67 BLANKETS AND CITY SIGHTSEEING JOHANNESBURG TAKE WARMTH ON THE ROAD FOR MANDELA DAY

For the second consecutive year, 67 Blankets for Nelson Mandela Day and City Sightseeing Johannesburg have joined forces to take one of Johannesburg's most colourful Mandela Day activations onto the city's iconic red open-top bus.

On Saturday, July 18, volunteers, KnitWits, media and partners will depart from Rosebank aboard the City Sightseeing Johannesburg double-decker bus, travelling through the Johannesburg, streets including areas such as Munro Drive, Braamfontein and Zoo Lake, sharing warmth, hope, and kindness through the much-loved Secret Scarves Shhh... campaign.

Along the route, brightly coloured handcrafted scarves, each carrying a handwritten message of hope, will be tied in public spaces for anyone needing warmth to take. The journey celebrates Nelson Mandela's belief that small acts of kindness can make a lasting difference while showcasing the power of collaboration between organisations committed to giving back.

The Secret Scarves Shhh... campaign has become one of 67 Blankets' best-loved Mandela Day traditions. Every scarf is lovingly handmade by the 67 Blanket volunteers across South Africa and left with a simple message inviting anyone who needs it to take it.

Annie Robinson Grealy, Chief Operating Officer of 67 Blankets for Nelson Mandela Day, says: "Mandela Day reminds us that kindness is something we do, not something we simply talk about.

"We are incredibly grateful to once again partner with City Sightseeing Johannesburg (the Red Bus) for Mandela Day. Partnerships like this show what can be achieved when organisations come together with a shared purpose. The iconic red bus doesn't simply transport volunteers – it carries a message of kindness, hope, and human connection across our city. Every scarf shared, represents warmth, dignity, and a reminder that someone cares. We hope this partnership continues to grow, inspiring even more people and organisations to join us in spreading warmth, one scarf and one act of kindness at a time.”

 

City Sightseeing Johannesburg says the partnership perfectly reflects the spirit of Mandela Day by taking generosity directly into communities.

Lisa Nel, Marketing & Brand Manager at City Sightseeing South Africa, comments: "Mandela Day is all about turning small actions into big change. Partnering with 67 Blankets allows us to do exactly that."

"Each scarf we help distribute is more than just protection from the cold — it's a message of hope, dignity and shared humanity. We're honoured to play a part in wrapping our communities in the warmth and spirit of Madiba this winter."

City Sightseeing Johannesburg's iconic red double-decker buses offer visitors and locals a safe and flexible way to discover Johannesburg's rich history, culture, and attractions through its Hop-on Hop-off service. For Mandela Day, however, the bus becomes something more than a sightseeing experience — it becomes a vehicle for kindness.

The activation begins at 09h00 from the City Sightseeing Johannesburg’s departure point on Oxford Road, Rosebank, before making its way through the city and returning to Rosebank after the scarf distribution.

As hundreds of volunteers across South Africa continue knitting throughout the year, initiatives such as this remind us that Mandela Day is not only about giving something away but about creating moments of connection that leave a lasting impact.

South Africa Wraps the Nation in Kindness as 67 Blankets Mobilises Thousands for Mandela Day

As South Africans prepare to honour Nelson Mandela Day on Saturday, 18 July, thousands of handcrafted blankets, scarves, and other lovingly created items will make their way into communities across the country as 67 Blankets for Nelson Mandela Day once again mobilises one of South Africa's largest volunteer movements.

Throughout July, hundreds of KnitWits, schools, businesses, community organisations and volunteers will gather in shopping centres, hospitals, clinics, public parks and community spaces to knit, distribute and share warmth with people who need it most. From public knitting events and the much-loved Secret Scarves Shhh campaign to large-scale blanket handovers and community outreach programmes, the movement will once again transform simple acts of kindness into tangible expressions of Madiba's legacy.

This year's programme includes public knitting activations, the much-loved Secret Scarves Shhh campaign, large-scale blanket handovers and community outreach events across Gauteng, the Western Cape, KwaZulu-Natal, the Eastern Cape and the Free State.

One of the highlights of Mandela Day will be the second annual partnership between 67 Blankets and City Sightseeing Johannesburg (Red Bus). Travelling through Johannesburg CBD and surrounding areas with KnitWits handing out hundreds of hand-knitted scarves, spreading warmth, kindness and meaningful human connection in honour of Nelson Mandela's legacy.

The annual campaign is made possible by hundreds of volunteers who knit throughout the year to ensure people facing South Africa's harsh winter receive not only warmth, but also dignity, comfort and the knowledge that someone cared enough to make something by hand especially for them.

The Secret Scarves Shhh campaign has become one of 67 Blankets' best-loved Mandela Day traditions. Colourful handcrafted scarves are tied to fences and public spaces with handwritten notes inviting anyone who needs one to simply take one.

Carolyn Steyn, founder of 67 Blankets for Nelson Mandela Day, says: “When we started 67 Blankets, we dreamed of creating warmth, but what has grown over the years is so much bigger than blankets. We have built a community that connects people through generosity, creativity and kindness. Every scarf tied to a fence, blanket wrapped around someone's shoulders and every conversation shared reminds us that Madiba’s legacy lives on through our actions. If each of us can make even one person feel seen, valued and cared for, then together we really can change lives, one stitch at a time.”

 2026 Mandela Day Activations

 

KwaZulu-Natal

Wednesday, 15 July | 09:30–12:00 – Springside Café, Hillcrest.

 

Gauteng

Tuesday, 14 July – Sunday, 19 July | All day – Bedford Centre – Sit 'n Knit & Learn.

Wednesday, 15 July – Friday, 31 July | 18h00–21h00 – Hyde Park Corner Centre Court – Made for Living launch and Secret Scarves installation.

Thursday, 16 July | 08h30 – Witkoppen Clinic, Cedar Lakes Group – Secret Scarves handover.

Thursday, 16 July | 10h00 – The Family Africa, 879 Buffalo Street, Diepsloot – Scarf handover

Thursday, 16 – Sunday, 19 July – Ferndale on Republic – Learn to knit or crochet for 67 minutes.

Thursday, 16 July – West Rand Oncology Department – Knee rugs handover.

Friday, 17 July | 09h00 – Weltevreden Park Government Clinic – Secret Scarves handout.

Friday, 17 July | 13h00–15h00 – Dainfern Taxi Rank (Outside Fourways Crossing) – Secret Scarves Handover.

Friday, 17 July | 14h00 – Midrand West Clinic – Secret Scarves.

Saturday, 18 July | 09h00– City Sightseeing Red Bus departs from Oxford Road, Rosebank and travels through Johannesburg CBD doing Secret Scarf handovers and community engagement.

Saturday, 18 July | 10:30– Rosebank Union Church – Secret Scarves.

 

Western Cape

Wednesday, 15 July | 14h30 – Kromboom Park, Athlone – Scarves, meals and fruit.

Saturday, 18 July | 15h00 – Maynardville Park – Kekel en Kraai Group – Secret Scarves handover.

Saturday, 18 – Sunday, 19 July – Pinelands Library – Knit Squares Together.

Tuesday, 21 July – Protea Cancer House, Tygerberg Hospital – Blankets and bed socks handover.

Thursday, 23 July | 12h00 – House of Thebiso, Langeberg Glen – Blankets, baby goods and soft toys.

 

Eastern Cape

Friday, 17 July | 15h00 – Mount Pleasant, Gqeberha – Warmth in Every Stitch Secret Scarves.

 

Free State

Thursday, 16 July | 10h00 – Invitation to Squares for Mandela Day – 25 Monument Road, General de Wet, Bloemfontein.

Saturday, 18 July | 11h00 – Kommisdrift, Thaba Nchu – Blanket, scarf and soup handover with Her Majesty Kgosi Gaboilelwe Moroka and GBFS of St Patrick Church.

 

For more information on 67 Blankets for Nelson Mandela Day, click on the logo advert to the right of this article.

 

28TH JOMBA! CONTEMPORARY DANCE EXPERIENCE

 

The Centre for Creative Arts and the University of KwaZulu-Natal present 28th JOMBA! Contemporary Dance Experience from August 26 to September 7, 2026.

 

Moving Bodies. Speaking Truth. Choreographing Resistance.

The University of KwaZulu-Natal's Centre for Creative Arts presents the 28th JOMBA! Contemporary Dance Experience, a 13-day celebration taking place from August 26 to September 7, 2026. JOMBA! features internationally-acclaimed choreographers, emerging artists, scholars and audiences in a festival that is one of the continent’s leading platforms for contemporary dance.

This year's programme welcomes artists from South Africa, Spain, France, Jamaica, the Netherlands, Uganda, Ireland, Nigeria, Tanzania and Brazil, presenting an extraordinary programme of performances, artist residencies, workshops, public dialogues, youth platforms and digital dance.

The theme for JOMBA! 2026 is Choreographies of Activism: Moving Bodies as Disruptive Presencing.

Curator and Artistic Director. Dr Lliane Loots, explains: “Whether confronting histories of colonialism, racial injustice, environmental catastrophe, gendered violence, displacement, disability or belonging, dance remains one of humanity's oldest and most powerful ways of making ourselves visible. This year's JOMBA! asks what it means to move as an act of presence - and to dance as an act of activism.”

 

Honouring a Lifetime of Dance Activism

Each year JOMBA! celebrates a South African artist whose contribution has reshaped the country's dance landscape, and this year’s Legacy Artist is the acclaimed choreographer, curator and arts activist PJ Sabbagha, Founder and Artistic Director of the Forgotten Angle Theatre Collaborative. He presents Noah, the concluding work in his Noah trilogy that combines multimedia performance, dance theatre and powerful visual imagery, to reflect on climate crisis, loss, memory and survival. 

 

(THE HERD/LESS_Forward_Thabang Mojapelo_Background_Mamelas Artisic Movement Company)

 

Celebrating South African Choreographic Excellence

Two of South Africa’s most influential choreographic voices, and previous JOMBA! Legacy artists, are Mamela Nyamza and Vincent Mantsoe. Mamela Nyamza, presents her breath-taking ensemble work The Herd/Less, a visually arresting meditation on community, conformity, vulnerability and survival.

Internationally-celebrated choreographer and performer Vincent Mantsoe, whose deeply embodied practice has long bridged ancestral knowledge with contemporary performance, brings his new solo, Desert Poems, which offers an intimate meditation on endurance, spirituality and transformation.

 

A Global Conversation Through Dance

Jamaican guests and one of the Caribbean's leading contemporary dance companies L'ACADCO: A United Caribbean Dance perform in an exhilarating programme 1LUV. Founded and directed by the legendary Dr L'Antoinette Stines, L'ACADCO has a distinctly Caribbean contemporary dance language rooted in African diasporic histories, Jamaican cultural traditions and the internationally acclaimed L'Antech technique. This is a powerful celebration of Black creativity, spirituality and resilience.

Another major highlight is Heroes, presented by the acclaimed Dutch company Introdans in collaboration with Uganda's Joseph Tebandeke and Durban's FLATFOOT DANCE COMPANY. This remarkable programme spans internationally-celebrated choreography by Sidi Larbi Cherkaoui, Iratxe Ansa and Igor Bacovich, alongside South African choreography by Zinhle Nzama, and the inclusive masterpiece IUNGO by Adriaan Luteijn, bringing together performers of different backgrounds, generations and physical abilities.

 

(Left: PEPONI prequel- PEPONI #1 Matthieu Nieto) 

Tanzanian-based French choreographer Matthieu Nieto, presents Peponi (Paradise in Swahili), the debut of the House of Wondar, created in collaboration with Tanzanian performers and South African poet and dramaturg Koleka Putuma. The work explores the idea of paradise from an African perspective, and whether hopeful futures can be imagined and created.

Nigerian-born, Ireland-based choreographer Mufutau Yusuf, whose intimate site-responsive solo Proses on neither here nor there forms part of the KZNSA Gallery programme. Through movement, meditation and quiet physical intensity, Yusuf reflects on mortality, memory and renewal - an immersive encounter that blurs the boundaries between performance, ritual and public space.

 

Spanish Focus: International Collaboration and World Premiere

Following recent successful international Spanish partnerships, JOMBA! offers a focus on contemporary dance from Spain, in partnership with the Embassy of Spain in South Africa.

One of Europe's most exciting choreographic collectives Barcelona-based Iron Skulls Co., with their innovative fusion of breakdance, hip-hop, physical theatre and contemporary dance are the festival’s Artists in Residence. They will develop the world premiere of Accumulation of Unaccountable Awakenings, created with South African choreographer Tebby W.T. Ramasike. This ambitious work brings together Iron Skulls' explosive urban physicality and Ramasike's distinctive Afro-Butoh practice, creating a powerful dialogue around memory, resistance, spirituality and healing. 

 

Other features of the festival include:

The JOMBA! Durban Edge Solo Grants, presented in partnership with the KZNSA Gallery, showcase two newly-commissioned works by Durban artists Skyla Buchanan and Mthokozisi Mkhwanazi.

Digital artists include Cape Town's award-winning Darkroom Contemporary, and Brazilian choreographic duo Davi Pontes and Wallace Ferreira, with the acclaimed film Delirar o Racial (Delirium of the Racial).

JOMBA! DIGITAL OPEN HORIZONS, showcases new screen dance from emerging filmmakers and choreographers; the JOMBA! LIVE OPEN HORIZONS provide a professional performance platform for emerging and established choreographers, and the much-loved JOMBA! YOUTH OPEN HORIZONS, in partnership with the Stable Theatre all add to the festivals’ rich offerings.

The FEMME FORWARD Residency has expanded its commitment to supporting emerging women-identifying dance artists in KwaZulu-Natal. This year's residency focuses on dance for the screen, in partnership with Darkroom Contemporary, with five Durban-based artists.

JOMBA! Talks Dance are post-performance conversations on stage, while the JOMBA! Forging Futures, is a free dialogue to debate questions facing contemporary performance in South Africa and beyond. The JOMBA! KHULUMA Dance Writing Residency supports emerging dance writers, particularly postgraduate dance and performance students, by building their critical writing skills within the festival environment.

Local dancers can take part in professional workshops and masterclasses led by visiting South African and international artists. Booking is essential.

For more information go to: www.jomba.ukzn.ac.za or to book go to Webtickets. Special full festival passes at a discounted rate are available.

NAINA

 

Naina, described as “a breathtaking dance theatre journey” that 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…

 

Naina runs from July 16 to 19 at the Elizabeth Sneddon Theatre.

Booking is through Webtickets, at Pick n Pay outlets or online at https://www.webtickets.co.za/v2/event.aspx?itemid=1597211264

 

Facebook URL: https://www.facebook.com/share/14e4FYb9M7E/

Instagram:  https://www.instagram.com/nehaal_productions_sa?igsh=NTlncnF0bjg2bDJy

EMOTIONAL BLACK MALE AT NAF: REVIEW

 

(Above: Thumamna Ndikuhlekise)

 

(Para-normal Comedy and Vibes ... Review by Dr Verne Rowin Munsamy)

When I was a young reviewer, I relished in reviewing stand-up comedy shows. The late nights of shows that would only start at midnight and end in the early hours of the morning. Listening to numerous comedians and comediennes as they haggle the crowd and made fun of politics, government, religion, culture and individuals.

To end my 2026 NAF review of shows, I went to watch Emotional Black Male by comedian Thumamna Ndikuhlekise. Formally from the Eastern Cape, now trying to live out his dreams in Gauteng, Ndikuhlekise has worked hard to refine his brand of comedy.

When one goes to a comedy show at 10h00 in the morning this signals the start of something unnaturally weird and exciting. You are promptly asked to let go, let loose and simply allow yourself to be entertained and that is exactly what this half-full audience did. He had jokes for all ages, races and personality types. He maintained a good audience rapport as he unpacks crime in Transkei, a comedic play on words that sound the same but have different meanings in different languages and his own personal flaws.

I found his comedic timing to be astute, and his punchlines fresh and delightfully unexpected. Stand-up comedy is a form of entertainment that few can master as it asks the performer to tell stories with unexpected twists, interact with the audience and then find your way back to your stories with precious and expressive language.

Ndikuhlekise was not afraid to speak his polemic voice to advocate for LGBTQIA+ rights, take a stance against crime, and highlight several of the social issues faced throughout our country. His brand of comedy is definitely one to watch in the future and I for one, hope that he too gets to become the next Trevor Noah or Loyiso Gola. - Dr Verne Rowin Munsamy

UMKHUMBANE JAZZ ENSEMBLE TO THE CENTRE FOR JAZZ AND POPULAR MUSIC

 

The Centre for Jazz and Popular Music proudly presents the Umkhumbane Jazz Ensemble (UJE) bringing South Africa's Living Jazz Heritage on Wednesday, July 22, 2026, with music beginning at 17h30.

The Umkhumbane Jazz Ensemble is one of South Africa's celebrated jazz collectives, deeply-rooted in Durban's rich musical heritage and the historic township of Umkhumbane (Cato Manor). Drawing inspiration from communities shaped by migration, cultural exchange, and vibrant township life, the ensemble creates a distinctive sound that seamlessly blends Marabi, Khwela, big-band jazz, and contemporary original compositions. Their music honours South Africa's past while speaking powerfully to audiences today.

Named after the historic Umkhumbane settlement - a place synonymous with cultural resilience, artistic innovation, and community spirit - the ensemble celebrates the rhythms, stories, and traditions of townships where music became one of the strongest expressions of identity, resistance, and hope. Emerging from performances in community spaces, UJE has grown into a respected presence on major jazz stages and cultural festivals across South Africa.

At the heart of the ensemble's work is a commitment to preserving, reimagining, and celebrating South Africa's jazz legacy. By creating opportunities for both established performers and emerging young musicians, UJE ensures that important musical traditions continue to evolve rather than fade into history. Through performance, collaboration, and mentorship, the ensemble keeps this rich cultural heritage alive for future generations.

Whether delivering infectious Marabi grooves, lush horn arrangements, or compelling original works, Umkhumbane Jazz Ensemble offers audiences an authentic, heartfelt jazz experience that is unmistakably South African.

 

Musical Style and Influences

UJE's repertoire spans Marabi, Khwela, classic big-band jazz, and contemporary original compositions. Their music pays tribute to the ground-breaking innovations of South African jazz legends while presenting fresh interpretations that resonate with diverse audiences. The ensemble honours the legacy of iconic artists including Abdullah Ibrahim, Winston Mankunku Ngozi, Hugh Masekela, and many others through dynamic live performances and recordings.

Audiences will also enjoy music from the ensemble's acclaimed debut album, Ezintabeni (2017).

The band consists of Band Leader Jerry Kunene (alto, tenor & soprano saxophone). The driving force behind the ensemble, Jerry Kunene has dedicated his career to mentoring young musicians, many of whom have gone on to establish successful careers of their own, Dumisani Hlela (drums & percussion). A highly-respected performer whose distinguished career includes serving as a member of the late Hugh Masekela's band, Sithembiso Ntuli – (tenor & soprano saxophone - UKZN Jazz Studies alumnus), Muntu Dube (tenor saxophone), Bheki Luthuli (trumpet), Mdu Mbhele (bass guitar) and Ngcebo Radebe (keyboards).

Umkhumbane Jazz Ensemble is more than a band—it is a living cultural archive, preserving the sounds, stories, and spirit of South African jazz for generations to come.

REMNANT AT NAF: REVIEW

 

(Chapters of Loss ... Review by Dr Verne Rowin Munsamy)

 

During the 14 years that I lectured at UKZN, I was fortunate enough to supervise almost a dozen student productions that toured to the National Arts Festival.

Without fail, our venue was always The Rehearsal Room in Settlers Monument. This venue holds the memories of my ingrained training of young performers and as I entered the venue, I couldn't help but be whisked on a nostalgic journey back to those days of touring with some of today's biggest names in the industry as their faces flashed in my mind.

When I was cherry-picking shows I glanced upon Remnant, a dance and physical theatre piece and was immediately draw to it like a moth to a flame, for several reasons; the venue, the allure of dance and the storyline. Remnant is a conceived, choreographed, dance and immortalize by the talented Kayla van der Merwe and Kirsten Shouw and their production company, Tumble Inn. When interviewing them, they divulged that this piece is inspired by their own grief experienced by the loss of Kayla's grandfather and Kristen's dad. They wish to share with the world the grief experienced by daughters but also the light of hope that creeps in slowly as time passes.

The music composition by Gideon Birulu is enticing and perfectly suited to the gentle, reminiscent choreography. The dance is situated around three hanging scrim cloths that are symbolic of the veil between the living and the dead. The lights were mainly in hues of blue which was significant in representing the cold, the starkness that is felt after death. I loved the shadow effects on the scrim cloth and the way the light danced off them. The scrims moved on a trellis to create different spaces and shapes. The scrim sometimes masked some of the choreography and created this space between life, death and persistent memories held onto by the dancers.

The choreography was not fast-paced but gentle with simplicity like the mourning period that leaves us questioning and aloof from the rest of the world. The two performers were magnificent in the sharing of this story and their own experiences. Death and grief is something that we all experience and I couldn't help but be swept away by this emotionally-evocative piece.

The dancing was created from genuine emotion and that made this piece even more rewarding to watch. I felt a deep sense of compassion for the dancers through this choreography.

The story in the dialogue is that of pain, anger, loss, trying to be there for someone through their grief, sadness, remembrance and of hope. The dancers say, "hope found me, lifted my chin to look up at the stars". This is the main underlying message of the piece.

The only prop on set is a chair. This chair, apart from being used as a tool and object for the choreography was also representative of the chair that one sits on while grieving, to hold the waiting body that's hoping for release from grief. The empty chair exemplified the space left behind by the dead. And lastly, it served as a bridge between what was, what is and what is yet to come. A bridge between love that was and life that is.

I was engrossed in this story and choreography and it reminded me of my own loss and grief and how I too found hope again, or if found me in the darkness. I thoroughly enjoyed this concept and execution through dance and physical theatre. Well done to these young artists and theatre-makers. Their future is bright. - Dr Verne Rowin Munsamy

RASPUTIN AND THE DOWNFALL OF THE ROMANOVS: REVIEW

 

(Generally, this is a readable and interesting addition to the literature around the Russian Revolution – and the “mad monk Rasputin. Review by Margaret von Klemperer, courtesy of The Witness)

 

Antony Beevor is a well-respected historian, and here he turns his attention to the extraordinary character of Grigory Rasputin and his role in bringing about the Russian Revolution of 1917 and the collapse of the ruling Romanov dynasty.

On the one hand, he seems a curious choice of subject for another book – Rasputin and the Romanovs have been dug over almost ad nauseam, and you wonder what new information there can be to reveal. And in truth, there isn’t much.

Nevertheless, Beevor’s book is a good retelling of the story, and he emphasises all the way through that rumour, conspiracy theories and gossip are often more powerful – and more destructive – than facts. This is something we would do well to remember in these days of social media. It wasn’t only fake news that brought down the Romanov regime, but it certainly played a big role.

In Beevor’s telling, Tsar Nicholas and his wife, the Anglo-German Tsarina Alexandra were an extraordinarily hapless couple. Neither was very bright, and neither had received any training for the roles they came to occupy. In a way, they were set up to fail – revolution would probably have come to Russia without Rasputin, but once the humourless and inept Tsarina was in thrall to him, the writing was certainly on the wall. Whether his “cures” of the haemophiliac Tsarevich were a lucky coincidence, or something more, what mattered was that the Tsarina was convinced – and the Tsar was too much of a moral coward to go against his wife.

Rasputin himself is something of an enigma, and in the century and more since his deeply gruesome murder, the myths surrounding him have grown to an extent that it seems to be almost impossible to really understand him. Beevor does his best, but Rasputin still seems to be a somewhat ill-defined character. Was he in fact sincere in his beliefs, or was he a pure charlatan? It seems that the jury is still out, and will probably remain so.

Russian high society, into which he managed to insert himself, was a curious mixture of the weirdly permissive and the rigidly correct. The first category was one that Rasputin embraced wholeheartedly, and he must have been extremely charismatic – although pictures and descriptions do make that seem somewhat surprising. And with the backing of the royal couple, he could behave pretty much as he wanted.

The assassination of Rasputin was utterly shambolic as well as vicious, though it came too late to save the regime. But as Beevor makes plain, the main damage was done by the perception of Rasputin’s power over the Tsarina. That, in the eyes of the public, fatally undermined belief in an autocratic regime – and if it is not believed in, autocracy is probably bound to fail.

As in many books on Russia, wading through the Russian names, and nicknames, is something of a problem for the reader. But generally, this is a readable and interesting addition to the literature around the Russian Revolution – and the “mad monk” Rasputin. – Margaret von Klemperer

Rasputin and the Downfall of the Romanovs by Antony Beevor is published by Weidenfeld & Nicolson - ISBN 978-1-3996-3337-6

 

PRINCE OF EGYPT: REVIEW

(An extraordinary epic adventure. Review by Charlotte Fairfax)

The Prince of Egypt is a joyous life-affirming parable of faith and hope. Taking place in the Playhouse Opera from July 10 to 19, it is an important reminder for a world, and country, in crisis.

The Young Performers Project just keeps getting better! For the July school holidays, the YPP project sees Roberto Pombo in the director’s chair for the first time, breathing new life into a quite extraordinary musical unfamiliar to Durban audiences – an adaptation of the DreamWorks film based on the story of Moses as told in the book of Exodus.

Moses’s dramatic adventurous life is well-suited to a theatrical adaptation – the story is familiar: baby in the bullrushes; walking sticks which morph into snakes; burning bushes which don’t burn; ten epic tragedies including floods of blood and plagues of frogs; the parting of the waters of the Red Sea; and Ten Commandments on Mount Sinai.

The story over-ambitiously ticks every plot box eclipsing contemporary tales like Game of Thrones with its sibling rivalry; magic and sorcery; war and pestilence; love, romance and self-doubt. Loads of self-doubt. And pure, powerful faith in bucketloads.

A big sweeping story to work with. The focus of the musical version is the complex relationship between Moses and Ramses - the two headstrong naïve young men, brought up as bothers in privilege, and the life choices they both make.

Everything about this production is bold, considered and confident. Pombo has achieved a masterful YPP debut in his deft, thoughtful, interesting direction. Every inch of the stage is used to full effect, visually emphasising the story’s scale and majesty and giving the cast lots of space to move. And move they do! Pombo’s directorial love language is physical theatre and dance, and he has forged a fabulous connection with choreographer Evashnee Pillay in what must be one of her most challenging projects to date.

The large corps of dancers set the mood, tell the story and are living props: hair forward they become horses pulling chariots; crawling on the ground they become exhausted slaves; with red streamers they are fire; and with blue silks they are the sea.

There are two teams of alternating “juniors” – 40 in each - of primary school youngsters who contribute their well-practiced singing voices to the production’s chorus and whose energy and charm adds huge value to the show.

The exceptional chorus of dancers; choir and large groups of Hebrews and Egyptians; support a slew of stand-out leads. Alex van Schalkwyk, an alumnus of YPP, is the strong voiced, earnest Moses who convincingly displays both his vulnerability and his determination with heartfelt honesty. Matthew Brown’s Ramses is regal and proud. He plays the young insecure Pharoah with great subtlety. Their close emotional but complex bond is played with tenderness and conviction throughout. They are well-supported by Dad, (James Armstrong) who displays dignity, gravitas and humanity to his role as Pharoah Seti.

Although on the surface, it appears that the story is about the two brothers, it is perhaps the feisty, favoured, faithful women whose role to support (or oppose) them which makes Prince of Egypt so extraordinary.

Starting with baby Moses’s brave mother, Jochaved (played with powerful quiet confidence by Camryn Linderboom); and equally brave adopted mother, Queen Tuya (played with great maturity by Joslyn Walters with sparkly headdress and crimson gown). Moses’s faithful and visionary sister Miriam (child Miriam played by sweet voiced Abigael Peters who alternates with Azania Mavimbela, and older Miriam played with heartbreaking raw passion by Isabella Nadauld who alternates the role with Kaitlyn Rex); and spirited wife, Tzipporah, who epitomised girl-power strength (played with guts and fun by Ntsako Mngoma) who is a good foil to Ramses’s bride, the haughty, duty-bound Nefertari (a very elegant Ezekhethelo Zulu). The young Midian daughters who saved and trusted an exhausted Moses in the desert – Keturah (a gracious Ava Govender) and little sister Leah (a delightful Mackenzie Judge.)

The villain of the piece is High Priestess, Anele Mtshali in a standout performance. With her duck like waddle, pointy shoes and deliciously rarified accent, she is the perfect Disney-type villain – simultaneously outspokenly evil, while being laugh-out-loud funny. Her hench-gal priestesses, Lilihle Mtshali and Wren Blore enjoy echoing and imitating their boss.

The always dependable Daniel Mayiza made a charming Jethro, resplendent in his flowing peach robes – the delightful, gentle giant high priest of Midian and father to Tzipporah and her sisters.

Another familiar face to YPP audiences is that of Aaron, Moses’s blood brother played by Noah Bassa. His younger self is Mveli Msomi (who alternates the role with his brother Moya Msomi).

The action takes place in front of an enormous LED screen onto which images and scenes are projected, lending a film-like, high-tech quality to the production.

The score is catchy, with some familiar numbers - Deliver Us, All I Ever Wanted, Through Heaven's Eyes, The Plagues, and the Academy Award-winning anthem, When You Believe popularised by Mariah Carey and Whitney Houston.

 As always, the hardworking production team have excelled themselves - music direction and production management by Des Govender; sound design by Ant Govender; set and prop design by Nicolene Steyn and lighting design by Evan le Roux, supported by youthful assistants: Jenna van Eyssen (assistant director); Khethukuthula Ngcobo (assistant choreographer) and Damien Butt (assistant MD).

Kathy Singery has created incredible costumes and has chosen an interesting colour pallet – muted desert hues of the chorus, contrasting with magnificent Bedouin jewel colours of the Midians; soft whites of the dancers and stark royal blues and bright whites of the Egyptians.

Working with 140 youngsters is no small task, enabling their abundant talent to develop and shine is a true gift. Hats off to Des Govender and her dedicated team for providing such an incredible opportunity.

Every young performer on stage gave 100% all of the time, infusing the audience with magnificent energy. It’s more than a musical, it’s a tonic; an elixir of hope, a beacon of faith and a reminder that what seems impossible can indeed be possible.

After all, there can be miracles when you believe… Review by Charlotte Fairfax

 

Playhouse Opera from July 10 to 19. Tickets through Webtickets.

Tues 14 – 14h30

Wed 15 – 14h30

Thurs 16 – 14h30

Fri 17 – 18h30

Sat 18 – 11h00 and 14h30

Sun 19 – 14h30 / final 

 

THE PLAYROOM AT THE NAF: REVIEW

 

(Above: Brendon Maphake)

(Numbers that anchor vs methods that float us... Review by Verne Rowin Munsamy)

 

In my early 30s, I had the privilege of working with the late wonderful writer-director Clinton Marius. Not only was I fortunate enough to bring his play Fantastic Flea Circus to NAF, but I also got to work with my best friend and award-winning actress Shona Noble.

What I remember most about the show, apart from the sheer pleasure of bringing entertainment to kids, was the amount of energy it takes to keep young minds engaged for an hour. So, when I met two graduated students of mine at NAF I pounced at the opportunity to watch their children's theatre show.

The Playroom, written by Sinovuyo Nqwili and Nwabisa Mbamba (also the director), is about using the Montessori teaching method to create an unconventional, safe learning space for learners who find it difficult to keep up with mainstream educational systems. I loved the way theatre, education, and elements of participatory children's theatre are woven together to create a piece of theatre that captivates audiences both young and old.

The story follows a young boy, brilliant at fixing gadgets but struggling in math in school. His teachers, parent, and other kids have labelled him a dunce and he himself is reluctant to go to school. The ploy also covers themes of bullying, abuse, but most importantly the reluctance of certain individuals to give up on family and friends. The underlying message is that we need to give kids the room to learn at their own pace and in areas that interest them. The repeated moto is that "I am capable, I am not stupid, I will come out on top". 

This motto is repeated in the show and taught to audiences. The show is filled with dance, amazing singing, and fantastic characters suitable for children's theatre. I was thoroughly entertained as a grown 'child' and proud to see my graduated kids making theatre that has entertainment and educational value and anti-bullying undertones.

The cast features Thabang Tshabalala as Narrator and Mvelo Maphake;  Brendan Maphake  as Okwakhe as well as Kgomotso Nkomo as teacher and mother, with Nwabisa Mbambo as Okuhle and bully.

Bravo to the team, I anticipate more revolutionary theatre from you. - Verne Rowin Munsamy

 

MUSIC ON THE RIVER

 

Acoustic Music by the Water: Music On The River finds a new home in the Dargle.

Following the success of its previous riverside iterations - including the 2021 gathering at the Umzimkulu River on the KZN South Coast - the beloved acoustic day-festival, Music On The River, is returning to capture the hearts of the KwaZulu-Natal Midlands. Driven by the community-minded ethos of For Folk Sake, the next edition of the festival seeks to transform the scenic banks of the Umgeni River at the historic Hebron Haven Hotel into a haven for music lovers.

Music On The River offers an intentional escape from the rush of everyday life. Attendees are invited to bring their picnic blankets, camper chairs, and families to spend a slow day relaxing on the grass in the winter sun while listening to a curated line-up of KZN’s finest local musical talent. Being a licensed venue, all alcoholic beverages will be provided by the Hebron Haven Hotel Bar with a beer tent also on the grounds.

 

(Right: Kellen Crystin & Tyran Roy)

 Tyran Roy - event organiser for MOTR, says: “Music On The River was created with the intention of building community and providing an opportunity for friends and families to get together on common ground, in a natural outdoor setting to enjoy a beautiful day together. What might set us apart from most live music events is that our aim has always been to provide grassroots musicians and experienced bands with a platform, not only to sing and entertain but to perform their original material, which we encourage to the highest degree. This way the audience is also exposed to new music and stories all born from South African experiences. Our focus is on raw and real, live performances and building a wholesome event rooted in community.”

 

What to look forward to:

-Live Bands

-Beer Garden

-Food Stalls

-Picnic On The River Banks

-Kids Play Area

 

The music line-up so far:

-Calling Kaine

-Tyran Roy & Kellen Crystin

-The Occasionals

 

 

Event Details:

Date: Saturday. August 1, 2026, from 12 noon to 18h00

Venue: Hebron Haven Hotel, D128, Dargle, Howick.

Admission: R100 Early Bird via Quicket (limited). Tickets will increase incrementally

Kids under 13 enter free. Pensioner discounts are available at the door.

 

Get in touch for more information through Tyran Roy on 0817071841 or email: tyranroymusic@gmail.com or visit Website/Ticketing: https://qkt.io/4f7fZz

FELIX LABAND TALKS TO PETER MACHEN

 

(Right: Felix Laband.. Pic by Dave Southwood)

 

Acclaimed electronic musician and visual artist Felix Laband is the latest creative talent to appear on Talk To Peter, a new podcast from South African arts writer and former Director of the Durban International Film Festival, Peter Machen.

Focusing on the emotional and intellectual processes behind Felix’s music, the in-depth conversation explores the ways in which Felix’s personal life and the ever-changing environment of South Africa have influenced his work. The career-spanning conversation covers a lot of ground, including the difficulties of giving up recreational drugs, a geeky discussion about remixes and covers, and why the music of Bruce Springsteen continues to resonate.

Talking about his latest interview subject, Peter commented: "I first met Felix at South Africa's National Arts Festival when he was a scrappy teenager and I was an aspiring journalist pretending to cover the festival. I remember immediately recognising a deep, punky intelligence in him, and it's that same leftfield genius that courses through his music with a shimmering grace, all these years later."

The interview, along with a showcase of Felix’s work, can be viewed in full at www.talktopeter.com/blog-posts/felix-laband. Felix is currently signed to leading independent German imprint, Compost Records.

 

(Right: Peter Machen)

Peter, who currently lives in Berlin, has been talking to creative people for more than 25 years. His Talk To Peter website and YouTube channel features many of these archives interviews, including with such revered names as Patti Smith, Will Oldham, Arundhati Roy, Baaba Maal, and John Pilger.

Looking towards the future, coming episodes of Talk To Peter include an in-depth conversation with American photographer Roger Ballen and archive interviews with musician Matthew Herbert and REM’s Mike Mills.

For more information about Talk To Peter, contact Peter Machen on peter@talktopeter.com

MY AFRICA DANCE

 

 

(Photograph: Publicity Matters)

 

Ulozolo Youth Organisation presents My Africa Dance - a dance / drama / music production reminding us of the importance of honouring our forefathers in our quest for real freedom and democracy, which will be touring to various schools in six districts throughout July.

Choreographer, Ulozolo Youth Organisation’s Lucky Cele, says: “This is a much-anticipated tour where educational stories of our democracy are celebrated, and where unity and integration depict our true democracy.”

Schools who wish to be part of this amazing experience can contact Lucky Cele directly.

The dancers will visit six district municipalities:

-eThekwini Metro on July 18

- Harry Gwala on July 24

- Ulundi on July 26

-Amajuba on July 28

-Empangeni on July 25

-Ugu District on July 30.

 

Internationally-renowned musical theatre writer, director and choreographer Lucky Cele says: “The production takes us through the life journey of some key struggle hero icons: from their early days; their contribution to the Struggle; how they died and why the country should always remember their legacy. Such stories are told through dialogue, music, and dance to give clarity on how South Africa achieved it democracy.”

“This is something I feel strongly about,” says Cele: “As a generation of young adults, we seem to have forgotten the huge sacrifices our forefathers have made in order for us to be living in a free and fair South Africa: one with a progressive constitution, ample resources, accessible education and many opportunities. We should be living the dream of our ancestors. But we seem to have forgotten what they fought for, and why.

“I want to remind a new generation of what has gone before. Men and women have given their lives for us to have the country of our dreams. Let us honour their stories and be inspired by them.”

Reflecting on some of our struggle heroes and their legacy, is told through a blend of spoken word and dance - a fusion of well-known creatives and emerging artists from around KZN. To make it accessible to a wide an audience as possible, the narration is both in English and in Zulu.

A total of 12 dances tells these amazing stories through contemporary, modern, Zulu, Xhosa, Sophiatown and township dance. The project will also promote acapella music to suit the era. Newly-composed songs will be introduced to the show, and use of struggle songs based on the story will also be used.

A prototype version of this production, called 6/666 was staged at the BAT Centre last December. It is written, directed and choreographed by Lucky Cele and musical director is SA Idols top 10 runner-up, Nkosinathi Shange, produced by Ulozolo Youth Organisation. A youth-led organisation empowering KZN artists with business skills to thrive within the Creative and Cultural Industry.

Schools who wish to be part of this amazing experience can contact Lucky Cele on 0768435499 or email Ulozolo Youth Organisation on ulozoloyouthorganisation@gmail.com