love it! We can relate to the characters: We know them, have seen or met them or, we are them: the little boy with big dreams dealing with his diametrically-opposed parents’ hopes and fears; the person enjoying the perks of box seats while absolutely clueless about the game; that guy, three sheets to the wind who, in a Shakespearian twist, has a blood alcohol level that is equal parts entertainment and sagacity.

McIlroy and Hiles have brought us a gem of a one-man show - heartwarming, wry, hope-filled and thoroughly funny. Well done, gents! Catch it before it closes. And if you’re reading this from elsewhere in the country, you would do well to see the show when it comes to your local theatre. – Shannon Kenny

 

UMLAZI INTERNATIONAL FILM FESTIVAL LAUNCH: REVIEW

 

(Picture by Akhona Jr Mhlungu)

 

Building communities through film: Umlazi International Film Festival marks a milestone in its fifth year. (Review by Akhona Jr Mhlungu)

On Friday morning, (November 6), the Media Dining Hall at Mangosuthu University of Technology (MUT) became a meeting point for filmmakers, educators, students, industry practitioners, and community leaders as the Umlazi International Film Festival (UIFF) officially launched its fifth edition. More than an announcement of the festival programme, the gathering was a celebration of a growing movement committed to community development through film, education, and tourism.

Guided by the theme Building Communities Through Film and Tourism, the festival continues to position itself as more than a cultural event. Since its formal registration and launch in 2022, UIFF has sought to harness the power of storytelling as a tool for economic growth, skills development, and social transformation within Umlazi and beyond.

Leading this vision are President Sandile Dlamini, Director and Chief Executive Officer Michael Ngema, and Chief Operations Officer Sabelo Ngema, whose collective leadership has seen the festival evolve into a platform that not only showcases films but actively invests in people and communities. Their vision reflects an understanding that cinema can be both an artistic expression and a catalyst for development.

The festival draws inspiration from the impact that established events such as the Durban International Film Festival and the Joburg Film Festival have had on their respective cities and provinces. However, UIFF's focus remains distinct. Its primary objective is to ensure that the benefits of the film industry reach township communities, creating opportunities where they are often needed the most.

One of the most inspiring achievements highlighted during the launch was the festival's commitment to education. Through masterclasses, workshops, and outreach programmes at various high schools, UIFF has nurtured young creatives interested in film and storytelling. The festival proudly shared that more than 15 students have been fully funded to pursue studies at Creative Arts College, a testament to its long-term investment in developing future filmmakers and creative professionals.

The international footprint of this year's festival demonstrates its growing reputation. A total of 92 submissions were received from around the world, including 78 from South Africa, three from Lesotho, two each from Malawi and Uganda, and entries from Cote d'Ivoire, Kenya, Qatar, the United States, Morocco, Brazil, and Eswatini. Such diversity speaks to the festival's expanding reach while reinforcing its local foundations.

The success of the festival has also been strengthened through partnerships with organisations including eThekwini Municipality, Stained Glass, Durban Film Office, AFDA, Durban University of Technology (DUT), Mangosuthu University of Technology (MUT), Arts and Living Culture, and the KZN Tourism and Film Authority. These collaborations illustrate the collective effort required to build sustainable creative industries within the province.

This year's programme has been carefully curated to explore the many dimensions of the creative sector.

- Day One will focus on Literature,

- Day Two on the Creative Indaba,

- Day Three on Film Production,

- Day Four on Marketing and Distribution, and

- Day Five will culminate in the festival's Awards Ceremony.

 

The structure reflects an understanding that filmmaking extends beyond the screen and encompasses a broader ecosystem of creators, audiences, producers, distributors, and entrepreneurs.

The festival officially opens on November 23 at Max's Lifestyle Village with a screening of Melusi, setting the stage for five days of cinematic celebration, professional engagement, and cultural exchange.

What resonated most throughout the launch was the belief that film has the power to do more than entertain. It can educate, create employment, preserve stories, attract tourism, and strengthen community identity. As the Umlazi International Film Festival celebrates its fifth year, it continues to prove how grassroots cultural initiatives can make meaningful contributions to both local development and the broader creative economy.

In an era where access to the film industry often appears concentrated in major urban centres, UIFF stands as a reminder that world-class storytelling can emerge from any community willing to invest in its people, nurture its talent, and tell its own stories. - Akhona Junior Mhlungu

 

5th FLATFOOT ACCESS FESTIVAL 2026

 

Above: FLATFOOT Access workshops (Sofia Jameson and Siseko Duba)

 

A Feast of Dance for All.

FLATFOOT DANCE COMPANY presents its fifth annual edition of the FLATFOOT ACCESS FESTIVAL offering a week-long engagement of workshops, residencies, and performances from November 30 to December 5 at the Milkwood Theatre, in Durban North, during the tail end of South Africa’s National Disability Rights Awareness Month (November 3 - December 3).

The festival celebrates FLATFOOT’s 23-year history of encountering disability through dance education and development work, and more recently in their professional development work. 

FLATFOOT’s Artistic Director Lliane Loots says: “The journey toward access and professional training for dancers living with both intellectual and physical disabilities lies at the heart of this small ever-growing festival. It is an amazing moment of celebrating not just the incredible dancers, dance makers, and choreographers participating, but of the truly transformative power of dance to shift perceptions and realities, and bind our communities together”.

The festival always invites a special guest to run workshops and offer performances, and to push and support local integrated dance practices. In previous years the festival has hosted Sydney Erlikh (USA), Jürg Koch (Switzerland), and Gladys Agulhas (South Africa), and in 2026 we are very excited to host two national and international guests.

The Access Festival welcomes Finnish choreographer Riina Hannuksela, with-support from the Finnish Embassy in Pretoria. Riina is a dance artist and doctoral researcher at the Theatre Academy, University of the Arts Helsinki. For almost two decades, she has worked in the performing arts, focusing on making the field more accessible for people from diverse backgrounds and abilities. She creates choreographic practices that position dancers with intellectual disabilities as creators of artistic knowledge rather than merely its recipients. She is the initiator and convener of Helsinki-based Ihanat Company. She will teach an open workshop over the festival (Wednesday December 2 from 14h00 to 15h30 at the FLATFOOT Dance Studio), and she will also create a new work alongside FLATFOOT and their now 10-year-old FLATFOOT Downie Dance Company.

The festival also welcomes Johannesburg-based MOVING INTO DANCE (MID) with a beautifully titled work called LIMITLESS jointly choreographed by Tebogo Lelaletse, Lesego Dihemo and Sbusiso Gumede. In a world riddled with obstacles and segregation, LIMITLESS stands as a bold declaration: inclusion is not optional; it is essential. Through movement, music, and collective expression, this dance work affirms that living with mixed abilities is the beginning of a deeper understanding of resilience, beauty, and belonging. MID will also teach a special workshop exploring the body and its possibilities for inclusive dance practice through MIDM’s Afrofusion dance technique and creative movement (Thursday December 3, 16h30 to 18h00: DUT Actor’s Studio).

 MID - Enable_2025_pic_Thabo_Sebatlelo

Spicing up the festival for 2026, sees stalwart FLATFOOT dancer Sifiso Khumalo working with the FLATFOOT DANCING WHEELS in a new creation with fellow company dancers Jabu Siphika and Mthoko Mkhwanazi, and wheelchair dancer Thami Sheshane. Titled, AFLOAT IN THE SPIRAL, this new work looks at the idea of control; of what it means to be in control while a lot is happening around you.

Look out for a new works from the 10-year-old integrated dance programme working with dancers with Down Syndrome who fondly call themselves the “FLATFOOT Downie Dance Company”. They perform alongside FLATFOOT in a work called “the space between us” created by Lliane Loots in collaboration with all the dancers, and is a deep dive into and aching reminder that we are each other’s mirror in our search for a common humanity.

 

FLATFOOT DANCE COMPANY -dancers Sbonga Ndlovu and Ndumiso Dube. Photo Val Adamson (2025)

 

Following the success of the Downie Company, the “FLATFOOT ACCESS PANTHERS” was started in 2023 to train the next generation of dancers with intellectual disabilities. This is now their fourth public performance, and together with the FLATFOOT company they perform a work called Dance, Pray, Love – a celebration of trust, community and care, and evokes the deeper meaning of UBUNTU as dancers hold, carry and catch each other in a space of connection.

The Festival has been made possible through support funding from the Oppenheimer Memorial Trust (OMT), the National Arts Council (NAC) of South Africa and PESP 7.

Workshop bookings - places are limited at both workshops so booking essential via Lootsl@ukzn.ac.za

The two showcase performances take place on Friday December 4 at 18h00 and (repeat) Saturday December 5 at 14h30 at the Milkwood Theatre, (21 Middlebrook Avenue, Virginia, Durban North). Tickets are R100 (scholars/students/pensioners @ R85). The Milkwood Theatre is wheelchair friendly, there is safe parking on site, and there are refreshments on sale at NOW Coffee.

Bookings are through Webtickets:

https://www.webtickets.co.za/v2/event.aspx?itemid=160632540

CINDERELLA

 

(Roshanda Lewis as Cinderella and Mthokozisi Zulu as Buttons.  Pic by Val Adamson)

 

KickstArt Theatre Productions proudly presents the 2026 annual family panto Cinderella which will run at the Elizabeth Sneddon Theatre in Durban from December 3, 2026, to January 10, 2027.

End the year off on the ‘right foot’, disappear into the magical world of KickstArt’s fabulous festive family pantomime.

Once upon a time, in a faraway land, there was a tiny kingdom. peaceful, prosperous, and rich in romance and tradition. The much-loved folk tale whose first-known version originated around 7BC, KickstArt’s re-imagining of this beautiful story that we all grew up with is perfect to share with the people we love. A glass slipper, an invitation to the ball and a clock approaching midnight.

Come and cheer for Cinderella, laugh at her outrageous Ugly Sisters and see what happens when a Fairy Godmother lends a hand. With Buttons, the Prince and Dandini adding to the fun, there are familiar moments to look forward to, local jokes to enjoy and of course, the ball to get ready for.

Whether you come with children, friends or several generations of the family, make time to laugh together and enjoy the story unfolding on stage. Be dazzled by the beautiful sets and costumes, sing along to well-known songs, shout and jeer for the mischievous characters and as in all good family pantomimes, there are plenty of opportunities to join in.

Roshanda Lewis takes the lead role as Cinderella and is joined by Blessing Xaba and Rory Booth as the Ugly Sisters, Mthokozisi Zulu as Buttons, William Young as the Prince, Lyle Buxton as Dandini and Amahle Tembe as the Fairy Godmother.

The creative team is led by Bryan Hiles who takes a break from performing and steps up to a new role officially directing his first KickstArt show. Written by Steven Stead complimented by gorgeous set designs by Greg King and choreography by Evashnee Pillay.

Find a little bit of enchantment, charm and captivating magic and of course, a Bibbidi-bobbidi-boo at this year’s KickstArt’s Cinderella.

As the Fairy Godmother states: “But we have to hurry, because even miracles take a little time.”

Booking is through Webtickets.

 

Good To Know

Ticket Prices: R185 – R310. Booking through Webtickets

 

Show Times:

Thursday, December 3 – Preview: 11h00

Friday, December 4 – Schools Performance: 11h00

Tuesday, December 8 – 11h00

 

December 5, 12, 19, 22, 23 and January 2, 9. Double shows: 11h00 and 13h30

No shows on Mondays and from December 24 – January 1

All other shows at 14h30

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