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."

DUBIOUS GURUS: THE ART OF LISTENING

 

(Above: Anton Cawthorn-Blazeby, Logan Byrne, Iain ‘Ewok’ Robinson & Daniel Sheldon)

Theatre review by Akhona Jr Mhlungu

 

By the time I reached DUT’s Courtyard Theatre for the final afternoon of Backstage in Action, a six-hour workshop had left me mentally spent. I had little energy left for another performance. Yet the stage seemed to invite rather than demand attention: microphones, chairs and instruments stood beside a flask and a potted curry plant, beneath a projection of distant stars. It suggested a conversation waiting to happen.

That conversation was Dubious Gurus, a meeting of spoken word, jazz and hip hop led by Durban artist Iain ‘Ewok’ Robinson. The October 16 performance brought Backstage in Action to a close after The King of Broken Things and a Wellness Activation. I had also seen and reviewed the protest-centred History Is a Home Address the previous week. Each encounter had asked something different of its audience. What would this one offer?

Robinson appeared alone, opening with a poem concerned with provocation and response. His delivery was conversational without losing its precision, allowing humour and reflection to share the same breath. Daniel Sheldon joined him on trumpet, followed by Logan Byrne on upright bass and Anton Cawthorn-Blazeby on violin. The ensemble assembled gradually, each arrival unforced.

Once together, they did more than accompany a poet. Byrne’s bass gave the words weight and warmth; Sheldon’s trumpet and percussion shifted their pace and texture; Cawthorn-Blazeby’s violin could extend a thought or gently unsettle it. Sound and speech took turns leading. The musicians listened to Robinson, and he listened back.

Karen Logan’s vlog visuals deserved equal attention. Set against the intimacy of live instruments and a speaking body, the projected imagery opened another way of encountering the material. Its screen-based perspective joined the exchange between what was said, heard and seen. The images were part of the work’s thinking, not simply its atmosphere.

Dubious Gurus resisted easy classification as a poetry reading, concert or theatre piece. Robinson’s writing moved between wit, lived observation and social commentary without insisting on a single conclusion. There was an improvisatory freedom to the performance, but that freedom was not a matter of making things up. It required trust and discipline: knowing when to lead, respond or leave silence.

For me, that was also where the learning happened. Backstage in Action, convened by Dr Clare Craighead through DUT’s Higher Certificate in Performing Arts Technology, brings industry practitioners into direct engagement with students and their developing practice.

These are not classroom demonstrations. The performances must stand on their own before a public audience, while giving students opportunities to study professional choices, develop their practice and produce learning that can be reflected on and assessed.

There is something distinctively DUT about that relationship between making and learning. The theatre becomes a place where artistic and technical decisions have consequences beyond a mark: they must communicate with an audience. Live work also invites critical reflection on collaboration, timing, sound, visuals and professional responsibility. Education meets practice as it unfolds, rather than explaining it from a distance.

I arrived at the Courtyard Theatre exhausted. I left thinking about what artists can make through listening, and what students can learn from that discipline. As a finale, Dubious Gurus avoided the tidy goodbye. Its conversation remained open, and so did the questions it left behind. - Akhona Jr Mhlungu

 

GOD OF CARNAGE

 

(Above: Damien Butt, Skhulile Gwala, Jenna Van Eyssen & Khethukuthula Ngcobo. Pic by Val Adamson)

 

When Good Manners Go Bad

Durban Macbob Productions in association with The International School of Performing Arts (ISPA) third-year students bring Yasmina Reza’s acclaimed dark comedy, God Of Carnage to the Seabrookes Theatre on DHS campus, on November 4 and 5 at 19h00.

What begins as a civilised meeting between two sets of parents quickly descends into an hilarious and increasingly chaotic battle of words, egos and accusations in God of Carnage, the award-winning dark comedy by acclaimed playwright Yasmina Reza translated by Christopher Hampton.

ISPA presents this razor-sharp comedy featuring four of ISPA’s talented third-year musical theatre students: Damien Butt, Jenna Van Eyssen, Khethukuthula Ngcobo and Skhulile Gwala, under the direction of Aaron McIlroy.

The play begins when two couples meet to discuss an altercation between their young sons. Determined to handle the situation like reasonable, well-adjusted adults, they attempt to resolve the matter politely. However, as the conversation unfolds, civility gives way to confrontation, old grievances surface, and the carefully-constructed façades of adulthood begin to crumble.

With biting wit, uncomfortable truths and laugh-out-loud moments, God of Carnage explores the thin veneer of civilisation and asks just how far people will go when their pride, prejudices and personal frustrations take centre stage.

For ISPA’s third-year students, this production offers an opportunity to showcase their acting skills in a fast-paced, character-driven play that demands precision, timing and emotional depth.

God of Carnage promises an entertaining evening of dark comedy that will leave audiences laughing, squirming and perhaps questioning their own behaviour when civility goes out the window.

This amateur production of God of Carnage is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd.

Come and witness what happens when four adults discover that good manners have their limits.

 

Good to know:

- Dates: November 4 and 5, 2026

- Time: 19h00

- Venue: Seabrookes Theatre, DHS, Musgrave, Durban

- Tickets: R150 (R120 students and pensioners)

- Booking: Available through Webtickets

- Running format: No interval

 

ELCIDES CARLOS & DURBAN FRIENDS

 

Elcides Carlos & Durban Friends at the Centre for Jazz and Popular Music

 

The Centre for Jazz and Popular Music is proud to present Mozambican jazz guitarist, composer, lecturer and researcher Elcides Carlos on Wednesday, October 28, 2026, at 17h30.

Returning to the UKZN Centre for Jazz and Popular Music for his third performance at the venue, Elcides Carlos presents Elcides Carlos & Durban Friends, featuring fellow Mozambican musicians Lelas Mavie on bass and Vando Infante on drums, alongside Durban-based keyboardist Shemuel Mahabeer.

The concert celebrates the musical friendships and artistic collaborations that have developed between Elcides Carlos and Durban’s jazz community through his previous visits and tours in the city. It highlights the connections between Mozambican and South African musicians, with jazz serving as a platform for cultural exchange and creative collaboration.

The repertoire will feature Elcides Carlos’ original compositions alongside selected classics from African and American jazz. Drawing on African musical traditions, contemporary African jazz and the broader language of jazz, the performance promises an engaging exploration of the musical connections that unite artists across borders.

Rooted in Afro-jazz, Elcides Carlos’ work reflects the rich musical heritage of Southern Africa while embracing the diverse influences of the wider jazz tradition. His debut album, Sense of Presence, released in 2022, featured collaborations with musicians from Italy, Russia, the United States and South Africa. In 2025, he published A Mente de Um Grande Guitarrista (The Mind of a Great Guitarist), a book exploring the mindset, musical development and creative process of the guitarist.

His return to the UKZN Centre for Jazz and Popular Music marks another chapter in an ongoing artistic relationship between Mozambique and Durban, celebrating the power of jazz to foster collaboration, cultural exchange and lasting musical connections.

 

Event Details

Concert: Elcides Carlos & Durban Friends

Date: Wednesday, October 28, 2026

Time: 17h30

Venue: UKZN Centre for Jazz and Popular Music, Durban

 

Performers:

Elcides Carlos — Guitar (Mozambique)

Lelas Mavie — Bass (Mozambique)

Vando Infante — Drums (Mozambique)

Shemuel Mahabeer — Keyboard (South Africa)

 

Venue: Centre for Jazz and Popular Music, Dennis Shepstone Building, Level 2, Howard College Campus, UKZN, Durban.

Tickets: General admission R130 (R100 Pensioners, R70 Students)

Payment: Cash at the door

Campus access: Gate 3 or Gate 8, off Rick Turner Road.

 

 

THE WITCHES OF CAMBRIDGE: REVIEW

 

(It is a long time since I have read an Alice Hoffman novel, and there is no doubt that she can tell a pacy, clever story. Review by Margaret von Klemperer, courtesy of The Witness)

 

If you are born with an extra finger on one hand, your blood is black, you can’t drown and you are being followed around by crows, then, in Alice Hoffman’s world, you are a witch.

Fans of the author of her The Witches of Cambridge will of course know this. Hoffman has made the witchy world her own in fiction, and here she is introducing a new cast of witches in a novel which is set in the 1950s world of Radcliffe College, now a part of Harvard but at the time an adjunct where women could receive a university education but without distracting the men. However, of course, Massachusetts had an earlier history with witches, having been the site of the notorious witch trials of the late 17th Century.

One of the residences at Radcliffe is Lilith House, a very secret society where only witches go. And when the novel opens, two new students are invited to join – Ava, a country girl from Maine and Lauren, a wealthy local. Their backgrounds are very different, as are their characters, but of course they have one major similarity. And they become close to each other – at least for some of the time – and their lives become intertwined.

Lilith House may be a comfortable bolt hole for the young witches, but not all goes smoothly. Like most university students, their love-lives take up quite a lot of their time, and do not always go according to plan. But things also seem to be going strangely at Lilith House when senior students suddenly vanish just before their graduation. And they all had some part of their studies in common.

Then Ava finds diaries that date back to the time of the witch trials of the 17th Century, which seem to have links to the 1950s witchery of Ava and Lauren – and show that being a witch may well be a genetic inheritance. These historical sections add an interesting dimension to the novel. However, Hoffman’s linking of the early witch trials to the McCarthy witch hunts of the 1950s sometimes seems a little clumsy. Lauren’s brother – also a witch, of course – is gay, and in Senator McCarthy’s world, gay people had to be hunted down and dealt with. And so that becomes a dimension of the plot as well.

It is a long time since I have read an Alice Hoffman novel, and there is no doubt that she can tell a pacy, clever story, though I am not sure I would describe it as bewitching. Her fans will probably love it, but I’m still not going to be checking out people’s hands when I meet them for signs of an extra finger.- Margaret von Klemperer

The Witches of Cambridge is published by Scribner: ISBN 978-1-3985-6530-2

 

KWAZULU-NATAL INTERNATIONAL ARTS FESTIVAL

 

The inaugural KwaZulu-Natal International Arts Festival (KZNIAF), will bring a vibrant multidisciplinary celebration of arts, culture and heritage to eFolweni, KwaXimba and Durban from October 30 to November 1, 2026.

In partnership with Stained Glass TV and funded by the National Arts Council (NAC) through PESP7, Supported by Inanda Fm, the Festival aims to strengthen KwaZulu-Natal’s creative economy by connecting artists with audiences, creating performance opportunities and celebrating the province’s diverse cultural identity.

Under the spirit of uMqhele, the Festival will showcase the depth of local creativity through community-based Fringe activities followed by a major launch at the Durban University of Technology (DUT).

 

October 30: Fringe Programme Opens at eFolweni

The Festival opens on Friday, October 30, at eFolweni Red Cross Community Hall, where audiences can enjoy a multidisciplinary programme featuring music, visual art exhibitions, theatre and a dance challenge.

The day’s activities will be led and hosted by the eGagasini Trio, with a special performance by the Folweni Gospel Choir. The programme celebrates community talent and brings artistic expression directly to local audiences.

Entrance: R50, with tickets available through Webtickets and at the gate.

 

October 31: KwaXimba Celebrates Theatre, Dance, Music and Heritage

On Saturday, October 31, the Festival moves to Isithumba Adventures in KwaXimba, within the scenic Valley of a Thousand Hills, bringing together established and emerging artists in a celebration of performance, storytelling and visual arts.

The theatrical programme opens with Yemuke Nezibopho, a Zulu drama written and directed by Silindile Maphumulo. Audiences will also experience Pantsula dance choreographed by Lungisa Zondi, known as TjoviTjo on uZalo, bringing township dance culture into a rural setting.

The programme continues with WOMANDLA, an Afro-contemporary and narrative dance production choreographed by Lindokuhle Ziqubu, written and stage-managed by Andiswa Mbanjwa. The work explores the expressive power of dance and storytelling.

Music lovers can look forward to performances by Mr 5-Minutes and Sandile Gwala, alongside local artists. Poetry and spoken-word performances will feature Azibuyele Emasisweni, Kelello Mokhele, and Chris Fallen with his son.

Visual arts will be represented by Wushwini Arts Gallery, Isizotha Arts and Design, and Mlamuli Shozi’s Pencil Arts, showcasing creative talent rooted in KwaZulu-Natal communities.

Special guest artist Zawadi Yamungu will join a conversation exploring cultural music, authenticity and the importance of preserving cultural identity within the music industry.

The programme also includes a free workshop on mastering the business of the arts, supporting the Festival’s commitment to helping artists understand the commercial and professional dimensions of their practice.

Entrance: R50, with tickets available through Webtickets and at the gate.

 

November 1: Main Festival Launch at DUT

The Festival reaches its highlight on Sunday, November 1, at the DUT Courtyard Theatre and Outdoor Spaces in Durban, from 10h00 to 18h30.

The launch will offer audiences a red-carpet experience, food-selling stands, art exhibitions, live drawing, cultural brand displays, creative talks, networking and live performances.

The Jazzy Groove Session, curated by Ncebakazi Zima, will bring a music-focused experience to the programme. Creative talks will feature Dr Mandisi Sindo, a theatre innovator from Cape Town, and Mxolisi Masilela the Great, founder of TX Theatre from Johannesburg.

Representing poetry, Ghubela will contribute to the festival’s literary and spoken-word offering, while Saliwa will showcase Maskandi music through a contemporary cultural lens. Cameron Govender of ParamAthman Dance Theatre will explore multiculturalism through dance.

The programme will also feature members and representatives of Stained Glass TV, highlighting the relationship between television, performance and the wider creative industries.

Comedy theatre will take centre stage through Sabelo Jili’s one-man show, USIPHEPHO, adding a distinctive theatrical experience to the launch.

The day will be guided by programme directors Lungile “Coach” Nkombela and Okuhle Msithwa, whose sign-language contribution supports a more inclusive festival environment.

Entrance: R150, with tickets available through Webtickets and at the gate.

 

Building a Creative Future for KwaZulu-Natal

Beyond the three-day celebration, KZNIAF seeks to establish a long-term platform that progressively reaches all 11 districts of KwaZulu-Natal. Its vision is to bring quality artistic work into rural and community spaces, develop marginalised and emerging talent, and connect artists with professional stages, audiences and industry opportunities.

By bringing together community performers, established practitioners, cultural organisations, government stakeholders and audiences, the Festival aims to demonstrate that KwaZulu-Natal’s landscapes and communities can become stages for stories that travel across the world.

For ticket bookings: Webtickets or purchase at the gate.

 

Festival enquiries: Sibusiso Sithole Founder and Festival Director KwaZulu-Natal International Arts Festival (KZNIAF) Tel: 078 671 1649 Email: kzn.info@gmail.com

ISPA MUSICAL THEATRE SHOWCASE EXTRA SHOW

 

The International School of Performing Arts (ISPA) proudly presents their annual Musical Theatre Showcase starring their talented first, second and third year students.

Join ISPA on Monday October 26 at 18h00** at The Seabrookes Theatre - Durban High School for an unforgettable evening of iconic musical theatre favourites.

The talented students will perform songs from legendary musicals like Les Misérables, Hamilton, Sweeney Todd and Waitress.

This is a unique opportunity for prospective students, parents, and theatre enthusiasts to experience the exceptional training and performance quality that ISPA provides.

Booking is at Webtickets.

 

About ISPA

The International School of Performing Arts (ISPA)is a tertiary academy dedicated to nurturing the talents of up and coming performers. With a focus on musical theatre, ISPA provides students with the opportunity to develop their triple threat skills - dance, drama and vocals as they gain experience in the performing arts.

 

**The Musical Theatre Showcase had its premier performances on October 21 and 22 which were sold out almost immediately, hence the excellent decision to repeat the event.

MiTH: OCTOBER 21

MiTH (Music in the Hills) brings another evening of live music to The Knoll Historic Guest Farm, where the Midlands comes together for a proper night out. For just R50, you can catch a hand-picked mix of local and national musicians and performers, with genres, styles and surprises changing from fortnight to fortnight.

Grab something good to eat, order a drink, find a spot and settle in. MiTH isn’t a concert where everyone listens and then goes home. It’s a night of discovering new music, bumping into old friends, meeting new ones and enjoying the wonderfully unpredictable business of live performance. Come curious. Come hungry. Come thirsty. *Most of all, come listen.*

 

Venue: The Knoll Historic Guest Farm

Date: October 21, 2026

Entrance: R50 (cash or Zapper at the door)

Info: 082 331 7271

Join the KZN Midlands Live Shows WhatsApp Group for updates on live shows across the Midlands: https://chat.whatsapp.com/GiBNhzJXO7M6WPP41rRiFu

 

21h00 – Undivided Roots

Undivided Roots ZA is a roots, rock, and reggae band founded by legendary Edendale street musician Nstangu “Roots” Cele. The group is a family ensemble of seven siblings - Black Wadada, Revival Cele, Heaven Cele, Spear Cele, Kingdom Cele, Rainbow Cele, and Judgement Cele - who have built their musical lives through busking, performing, and sharing their unmistakable sound across Pietermaritzburg and beyond.

Their repertoire moves easily between old‑school rock, blues, jazz, and the deep pulse of roots reggae, creating performances that are rhythmic, soulful, and irresistibly dance‑inducing.

Over the years, Undivided Roots has shared stages with major South African and international artists, including Johnny Clegg, Gangs of Ballet, Prime Circle, Queen Ifrica, Watershed, Zahara, and Tony Rebel. With their unmistakable family chemistry and a sound shaped by years of street performance, Undivided Roots remains one of the Midlands’ most authentic and beloved musical institutions.

 

20h00 – Likkewaan

Likkewaan is a South African multilingual original indie‑rock act founded and led by singer, songwriter, and producer Gareth Warren. Originally from Johannesburg and now rooted in KwaZulu‑Natal, Gareth has shaped Likkewaan into a distinctive project that blends surf‑culture guitar grooves, modern indie textures, and electronic production influences.

The result is a fresh, contemporary sound emerging from the KZN Midlands and Durban alternative scene. Drawing on both Afrikaans and English songwriting, Likkewaan’s music is melodic, atmospheric, and rhythmically driven, with Gareth’s production style giving the project its unmistakable character.

Whether performing solo or with a full band, Likkewaan brings an energetic, modern edge to stages across KZN - a growing presence in the region’s evolving indie landscape.

 

19h00 – The Chickpeas

The Chickpeas didn’t materialise out of nowhere - they sprouted from the fertile musical soil of the Hairy‑Legged Lentil Eaters. Raised on legendary local bands, tight harmonies, and a community that thrives on music, their philosophy remains simple: honour the music, surprise the audience, and never miss an opportunity for a well‑timed musical detour.

Performing both original and cover material and influenced by Incubus, Crowded House, and The Cranberries, The Chickpeas build their repertoire around rich vocal harmonies, rhythmic interplay, and reimagined favourites alongside original material. Their performances blend polished musicianship with spontaneous creativity, all wrapped in warm humour and heartfelt delivery.

Now a fresh face of the KZN Midlands music scene, The Chickpeas have quickly become crowd favourites, bringing vibrant, contemporary energy to stages across Hilton, Howick, and the greater Midlands region.

 

ABOUT MiTH

Food and cash bar available on site. The KZN Midlands’ favourite live music venue, MiTH is a platform for beginners, professionals and music lovers to celebrate the joy of live performance. Hosted every second Wednesday at The Knoll Historic Guest Farm, Hilton.

 

DIRECTIONS TO MiTH

Take the N3 to Hilton. Turn into Hilton Village and drive 5.2 km along Hilton Avenue, which becomes Dennis Shepstone Drive. Look for Knoll Drive on your right – the entrance to MiTH is the second left into The Knoll Historic Guest Farm. Info: 082 331 7271, www.mith.co.za or mithbookings@gmail.com

 

 

NATIONAL ARTS FESTIVAL NEWS

 

(Above: A scene from “Magic Maids” at the 2025 National Arts Festival, image by Mark Wessels)

 

The National Arts Festival is looking for an Artistic Director. Deadline for applications is October 30, 2026.

The NAF is looking for someone with creative vision to drive the festival into a new era. The Artistic Director will set the curatorial identity of NAF as the NAF strives to be the leading contemporary African arts festival - known for quality, relevance, discovery and international reach rather than size alone.

The NAF is hiring for a five-year renewable-term for a part-time Artistic Director who will be working alongside the CEO and chairing an Artistic Committee of practising artists, curators and sector experts. The Artistic Director curates across every discipline, from theatre and dance to music, visual art, film and digital work.

It’s also an opportunity to play a role in shaping the sector; leading a New Works programme that commissions and develops fresh work, steering the Fringe as an innovation laboratory and developing emerging talent through a New Voices initiative. The AD will also build exchange with festivals across Africa and the world.

This is an exciting opportunity to shape a new direction while building on 52 years of legacy and integrity. If it’s calling your name, apply below before October 30, 2026 (23h50 SAST).

 Apply to be the next NAF Artistic Director

https://nationalartsfestival.co.za/news/naf-artistic-director-vacancy/

 

 

Don’t miss the Fringe entry window

 

(Above: “12 Dogs” performed at the National Arts Festival. Image Mark Wessels)

 

The window to apply for The Fringe is currently open and closing on November 8, 2026.

https://forms.zohopublic.com/nationalartsfestival/form/NAFFringeProductionApplications/formperma/rtej7_-6ur9SD8TifcXMP24lRxqdHvK5kZyc9rBX_WA

While the Fringe is not curated around artistic consideration, space is limited and demand is very high. The Festival looks at the available space and reviews the geographic origin of work, diversity, language, genre and audience appetite to create a diverse and robust Fringe Festival.

The Fringe is independent and unfunded. This means that creators are responsible for raising the funds to produce and present their work. Ideally fundraising for the project should begin now.

Artists who apply for the Fringe are only registering their interest. This does not guarantee them a place. The Festival will inform all applicants whether their registration has been confirmed by February 1, 2027.

 

Beyond the Stage

The Fringe also lives outside of the theatre. If you have work that lives in the streets, is an event, conversation, idea or experience don’t hesitate to apply.

The Festival is also encouraging artists who are working at the intersection of creativity and technology and who are exploring indigenous knowledge systems to apply.

During the National Arts Festival, new Fringe shows are reviewed by an anonymous Ovations Panel and excellence is awarded through the Ovation Awards. At the end of the Festival, additional Gold, Silver and Bronze Awards are awarded for work that stood out.

Productions who win Ovation Awards get to carry an Ovation Awards badge on their marketing, funding applications and festival applications; an endorsement of positive independent review and a signal to audiences that a newcomer show should be on their watchlist.  

 

NB:

If you’re ready to take the plunge and serious about raising the funds to get to Makhanda in 2027, head to the Fringe application form below and sign up by 23h59 on November 8, 2026!

 

ELF THE MUSICAL JR.

 

The magic of Christmas is coming to The Playhouse Company!

The Young Performers Project, in association with DALRO and The Playhouse Company, proudly presents Elf The Musical JR., a spectacular festive adventure filled with laughter, music, dazzling performances and Christmas cheer!

Based on the beloved 2003 film, this heartwarming musical follows Buddy, a human raised by Santa’s elves at the North Pole, as he embarks on an extraordinary journey to New York City to discover his true identity, reunite with his family and spread the true spirit of Christmas.

Get ready for high-energy musical numbers, spectacular choreography, hilarious moments and plenty of festive surprises! Perfect for the whole family, this magical production promises to bring the joy and wonder of Christmas to life on stage.

Your festive outing awaits:

DATES            December 4 – 20, 2026

VENUE           The Playhouse Company, Drama Theatre

TICKETS        R190 to R225. Booked through Webtickets

 

Come dressed in your Christmas best!

And the festive fun doesn’t end when the curtain falls! Come dressed in your Christmas best and enjoy a special photo opportunity with Santa and his elves after the show!