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

 

NAINA

 

Based on a true story, Naina is a Bollywood dance drama.

Back by popular demand, this breathtaking dance theatre journey celebrates resilience, love, and human connection.

At its heart is Naina, a young girl born blind and deaf, whose life unfolds in a world that often overlooks difference.

Through friendship, courage, and the struggles of addiction, disability, and hope, Naina reminds us that kindness and strength can transform even the darkest challenges. Artistic, moving, and unforgettable, this is a story where every step dances with possibility…

From the laughter of childhood to the struggles of disability and addiction, Naina celebrates courage, kindness, and the power of human connection. A story that will move your heart, lift your spirit, and remind you that hope always finds a stage…

Naina runs at the Elizabeth Sneddon Theatre from October 26 to November 1, 2026.

Booking is through Webtickets at any Pick 'n Pay outlet, or online at

https://www.webtickets.co.za/v2/event.aspx?itemid=1601885206

WOZA ALBERT! AT THE BAT CENTRE

 

Award-winning theatre company Menzi M Creations is producing a comedy, satire play for Durban.

Woza Albert! written by Mbongeni Ngema, Percey Mtwa and Barney Simon is being produced by Menzi M Creations at the BAT Centre on October 31 at 15h00 at R120 a ticket.

Menzi Mbuli, the director and founder of Menzi M Creations, says “We have produced and staged over 15 productions in KZN for numerous districts for our database, but this year we are moving from schools to producing work for the public.”

Menzi M Creations has a database of over 1000 schools and has done many stage performances of setworks but the public has never seen these productions.

“The only time we get to produce work for the public is at the Hilton Arts Festival,” says Mr Mbuli.

Menzi Mbuli directed Master Harold…and the boys by Athol Fugard produced by his company Menzi M Creations and was sold out. This gave him the push to move into producing work for the public.

“We spend lots of money on these productions and the public never gets to see them I have great actors working in my company that deserve to be showcased,” says Menzi. The production is performed

The production tells the story of Jesus Christ coming back for his second return but landing in South Africa during apartheid in the 80’s. It has tones of humour, it contains sharp and skilful character transformations, excellent performances that show dark and light tones of South Africa in the 80’s.

The piece is performed by live singing and unbelievable performance energy carried by two actors who play over 20 characters together.

It is an excellent production for the whole family as well as those who are fascinated by our history as a nation that had to overcome tremendous oppression to become a democracy.

There is also a bar for drinks at the BAT Centre for those coming to sit down for a drink before and after the show. 

Tickets are sold at the door.

 

HOW TO COOK YOUR HUSBAND

 

Rhumbelow Theatre will present How to Cook Your Husband, direct from the Hilton Arts Festival and starring Lisa Bobbert and Darren King.

Performances take place as follows:

Saturday October 31 at 15h00 and 19h30

Sunday November 1 at 14h00

Running time: 60 minutes

 

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

 

Magdelena discovers her husband's infidelity and has only one solution - he must die!

But how to cover her tracks and dispose of the evidence - that is the question?

Influenced by Sweeny Todd and inspired by Gordon Ramsey - This Michelin star chef is not for the faint of heart or for the strictly vegetarian.

Written by the multi-award winning, Janna Ramos-Violante, this hour long dark comedy cabaret looks at the themes of Marriage, Infidelity, consequences and solutions. Including such popular songs as Chicago’s - He Had it Coming, Crazy, I Will Survive, Something Stupid and Sondheim’s, Worst Pies in Bloemfontein (London).

Tickets R180.

Bring food picnic baskets or buy at the venue

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

 

More information on 0824998636 or visit http://events.durbantheatre.com/

Rhumbelow Theatre is located at 42 Cunningham Rd off Bartle Road, Durban.

GEE JAYS AT THE NUTCRACKER

 

(Above: Grant Bell, Marion Loudon & John Didlick)

 

Nutcracker Theatre, Macnut Farm Assagay: November 7 & 8, 2026.

Durban legends, The Gee Jays: Marion Loudon, John Didlick and Grant Bell, will be performing at the Nutcracker Theatre at Macnut Farm in Assagay on November 7 and 8.

The Gee Jays are probably Durban's longest-running comedy cabaret trio, performing across KwaZulu-Natal since 1985 playing a mix of music from the 1950s through the 1990s, paired with tongue-in-cheek comedy, satire, and interactive sing-alongs.

On offer is a sublime experience of music, food, and good times! Get ready to tap your feet, sing along, and create unforgettable memories with friends and family to the tune of great music - a musical extravaganza like no other!

A delicious two-course meal will be served as part of the experience: mouth-watering oxtail, chicken curry and vegetarian moussaka. All meals are served with a selection of side dishes. And for dessert there is Cheesecake.

The Nutcracker Theatre at Macnut Farm is a proud member of 1000 Hills Tourism.

 

Good to know:

Dates: Sat November 7 at 17h30 and Sun November 8 at 12h30

Venue: Nutcracker Theatre, Macnut Farm, Lello Rd, Assagay.

Tickets: R395 – show and meal. Cash bar on site

Book Hannah – 074 603 0000

 

 

 

MAYIBUYE DOC LAB OPENS CALL FOR SA DOCUMENTARIES

Applications close November 13, 2026, at 23h59SAST

Mayibuye Doc Lab opens call for compelling South African documentaries

NFVF-backed film development lab offers six documentary teams a route from a concept to an investment-ready project - and onto the world stage at documentary markets.

Mayibuye Doc Lab has announced its call for projects for the 2026/27 South African edition, inviting South African filmmaking teams to submit compelling documentary projects in development or early production. The second edition of the lab is hosted by Ehozini Retreat (Durban) and funded by the National Film and Video Foundation (NFVF) PESP. Applications are now open and close on November 13, 2026, at 23h59SAST.

Mayibuye Doc Lab is a hands-on development lab for creative documentaries:  films with a strong authorial voice, a compelling narrative with a clear dramatic arc, and the potential to move audiences at home and abroad. Six projects will be selected. Over four months, each team - writer/director, producer and impact producer - will move from concept to a complete, investment-ready project package: a narrative treatment and draft script, a production and financing plan, and a distribution, marketing and impact strategy.

The Lab combines online workshops, a story writing residency and group sessions to strengthen each project's story and visual approach, producing and financing strategy, and distribution, marketing and impact strategy. The mentorship in the lab will be guided by an experienced mentorship team and guest facilitators from the local and international industry.

Completing the Lab is the beginning, not the end. Through the Post-Lab Alumni Programme, Mayibuye alumni can network with colleagues across the continent and carry their projects to the international industry via partnerships with numerous documentary markets in 2027.

Tiny Mungwe, Programme Manager, Mayibuye Doc Lab, says: “We are looking to support filmmakers with character-driven stories, innovative approaches to documentary filmmaking and new perspectives. Our lab will create space for the key creative team on the project to invest time into deepening their storytelling, strengthen their project package and connect with collaborators to take the films to audiences.”

Mitchell Harper, Project Manager, Mayibuye Doc Lab, added: “We welcome applications from filmmakers with some experience or training in filmmaking. Applicants should have at least a completed short film (fiction or non-fiction) even if it hasn’t been screened at a festival or broadcast.”

The call is open to South African projects with South African key creative teams. It targets filmmakers at NFVF Tier 2 or Tier 3 looking for accelerated growth, and first-time documentary filmmakers with a track record in other formats - fiction, commercials or episodic - are welcome and encouraged. Each project must be ideally represented by a writer/director, a producer and an impact producer, available for the full programme.

Applications can be submitted through the online application form: https://tally.so/r/Z952M0

and close on November 13, 2026, at 23h59 SAST.

Participants will be expected to be available on the following dates: Online workshops: December 1–11, 2026; eHozini (KZN) Writing residencies: January 2027 and online· Group sessions: January–February 2027  Mayibuye Doc Lab covers the cost of travel, accommodation and food for the on-site residency.

PALESA KADI NEW CEO OF THE NATIONAL ARTS FESTIVAL

 

(Above: Palesa Kadi - image by Mark Wessels)

 

Earlier this month, Palesa Kadi began her first days as the National Arts Festival's new CEO, meeting the NAF’s partners and stakeholders and preparing for her move to her new home in Makhanda. She brings a deep love of the Eastern Cape to her role, including family ties to the region, and says her early days are about listening and getting to know "this very unique and special institution."

Board Chairperson, Professor Siphiwo Mahala, says: "Palesa's appointment marks an exciting new chapter for the National Arts Festival. We’re confident in her leadership and excited about the direction she will take the Festival in."

Her path to the NAF has, in a sense, brought her full circle. Palesa's career in the arts began nearly two decades ago as Head of Arts and Culture for the Nelson Mandela Bay Municipality, work that first rooted her in the region she returns to. From there, she moved through senior roles at the Film and Publication Board, the Independent Communications Authority of South Africa and, most recently, the National Heritage Council, building a reputation for steady, principled governance along the way. She's also chaired the board of the Mandela Bay Theatre Complex, served on the board of the National Council of Libraries and Information Services and Cricket South Africa and is currently an SABC board member.

Her appointment also lands during Women's Month, something she notes is "particularly meaningful": "Women have always been central to cultural production and community life, and I'm committed to ensuring that women's voices, creativity and leadership continue to shape the Festival's direction."