Kerimov Trio to perform a Howard College Theatre on January 30.
The Kerimov Trio - Christopher Duigan with Boris and Elena Kerimov - will perform a selection of classical and popular favourites with their exuberant and dynamic enthusiasm in a concert that will benefit Rotary charities. This will take place in Howard College Theatre on the UKZN campus on January 30.
The concert starts at 19h00 and tickets at R90 include snacks and wine at interval and a lucky draw for a half-case of select wines. Further information and tickets from Colin Bumberry on 082 550 1395 or Errol Hicks on 083 234 3160.
Friday, January 16, 2009
AUDITIONS FOR EAST RAND STEREO 93.9FM PRESENTERS
One of the most popular and biggest community radio stations is looking for new presenters.
East Rand Stereo, one of the most popular and biggest community radio stations in South Africa, is presently busy with auditions for new presenters. East Rand Stereo has been successfully on air for the last 15 years. They broadcast to the community of the East Rand (Ekurhuleni) and programmes include journal and news programmes, music, youth and gospel programmes.
Anton Olwage says that they are specifically looking for younger voices that would be able to broadcast in either English or Afrikaans or both. “We are a community station that serves all levels of the community. Although the focus is presently on younger presenters, everybody that has a talent for radio, is welcome to come and do a voice audition.”
Persons with a degree, diploma or relevant experience in journalism, radio, stage and/ or TV is welcome to email a CV to anton@939.co.za or to fax it to: The Programme Manager at 083 9 101 939. East Rand Stereo is also presenting a very popular Presenter’s Course. For more information about the course, Anton Olwage can be phoned on 083 9 100 939.
East Rand Stereo, one of the most popular and biggest community radio stations in South Africa, is presently busy with auditions for new presenters. East Rand Stereo has been successfully on air for the last 15 years. They broadcast to the community of the East Rand (Ekurhuleni) and programmes include journal and news programmes, music, youth and gospel programmes.
Anton Olwage says that they are specifically looking for younger voices that would be able to broadcast in either English or Afrikaans or both. “We are a community station that serves all levels of the community. Although the focus is presently on younger presenters, everybody that has a talent for radio, is welcome to come and do a voice audition.”
Persons with a degree, diploma or relevant experience in journalism, radio, stage and/ or TV is welcome to email a CV to anton@939.co.za or to fax it to: The Programme Manager at 083 9 101 939. East Rand Stereo is also presenting a very popular Presenter’s Course. For more information about the course, Anton Olwage can be phoned on 083 9 100 939.
BARACK OBAMA DOCUMENTARY
Singh and Schechter collaborate on documentary feature of president-elect of the US.
Film producer Anant Singh has announced the production of a documentary feature on Barack Obama, president-elect of the United States of America. Entitled Barack Obama: People's President, the film, is written, produced and directed by Danny Schechter (Weapons of Mass Deception, Viva Madiba: A Hero For All Seasons) and produced by Anant Singh and executive produced by Sudhir Pragjee, Sanjeev Singh, Helena Spring and Rory O'Connor. Singh also announced that negotiations are currently underway with South African and US networks for the broadcast rights.
Barack Obama was elected President of the United States through the most unprecedented campaign in American history. A young, and relatively unknown political leader, he was not given a chance by the political insiders because of his race and inexperience. He defied the odds with a campaign that flew under the radar of the political elite and the mass media.
Barack Obama: People's President shows how his campaign mantra of “Yes We Can” became “Yes We Did”, astonishing Americans and exciting world opinion. This is the story of how Obama inspired and organized millions of new voters to support him, and how brilliantly the internet was used as a communications and networking tool as part of the campaign. The film goes inside the grass roots campaign and also speaks with activists, journalists and political leaders like South Africa’s Desmond Tutu and Ahmed Kathrada who took Obama to Robben Island.
“I spent decades in commercial news,” says director, Danny Schechter, “and I know how superficial coverage can often miss the real story. The Obama triumph is much more fascinating than what’s been reported in the media. Barack Obama: People's President tells the real story of Obama’s journey to the White House with previously unseen footage and interviews,” Schechter worked at CNN and ABC NEWS before co-founding Globalvision.
Producer, Anant Singh adds, “The election of Barack Obama as the first black president of the United States is historic. We are delighted to have partnered with Danny Schechter to produce and direct this film. He documented Nelson Mandela’s journey to become the first back president of South Africa in Countdown To Freedom, which tracked the ANC’s election campaign, culminating with the inauguration of Mandela as president. I was in the United States on election day and decided then that we would make a film on the first black and one of the youngest presidents of the United States. We are pleased to have produced Barack Obama: People's President and to have scooped much of the world press.”
Barack Obama: People's President is a Distant Horizon and Videovision Entertainment production of a Danny Schechter Dissection / Globalvision Film. It is Executive Produced by Sudhir Pragjee, Sanjeev Singh, Helena Spring and Rory O'Connor and Produced by Anant Singh. The film is written, produced and directed by Danny Schechter.
Film producer Anant Singh has announced the production of a documentary feature on Barack Obama, president-elect of the United States of America. Entitled Barack Obama: People's President, the film, is written, produced and directed by Danny Schechter (Weapons of Mass Deception, Viva Madiba: A Hero For All Seasons) and produced by Anant Singh and executive produced by Sudhir Pragjee, Sanjeev Singh, Helena Spring and Rory O'Connor. Singh also announced that negotiations are currently underway with South African and US networks for the broadcast rights.
Barack Obama was elected President of the United States through the most unprecedented campaign in American history. A young, and relatively unknown political leader, he was not given a chance by the political insiders because of his race and inexperience. He defied the odds with a campaign that flew under the radar of the political elite and the mass media.
Barack Obama: People's President shows how his campaign mantra of “Yes We Can” became “Yes We Did”, astonishing Americans and exciting world opinion. This is the story of how Obama inspired and organized millions of new voters to support him, and how brilliantly the internet was used as a communications and networking tool as part of the campaign. The film goes inside the grass roots campaign and also speaks with activists, journalists and political leaders like South Africa’s Desmond Tutu and Ahmed Kathrada who took Obama to Robben Island.
“I spent decades in commercial news,” says director, Danny Schechter, “and I know how superficial coverage can often miss the real story. The Obama triumph is much more fascinating than what’s been reported in the media. Barack Obama: People's President tells the real story of Obama’s journey to the White House with previously unseen footage and interviews,” Schechter worked at CNN and ABC NEWS before co-founding Globalvision.
Producer, Anant Singh adds, “The election of Barack Obama as the first black president of the United States is historic. We are delighted to have partnered with Danny Schechter to produce and direct this film. He documented Nelson Mandela’s journey to become the first back president of South Africa in Countdown To Freedom, which tracked the ANC’s election campaign, culminating with the inauguration of Mandela as president. I was in the United States on election day and decided then that we would make a film on the first black and one of the youngest presidents of the United States. We are pleased to have produced Barack Obama: People's President and to have scooped much of the world press.”
Barack Obama: People's President is a Distant Horizon and Videovision Entertainment production of a Danny Schechter Dissection / Globalvision Film. It is Executive Produced by Sudhir Pragjee, Sanjeev Singh, Helena Spring and Rory O'Connor and Produced by Anant Singh. The film is written, produced and directed by Danny Schechter.
CONVERSATIONS WITH YOUR EX
Clever script by Gail Snyman includes much humour, beautifully delivered. (Review by Maurice Kort)
Conversations with Your Ex is a two-hander presented by Gail Snyman and Chantal Snyman on the Musho Festival.
The play is set in the very comfortable homely lounge of the widow, Mrs Ogle (Gail Snyman), which opens with an exhausted Mrs Ogle soaking her aching feet in a washbasin of water having just celebrated the wedding of the younger daughter of her three children - Delia, Lloyd and Donna. Tired she may well be, but very cheerful over the wedding as she is joined by the other daughter, Delia (Chantal Snyman) who enters carrying a large box of wedding presents.
They happily relive the joy of the wedding with the two enacting the antics of various wedding guests, notably Chantal Snyman as the exuberant dancing Angela at the wedding.
Chantal Snyman describes her irritation at her relatives at the wedding harping on the fact that she is not yet married, an all-too familiar scenario at weddings, and this leads to her giving her reasons why this is the case. These include her disastrous sex life with Roger, the first great love of her life, at ten years old with little Joey, and David, who was very quirky, to say the least.
Gail Snyman reminisces about her 32-year marriage with her late husband, Frank, including how they initially met, which gives her the opportunity of giving a very sweet rendition of Love Me Tender. In this way the two share their thoughts, memories, insights, philosophies and dreams about their relationships. These include failed liaisons, unrequited love and dodgy affairs. This is done most convincingly in the clever script by Gail Snyman, which includes much humour, beautifully delivered.
The play is rather short at about 40 minutes and it could be expanded with these vignettes being fleshed out or more being added. Like all good plays, humour is followed by pathos and sadness - again beautifully presented. The result is a very enjoyable, thought-provoking and well performed and written play.
The two performances of Conversations with your Ex at the Musho International Festival are on January 15 at 20h00 and January 16 at 18h00 at the Catalina Theatre, Wilson’s Wharf. – Maurice Kort
Conversations with Your Ex is a two-hander presented by Gail Snyman and Chantal Snyman on the Musho Festival.
The play is set in the very comfortable homely lounge of the widow, Mrs Ogle (Gail Snyman), which opens with an exhausted Mrs Ogle soaking her aching feet in a washbasin of water having just celebrated the wedding of the younger daughter of her three children - Delia, Lloyd and Donna. Tired she may well be, but very cheerful over the wedding as she is joined by the other daughter, Delia (Chantal Snyman) who enters carrying a large box of wedding presents.
They happily relive the joy of the wedding with the two enacting the antics of various wedding guests, notably Chantal Snyman as the exuberant dancing Angela at the wedding.
Chantal Snyman describes her irritation at her relatives at the wedding harping on the fact that she is not yet married, an all-too familiar scenario at weddings, and this leads to her giving her reasons why this is the case. These include her disastrous sex life with Roger, the first great love of her life, at ten years old with little Joey, and David, who was very quirky, to say the least.
Gail Snyman reminisces about her 32-year marriage with her late husband, Frank, including how they initially met, which gives her the opportunity of giving a very sweet rendition of Love Me Tender. In this way the two share their thoughts, memories, insights, philosophies and dreams about their relationships. These include failed liaisons, unrequited love and dodgy affairs. This is done most convincingly in the clever script by Gail Snyman, which includes much humour, beautifully delivered.
The play is rather short at about 40 minutes and it could be expanded with these vignettes being fleshed out or more being added. Like all good plays, humour is followed by pathos and sadness - again beautifully presented. The result is a very enjoyable, thought-provoking and well performed and written play.
The two performances of Conversations with your Ex at the Musho International Festival are on January 15 at 20h00 and January 16 at 18h00 at the Catalina Theatre, Wilson’s Wharf. – Maurice Kort
Thursday, January 15, 2009
LETTER FROM AZRA DANIEL FRANCIS
In response to review of “Drama Queen” – biographic novel by James Parker about Professor Elizabeth Sneddon.
I agree totally with your review, Caroline Smart, pointedly with respect to the title of the book.
I find the mixing of novel and biography genres awkward in places. Because I served alongside Elizabeth Sneddon for eleven years, first as her student and then colleague at the university, I find some details in Parker's story while acceptable as novel, are unsettling as biography. From the author's style, I am unsure how much is which.
James Parker, having known her for over thirty years, please write a pure biography of Elizabeth Sneddon, a uniquely heroic and noble South African.
Sincerely, Azra Daniel Francis.
I agree totally with your review, Caroline Smart, pointedly with respect to the title of the book.
I find the mixing of novel and biography genres awkward in places. Because I served alongside Elizabeth Sneddon for eleven years, first as her student and then colleague at the university, I find some details in Parker's story while acceptable as novel, are unsettling as biography. From the author's style, I am unsure how much is which.
James Parker, having known her for over thirty years, please write a pure biography of Elizabeth Sneddon, a uniquely heroic and noble South African.
Sincerely, Azra Daniel Francis.
REVIEW OF THAÏS
Review of John Cox’s lavish Chicago Lyric Opera staging of Massenet’s opera now showing at Cinema Nouveau outlets. (Review by William Charlton-Perkins)
Starry skies, desert dunes and a palm-fringed oasis alternate with gilded interiors in John Cox’s lavish Chicago Lyric Opera staging of Massenet’s Thaïs, recently imported by New York’s Met to showcase reigning US prima donna, Renée Fleming, in one of her favourite roles as the opera’s 4th Century Alexandrian courtesan who eventually finds God. Unashamedly the raison d’être for this hark-back to unbridled French romanticism, the ultra-glamorous soprano is decked out in a succession of gorgeous Christian Lecroix gowns, especially designed for her New York appearances. The production was filmed for worldwide satellite transmission and is now showing nationally at South African Cinema Nouveau outlets.
Thaïs was first performed in Paris in 1894 with Massenet’s muse, the American soprano Sybil Sanderson, in its title role. It has since had to wait for suitably gifted protagonists to emerge periodically, for it to be resurrected. The last time it was seen at the Met was in 1978, when it was staged for Beverley Sills towards the end of her career. The current production catches Fleming at the height of her powers: given her extraordinary visual and vocal allure, it is no wonder the diva emotionally slays baritone Thomas Hampson as the evangelizing monk, Athanaël, on his quest to win her over from her depraved lifestyle.
After Massenet’s death in 1912, detractors slated the opera as dramatically implausible and musically uneven. But with sensitive interpreters it works well, give or take a few drawn-out bits in which the baritone protests too much, moralizing at length as he attempts to disguise his suppressed sexual obsession.
Jesús López-Cobos conducts with commitment and elegance, making the most of the score’s characteristic strengths, not least its linking motifs associated with its various characters and situations. Tenor Michael Schade is convincing as the rich merchant, Nicias, who hires Thaïs at exorbitant cost. He provides a suitable foil for Thomas Hampson’s Athanaël. The supporting cast is equally fine. The Met’s concert master, David Chan, delivers a memorable account of the work’s famous solo violin intermezzo, the bitter-sweet Méditation.
Thaïs is well worth seeing, but be prepared for a long haul (close on four hours), with intervals, backstage interviews, scene changes, et al. – William Charlton-Perkins
Starry skies, desert dunes and a palm-fringed oasis alternate with gilded interiors in John Cox’s lavish Chicago Lyric Opera staging of Massenet’s Thaïs, recently imported by New York’s Met to showcase reigning US prima donna, Renée Fleming, in one of her favourite roles as the opera’s 4th Century Alexandrian courtesan who eventually finds God. Unashamedly the raison d’être for this hark-back to unbridled French romanticism, the ultra-glamorous soprano is decked out in a succession of gorgeous Christian Lecroix gowns, especially designed for her New York appearances. The production was filmed for worldwide satellite transmission and is now showing nationally at South African Cinema Nouveau outlets.
Thaïs was first performed in Paris in 1894 with Massenet’s muse, the American soprano Sybil Sanderson, in its title role. It has since had to wait for suitably gifted protagonists to emerge periodically, for it to be resurrected. The last time it was seen at the Met was in 1978, when it was staged for Beverley Sills towards the end of her career. The current production catches Fleming at the height of her powers: given her extraordinary visual and vocal allure, it is no wonder the diva emotionally slays baritone Thomas Hampson as the evangelizing monk, Athanaël, on his quest to win her over from her depraved lifestyle.
After Massenet’s death in 1912, detractors slated the opera as dramatically implausible and musically uneven. But with sensitive interpreters it works well, give or take a few drawn-out bits in which the baritone protests too much, moralizing at length as he attempts to disguise his suppressed sexual obsession.
Jesús López-Cobos conducts with commitment and elegance, making the most of the score’s characteristic strengths, not least its linking motifs associated with its various characters and situations. Tenor Michael Schade is convincing as the rich merchant, Nicias, who hires Thaïs at exorbitant cost. He provides a suitable foil for Thomas Hampson’s Athanaël. The supporting cast is equally fine. The Met’s concert master, David Chan, delivers a memorable account of the work’s famous solo violin intermezzo, the bitter-sweet Méditation.
Thaïs is well worth seeing, but be prepared for a long haul (close on four hours), with intervals, backstage interviews, scene changes, et al. – William Charlton-Perkins
THE LAST LEGION
M-Net to screen movie with Colin Firth, Ben Kingsley and Aishwarya Rai about the Roman Empire.
On January 16 at 20h00, M-net will screen The Last Legion directed in 2007 by Doug Lefler and starring Colin Firth, Ben Kingsley and Aishwarya Rai in which a brave Roman guard, a beautiful female warrior and a sorcerer have to protect a boy king during the dying days of the Roman Empire.
The mighty Roman Empire is crumbling. There have been five Caesars in as many years, so when Romulus, 12, becomes the next Caesar, his parents are understandably worried. They appoint Aurelius and his legionnaires to play bodyguard, but during the crowning festivities, the Barbarians storm the city. A mighty battle ensues, and many Romans are killed. Romulus and his tutor are kidnapped and taken to the island fortress of Capri. But Aurelius is not dead. Gathering a small band of soldiers around him and accompanied by a mysterious Byzantine warrior, he sets out to rescue the boy and reinstate him as the ruler of Rome.
On January 16 at 20h00, M-net will screen The Last Legion directed in 2007 by Doug Lefler and starring Colin Firth, Ben Kingsley and Aishwarya Rai in which a brave Roman guard, a beautiful female warrior and a sorcerer have to protect a boy king during the dying days of the Roman Empire.
The mighty Roman Empire is crumbling. There have been five Caesars in as many years, so when Romulus, 12, becomes the next Caesar, his parents are understandably worried. They appoint Aurelius and his legionnaires to play bodyguard, but during the crowning festivities, the Barbarians storm the city. A mighty battle ensues, and many Romans are killed. Romulus and his tutor are kidnapped and taken to the island fortress of Capri. But Aurelius is not dead. Gathering a small band of soldiers around him and accompanied by a mysterious Byzantine warrior, he sets out to rescue the boy and reinstate him as the ruler of Rome.
BURN AFTER READING
Welcome return to quirky, dark comedy for writer-directors Joel and Ethan Coen. (Review by Billy Suter, courtesy of The Mercury)
The opening film of the 2008 Venice Film Festival, Burn After Reading marks a welcome return to quirky, dark comedy for writer-directors Joel and Ethan Coen, who earned a new respectability as Oscar-winners for No Country For Old Men, which they reportedly co-wrote simultaneously with this new release.
Tagged as a smart film about stupid people, Burn After Reading revolves around selfish, conniving, despairing folk ensnared in situations arising from misunderstandings. It’s a delightfully loopy romp.
It’s a convoluted caper with colourful characters brilliantly realised by a top ensemble cast, and crowned with dazzling performances from a hyperactive, goofy, gum-chewing, rave-dancing Brad Pitt (with hair from hell), and the unfailingly wonderful Frances McDormand, whose performance has been nominated for a Golden Globe, as has the film itself.
Sort of spy caper-meets sex farce, the film opens with the superb John Malkovich as Ozzy, a severely frazzled CIA agent who resigns instead of accepting a demotion linked to a booze problem. This prompts him to stew at home and write memoirs that will reveal all about his spying days – at a time when his uptight wife (a nicely icy Tilda Swinton) is meeting for regular rumpy-pumpy with a married federal marshall agent (George Clooney), who has a thing for quality flooring, regular romantic dalliances arranged via the internet and the creation of a clunky contraption designed for novel use of a certain sex toy.
When a computer disk containing Ozzy’s memoir notes winds up on the floor of a gym and is found by airhead personal trainer Chip (Pitt), the plot shifts up a gear.
Chip and fellow gym employee Linda (McDormand) decide to blackmail Ozzy – Chip for the hell of it and a few dollars, Linda to get enough for the plastic surgery she’s long craved. But one thing leads to another, complications arise in unexpected areas, cheaters and schemers collide. And the story twists and tumbles, perhaps a little too slowly at times, to a climactic final reel that leaves some folks dead and others scratching their heads to try to figure out just what the heck is going on.
Deceit, greed, vanity, ignorance, lust ... all get a light finger-wag during a story that features some fine character acting from a cast that includes an understated Richard Jenkins as gym manager Ted, a former man of the cloth who has a crush on Linda. Also of note in smaller roles are K Simmons as the CIA bigwig who is dazed and confused by the outlandish events unfolding, relayed to him by an earnest underling (an excellent David Rasche).
It may not be the Coen brothers best film, not by a long chalk, but Burn After Reading has enough spark to light up the new year when it come to great matinee entertainment. See it – it’s alone worth the ticket price for Pitt and McDormand’s terrific turns! Rating 8/10 - Billy Suter
The opening film of the 2008 Venice Film Festival, Burn After Reading marks a welcome return to quirky, dark comedy for writer-directors Joel and Ethan Coen, who earned a new respectability as Oscar-winners for No Country For Old Men, which they reportedly co-wrote simultaneously with this new release.
Tagged as a smart film about stupid people, Burn After Reading revolves around selfish, conniving, despairing folk ensnared in situations arising from misunderstandings. It’s a delightfully loopy romp.
It’s a convoluted caper with colourful characters brilliantly realised by a top ensemble cast, and crowned with dazzling performances from a hyperactive, goofy, gum-chewing, rave-dancing Brad Pitt (with hair from hell), and the unfailingly wonderful Frances McDormand, whose performance has been nominated for a Golden Globe, as has the film itself.
Sort of spy caper-meets sex farce, the film opens with the superb John Malkovich as Ozzy, a severely frazzled CIA agent who resigns instead of accepting a demotion linked to a booze problem. This prompts him to stew at home and write memoirs that will reveal all about his spying days – at a time when his uptight wife (a nicely icy Tilda Swinton) is meeting for regular rumpy-pumpy with a married federal marshall agent (George Clooney), who has a thing for quality flooring, regular romantic dalliances arranged via the internet and the creation of a clunky contraption designed for novel use of a certain sex toy.
When a computer disk containing Ozzy’s memoir notes winds up on the floor of a gym and is found by airhead personal trainer Chip (Pitt), the plot shifts up a gear.
Chip and fellow gym employee Linda (McDormand) decide to blackmail Ozzy – Chip for the hell of it and a few dollars, Linda to get enough for the plastic surgery she’s long craved. But one thing leads to another, complications arise in unexpected areas, cheaters and schemers collide. And the story twists and tumbles, perhaps a little too slowly at times, to a climactic final reel that leaves some folks dead and others scratching their heads to try to figure out just what the heck is going on.
Deceit, greed, vanity, ignorance, lust ... all get a light finger-wag during a story that features some fine character acting from a cast that includes an understated Richard Jenkins as gym manager Ted, a former man of the cloth who has a crush on Linda. Also of note in smaller roles are K Simmons as the CIA bigwig who is dazed and confused by the outlandish events unfolding, relayed to him by an earnest underling (an excellent David Rasche).
It may not be the Coen brothers best film, not by a long chalk, but Burn After Reading has enough spark to light up the new year when it come to great matinee entertainment. See it – it’s alone worth the ticket price for Pitt and McDormand’s terrific turns! Rating 8/10 - Billy Suter
WOMEN WHO WAIT
Strong performance by Phumzile Masin in story of women struggling to survive, living with choices apparently not made by them, (Review by Shika Budhoo)
Women Who Wait, a one woman show written and produced by Zuki Vutela, performed by Phumzile Masin and directed by Vivian Moodley, with Madala Kunene on guitar; attempts to portray the various plights of assortment of women.
In the show, the four woman characters that seemed focal characters were that of the coloured pregnant teenager, the businesswoman who owns a construction company, the prostitute and the preacher. The show began with the introduction of a radio DJ who was presenting on radio station www.womenwhowait.com. An introduction to the renowned Madala Kunene got the show going. She answers calls and reads letters from avid listeners to the show and we are consequently given their selected stories.
Masin, a skilled performer, has a unique energy on stage. I particularly enjoyed her vibrant portrayal of the preacher, and found myself frequently replying ‘hallelujah’ and ‘amen’ in response to her statements. One statement this character made and emphasized with grace, confidence and prowess of a woman, was when she was preaching about the behaviours women should avoid she concluded “… stop directing your complaints to you men… change your point of view…” at which point she changes her tested glasses for a classic pair of yellow sunglasses and aptly points out “Your future is too bright…” It is great words to build a woman’s confidence in herself, and made me for a moment realize that it very well maybe that easy ‘to change your point of view’ when it may help.
Masin is blessed with features that physically transform on stage with the aid of different costume. It was difficult to believe that when she was on stage, dressed as a prostitute, drunk and falling over that she was the same radio DJ that opened the show. Apart from a quickly pulled on wig, with hair hanging out the back, it was an entertaining scene, hiccups included.
Madala Kunene provided a live-soundtrack to the piece and played alongside Masin. From beginning to end it was a marvel to see his ease on stage, a comfort obviously learnt from many years in entertainment, inspiration and pure soul sounds. Masterfully he has the rhythm for emotive music that strums a soul chord.
However, I don’t think he particularly fitted in with the running themes of the show. After a slow start, the show needed to be propelled and upbeat, rather than emotive, music may have been an option to match the passion of the characters presented and further enhance the slow links between scenes. More pace was desperately needed and the numerous costume changes slowed the show down. We were often left waiting for something to happen, perhaps a nod to the title? Set was minimal, lighting simple and props present were under-used. I felt if other props and a detailed DJ box were added to the set, a tighter performance may have been presented. Throughout the show there were projections on a screen of subject matter pertaining to the individual monologues delivered. Audio visual features Khwezi Ngwenya; Nosipho Ngwendu and Phumzile Mabunda.
Women Who Wait told the story of women struggling to survive, living with choices apparently not made by them… and towards the end of the play the preacher character dishes out motivating words intending to mobilize the women present. -Shika Budhoo
Women Who Wait, a one woman show written and produced by Zuki Vutela, performed by Phumzile Masin and directed by Vivian Moodley, with Madala Kunene on guitar; attempts to portray the various plights of assortment of women.
In the show, the four woman characters that seemed focal characters were that of the coloured pregnant teenager, the businesswoman who owns a construction company, the prostitute and the preacher. The show began with the introduction of a radio DJ who was presenting on radio station www.womenwhowait.com. An introduction to the renowned Madala Kunene got the show going. She answers calls and reads letters from avid listeners to the show and we are consequently given their selected stories.
Masin, a skilled performer, has a unique energy on stage. I particularly enjoyed her vibrant portrayal of the preacher, and found myself frequently replying ‘hallelujah’ and ‘amen’ in response to her statements. One statement this character made and emphasized with grace, confidence and prowess of a woman, was when she was preaching about the behaviours women should avoid she concluded “… stop directing your complaints to you men… change your point of view…” at which point she changes her tested glasses for a classic pair of yellow sunglasses and aptly points out “Your future is too bright…” It is great words to build a woman’s confidence in herself, and made me for a moment realize that it very well maybe that easy ‘to change your point of view’ when it may help.
Masin is blessed with features that physically transform on stage with the aid of different costume. It was difficult to believe that when she was on stage, dressed as a prostitute, drunk and falling over that she was the same radio DJ that opened the show. Apart from a quickly pulled on wig, with hair hanging out the back, it was an entertaining scene, hiccups included.
Madala Kunene provided a live-soundtrack to the piece and played alongside Masin. From beginning to end it was a marvel to see his ease on stage, a comfort obviously learnt from many years in entertainment, inspiration and pure soul sounds. Masterfully he has the rhythm for emotive music that strums a soul chord.
However, I don’t think he particularly fitted in with the running themes of the show. After a slow start, the show needed to be propelled and upbeat, rather than emotive, music may have been an option to match the passion of the characters presented and further enhance the slow links between scenes. More pace was desperately needed and the numerous costume changes slowed the show down. We were often left waiting for something to happen, perhaps a nod to the title? Set was minimal, lighting simple and props present were under-used. I felt if other props and a detailed DJ box were added to the set, a tighter performance may have been presented. Throughout the show there were projections on a screen of subject matter pertaining to the individual monologues delivered. Audio visual features Khwezi Ngwenya; Nosipho Ngwendu and Phumzile Mabunda.
Women Who Wait told the story of women struggling to survive, living with choices apparently not made by them… and towards the end of the play the preacher character dishes out motivating words intending to mobilize the women present. -Shika Budhoo
WOMEN WHO WAIT
Musho production set in broadcast studio features brilliant performance by Phumzile Masin. (Review by Maurice Kort)
Set in the broadcast studio of the radio station of www.women_who_wait.com, the Women Who Wait is billed as a story of love, life and hope in times of hopelessness. The brilliant performance by Phumzile Masin brings the cleverly-written and produced play by Zuki Vutela to life, under the meticulous direction of Vivian Moodley.
Phumzile Masin is all professional brightness as the radio DJ with headphones and microphone introducing the guitar solo, provided by Madala Kunene, before launching into her patter. This includes reading letters from four listeners. The first is from Tessa, from Wentworth. While Madala Kunene plays suitable linking music, Phumsile Masin disappears to change her dress and appearance into Tessa, as a 17 year-old Coloured girl, pregnant and - pretty well … toothless, giving her story.
This sets the pattern of the play, with Phumsile Masin changing costume, hairdo, features, accents and personality, during linking musical interludes by Madala Kunene. The result is superb performances with appreciative applause from the enthralled audience as a protester trying to decide on which placard to use at her protest at Problem Mkhize Road and a prostitute bewailing her sad life as her child has been taken away by her mother resulting in her no longer receiving child support - to maintain her drug habit. She thus has to resort to prostitution. Her enactment of intending to write a letter to the President about her HIV Positive condition while in an extremely inebriated state was superb.
The broadcaster then welcomes Annabelle Pretorius (not seen) and Sithembile Kheswa, the CEO of a construction company, a vivacious, bubbling Phumzile Masin into the studio, in another excellent cameo. Illustrating further issues of hopelessness is the phone call from Marla from Chatsworth describing her problems with her husband, again with a complete change of accent by Phumzile Masin, who, as the broadcaster, also details reasons given by those intending to commit suicide. The crowning performance is her subsequent role as a Church Minister stirring up the audience, who responded enthusiastically, giving hope to all and the journeys to inner peace of the women.
An integral part of the production is the video projection, by Khwezi Ngwenya; Nosipho Ngwendu and Phumzile Mabunda, augmenting the action on stage, on a large screen at the back of the stage. The play deserves further, longer exposure later in the year. – Maurice Kort
Set in the broadcast studio of the radio station of www.women_who_wait.com, the Women Who Wait is billed as a story of love, life and hope in times of hopelessness. The brilliant performance by Phumzile Masin brings the cleverly-written and produced play by Zuki Vutela to life, under the meticulous direction of Vivian Moodley.
Phumzile Masin is all professional brightness as the radio DJ with headphones and microphone introducing the guitar solo, provided by Madala Kunene, before launching into her patter. This includes reading letters from four listeners. The first is from Tessa, from Wentworth. While Madala Kunene plays suitable linking music, Phumsile Masin disappears to change her dress and appearance into Tessa, as a 17 year-old Coloured girl, pregnant and - pretty well … toothless, giving her story.
This sets the pattern of the play, with Phumsile Masin changing costume, hairdo, features, accents and personality, during linking musical interludes by Madala Kunene. The result is superb performances with appreciative applause from the enthralled audience as a protester trying to decide on which placard to use at her protest at Problem Mkhize Road and a prostitute bewailing her sad life as her child has been taken away by her mother resulting in her no longer receiving child support - to maintain her drug habit. She thus has to resort to prostitution. Her enactment of intending to write a letter to the President about her HIV Positive condition while in an extremely inebriated state was superb.
The broadcaster then welcomes Annabelle Pretorius (not seen) and Sithembile Kheswa, the CEO of a construction company, a vivacious, bubbling Phumzile Masin into the studio, in another excellent cameo. Illustrating further issues of hopelessness is the phone call from Marla from Chatsworth describing her problems with her husband, again with a complete change of accent by Phumzile Masin, who, as the broadcaster, also details reasons given by those intending to commit suicide. The crowning performance is her subsequent role as a Church Minister stirring up the audience, who responded enthusiastically, giving hope to all and the journeys to inner peace of the women.
An integral part of the production is the video projection, by Khwezi Ngwenya; Nosipho Ngwendu and Phumzile Mabunda, augmenting the action on stage, on a large screen at the back of the stage. The play deserves further, longer exposure later in the year. – Maurice Kort
SOUNDS FROM HERE
Supported by the Israeli Embassy and Tararam- The South African Israeli cultural fund.
Emotions were intense at opening of the only international show at this year’s Musho! Theatre Festival. (Review by Shika Budhoo)
Staff of the Catalina Theatre, organizers of the festival, patrons to the festival, crew, director and cast were all visibly tense as the Israeli show, Sounds From Here, began preparation for their first performance. A small group of protestors gathered outside the Catalina, carefully monitored by the SAPS, shouting slogans and waving banners in defiance of the Israeli government. After this shaky start to the evening - when every audience member was made fully aware of the inescapable nature of politics - we left the theatre somewhat confused as to reason for the protest because the show, Sounds From Here, was rather a personal story of life and lifestyle.
It was a unique experience for me as I was made truly aware of the personal and political ties that facilitate our existence. The protest (sort of an unwanted pre-show event), I must mention, made me fully aware of the principals of protection, desperation, conflict, security, fear and hope. The production explored all these ideologies and more. So, in a sense, what may have appeared as a ‘conflict’ start to this show, in a strange way enhanced my viewing of it and pushed me to think harder about what the presentation of this piece of theatre involved and its outcome.
It was not ‘just’ a piece of theatre. It had immediate links to the world around it and, with the tense environment, it made it more an awareness piece - which for me, was exactly what the piece, Sounds From Here, was about. Awareness! However, it was not about political awareness, but rather SELF-awareness…
Sounds From Here is a strictly post-modern piece of theatre that may have left the usual theatregoer alienated by its sheer presentation. The one-woman show, performed by Rasha Jahshan, a Palestinian performer from Nazareth, and directed by Israeli-Italian Dorit Weintal presented the awareness of one woman amidst the changes that are inevitable. Changes in environment, in body, and in thought. Jahshan’s character explored the constant re-evaluation one has to undergo in order to survive, and the push and pull of the psyche that affects all areas of life. A psyche that had been affected and afflicted with an existence plagued with the fact that a truly personal experience can never completely be shared.
A physical theatre piece, Sounds From Here, is spoken in Arabic and Hebrew, with a live English translation voice-over. There is no ‘story’ (progression) as such but, as in a true post-modern work, it comes specifically from one point of view, told using various techniques and open to a host of interpretations. In this performance, it was evident that Jahshan broke many barriers, theatre and personal. The element of childhood and development was a strong personal component. It was both an emotional piece of theatre- as the intensity of the performance was sterling - as well as a didactic piece of theatre -if you allowed yourself to be spurred by the impetus of the images, words, movements and unconventional visuals offered.
With her voice, entire body expression and her relation to the ‘almost’ empty stage, Jahshan was able to transform moment to moment in her performance, expressing the changes in thought and emotion exceptionally well. Her energy was slow and steady when need be, and fast and frenetic when intensity built. Lighting was a vital component to this piece of work as the choice of colours, the level of light spillage and the transformation of spaces were brilliantly conveyed completely complimenting the experience. The piece was ‘dark’ in nature from the beginning with Jahshan lying on the ground, resembling an injured patient in a hospital ward (with an innovative drip as part of props and set included) to the end when she is exhausted from giving so much of herself and collapses in the same position as the starting image. The scene during which she searches for the light in darkness and as she finds it, it disappears, struck many a chord in the common notion “looking for the light”, a concept I’m sure all can relate to.
The piece embraces the techniques of Bertolt Brecht, in that many devices of alienation were explored, i.e. making the audience fully aware of their presence as onlookers, calling on them to be part of the action, when Jahshan climbs her way through the auditorium of people in the audience and the physical contact she makes with certain audience members amongst other techniques. Brechtian techniques asks for the audience to look on and learn and feel alienated, but in some way have a connection to the secular message portrayed in a way that propels action in thought or behaviour.
Sounds From Here explores the constant jump between public and private space. In both private and public, the questions of what is allowed, what is prohibited, what is needed, what is discarded… what is and what isn’t? They are questions that we are constantly faced with, the need to understand and make sense of that we are fed and what we choose to eat? The image of Jahshan, drinking and throwing up simultaneously may be the image that startled and completely confused the audience… it was a raw image, with no pretty connotations. The acts performed simultaneously made me more aware of the constant tug-o-war that is inside us all. It is the tug-o-war of what we ‘want’ people to see, what ‘they’ choose to see and what is actually paid attention to…
Sounds From Here is an emotionally stimulating piece of work if you allow it to be, and even if you aren’t emotional, it’s a chance to view a piece of work that is true to the post-modern eccentricities of our age… - Shika Budhoo
Emotions were intense at opening of the only international show at this year’s Musho! Theatre Festival. (Review by Shika Budhoo)
Staff of the Catalina Theatre, organizers of the festival, patrons to the festival, crew, director and cast were all visibly tense as the Israeli show, Sounds From Here, began preparation for their first performance. A small group of protestors gathered outside the Catalina, carefully monitored by the SAPS, shouting slogans and waving banners in defiance of the Israeli government. After this shaky start to the evening - when every audience member was made fully aware of the inescapable nature of politics - we left the theatre somewhat confused as to reason for the protest because the show, Sounds From Here, was rather a personal story of life and lifestyle.
It was a unique experience for me as I was made truly aware of the personal and political ties that facilitate our existence. The protest (sort of an unwanted pre-show event), I must mention, made me fully aware of the principals of protection, desperation, conflict, security, fear and hope. The production explored all these ideologies and more. So, in a sense, what may have appeared as a ‘conflict’ start to this show, in a strange way enhanced my viewing of it and pushed me to think harder about what the presentation of this piece of theatre involved and its outcome.
It was not ‘just’ a piece of theatre. It had immediate links to the world around it and, with the tense environment, it made it more an awareness piece - which for me, was exactly what the piece, Sounds From Here, was about. Awareness! However, it was not about political awareness, but rather SELF-awareness…
Sounds From Here is a strictly post-modern piece of theatre that may have left the usual theatregoer alienated by its sheer presentation. The one-woman show, performed by Rasha Jahshan, a Palestinian performer from Nazareth, and directed by Israeli-Italian Dorit Weintal presented the awareness of one woman amidst the changes that are inevitable. Changes in environment, in body, and in thought. Jahshan’s character explored the constant re-evaluation one has to undergo in order to survive, and the push and pull of the psyche that affects all areas of life. A psyche that had been affected and afflicted with an existence plagued with the fact that a truly personal experience can never completely be shared.
A physical theatre piece, Sounds From Here, is spoken in Arabic and Hebrew, with a live English translation voice-over. There is no ‘story’ (progression) as such but, as in a true post-modern work, it comes specifically from one point of view, told using various techniques and open to a host of interpretations. In this performance, it was evident that Jahshan broke many barriers, theatre and personal. The element of childhood and development was a strong personal component. It was both an emotional piece of theatre- as the intensity of the performance was sterling - as well as a didactic piece of theatre -if you allowed yourself to be spurred by the impetus of the images, words, movements and unconventional visuals offered.
With her voice, entire body expression and her relation to the ‘almost’ empty stage, Jahshan was able to transform moment to moment in her performance, expressing the changes in thought and emotion exceptionally well. Her energy was slow and steady when need be, and fast and frenetic when intensity built. Lighting was a vital component to this piece of work as the choice of colours, the level of light spillage and the transformation of spaces were brilliantly conveyed completely complimenting the experience. The piece was ‘dark’ in nature from the beginning with Jahshan lying on the ground, resembling an injured patient in a hospital ward (with an innovative drip as part of props and set included) to the end when she is exhausted from giving so much of herself and collapses in the same position as the starting image. The scene during which she searches for the light in darkness and as she finds it, it disappears, struck many a chord in the common notion “looking for the light”, a concept I’m sure all can relate to.
The piece embraces the techniques of Bertolt Brecht, in that many devices of alienation were explored, i.e. making the audience fully aware of their presence as onlookers, calling on them to be part of the action, when Jahshan climbs her way through the auditorium of people in the audience and the physical contact she makes with certain audience members amongst other techniques. Brechtian techniques asks for the audience to look on and learn and feel alienated, but in some way have a connection to the secular message portrayed in a way that propels action in thought or behaviour.
Sounds From Here explores the constant jump between public and private space. In both private and public, the questions of what is allowed, what is prohibited, what is needed, what is discarded… what is and what isn’t? They are questions that we are constantly faced with, the need to understand and make sense of that we are fed and what we choose to eat? The image of Jahshan, drinking and throwing up simultaneously may be the image that startled and completely confused the audience… it was a raw image, with no pretty connotations. The acts performed simultaneously made me more aware of the constant tug-o-war that is inside us all. It is the tug-o-war of what we ‘want’ people to see, what ‘they’ choose to see and what is actually paid attention to…
Sounds From Here is an emotionally stimulating piece of work if you allow it to be, and even if you aren’t emotional, it’s a chance to view a piece of work that is true to the post-modern eccentricities of our age… - Shika Budhoo
SOUNDS FROM HERE
Difficult to comprehend this production of symbolism in all its aspects on a single viewing. (Review by Maurice Kort)
The Musho International Festival gives exposure to small works of one and two hander plays and is hosted by the Performing Arts Network of South Africa (PANSA) in KZN at the Catalina Theatre and the BAT Centre from January 8 to 18, 2009.
Musho is a Zulu word effectively being the equivalent of "Bravo" and is used for agreement with praise singers. Continuing the trend set at the previous Musho Festivals, there is again an offering from Israel, made possible by the generous support of Tararam, the South African Israel Culture Fund and the Israeli Embassy. This prestigious festival was indeed graced by the presence of Dov Segev-Steinberg, the newly appointed Ambassador for Israel in South Africa, who has just taken up his post in Pretoria.
Sounds from Here is very much non-linear physical theatre with many layers. The concept and direction are by Dorit Weintal, an Israeli-Italian theatre director who has been working in Israel and the Netherlands as a creator and as a performer since 1998.
The actor bringing the production to life is Rasha Jahshan, a Palestinian performer from Nazareth. It is full of symbolism and attempts to portray the subconscious psychology of woman, her conflicts and difficulties in a world dominated by men and their values. It is exemplified by a Palestinian woman living in Israel but it is not a political piece and could personify a woman living anywhere. The problems faced by women are universal.
The piece can be viewed as not being specific to any time or place and moves in and out of the personal and non-personal experiences of the woman. It can be considered on many levels which the audience will see in different ways. It is indeed very difficult to comprehend all its aspects on a single viewing. Riddled with symbolism, it is very open to several interpretations, depending on the viewer and his or her thoughts and experiences.
By means of her words and movements, against a complicated soundtrack and with the aid of video footage, her life, desires, dreams, fears, conflicts, challenges, rebukes, ambivalence, tears and yearnings for emancipation from the constraining chains of life as a woman are portrayed. This is exemplified by the long chain of lights attached to her wrist and the knots she ties in a sheet and later tries to untie. The play is very much a metaphor for the struggle and conflicts in life and the essence of womanhood. Great stress is placed on childbirth and the struggle of having to bring a child into this harsh world.
The huge clash of cultures is exemplified by the conflict of an Arab woman smoking a cigarette in front of her father, or sleeping with her boyfriend. This scene was not directed well as the dialogue was split between Rasha Jahshan at the back of the theatre and video footage on the screen on stage and it was extremely difficult to follow both, hear all the dialogue and read the subtitles. Much of the script by Rasha Jahshan was in Arabic with a voice-over in English by Dorit Weintal. This was far too soft and was very difficult to hear, most of it being inaudible. The sound needed to be turned up considerably. Much of the conflict arising from changing cultures was therefore lost.
Indicating the resulting torture of these conflicts was Rasha Jahshan spinning out of control and wanting out, exacerbated by women being brain washed by societies' "norms". There is also the symbolism of a woman being treated as a puppet on a string by the string puppet in the video paralleling the action of the woman in the flesh and the scene where dolls are being placed in the sand.
Each of the plays at the Musho Festival has two performances and those of Sounds from Here are on January 13 and January 14, both at 20h00 at the Catalina Theatre (Wilson’s Wharf). Tickets R50 (R25 students and Old Age Pensioners) with season tickets at R200 for five shows. For more information visit the web site www.mushofestival.co.za and to book tickets contact the Catalina Theatre on 031 305 6889. – Maurice Kort
The Musho International Festival gives exposure to small works of one and two hander plays and is hosted by the Performing Arts Network of South Africa (PANSA) in KZN at the Catalina Theatre and the BAT Centre from January 8 to 18, 2009.
Musho is a Zulu word effectively being the equivalent of "Bravo" and is used for agreement with praise singers. Continuing the trend set at the previous Musho Festivals, there is again an offering from Israel, made possible by the generous support of Tararam, the South African Israel Culture Fund and the Israeli Embassy. This prestigious festival was indeed graced by the presence of Dov Segev-Steinberg, the newly appointed Ambassador for Israel in South Africa, who has just taken up his post in Pretoria.
Sounds from Here is very much non-linear physical theatre with many layers. The concept and direction are by Dorit Weintal, an Israeli-Italian theatre director who has been working in Israel and the Netherlands as a creator and as a performer since 1998.
The actor bringing the production to life is Rasha Jahshan, a Palestinian performer from Nazareth. It is full of symbolism and attempts to portray the subconscious psychology of woman, her conflicts and difficulties in a world dominated by men and their values. It is exemplified by a Palestinian woman living in Israel but it is not a political piece and could personify a woman living anywhere. The problems faced by women are universal.
The piece can be viewed as not being specific to any time or place and moves in and out of the personal and non-personal experiences of the woman. It can be considered on many levels which the audience will see in different ways. It is indeed very difficult to comprehend all its aspects on a single viewing. Riddled with symbolism, it is very open to several interpretations, depending on the viewer and his or her thoughts and experiences.
By means of her words and movements, against a complicated soundtrack and with the aid of video footage, her life, desires, dreams, fears, conflicts, challenges, rebukes, ambivalence, tears and yearnings for emancipation from the constraining chains of life as a woman are portrayed. This is exemplified by the long chain of lights attached to her wrist and the knots she ties in a sheet and later tries to untie. The play is very much a metaphor for the struggle and conflicts in life and the essence of womanhood. Great stress is placed on childbirth and the struggle of having to bring a child into this harsh world.
The huge clash of cultures is exemplified by the conflict of an Arab woman smoking a cigarette in front of her father, or sleeping with her boyfriend. This scene was not directed well as the dialogue was split between Rasha Jahshan at the back of the theatre and video footage on the screen on stage and it was extremely difficult to follow both, hear all the dialogue and read the subtitles. Much of the script by Rasha Jahshan was in Arabic with a voice-over in English by Dorit Weintal. This was far too soft and was very difficult to hear, most of it being inaudible. The sound needed to be turned up considerably. Much of the conflict arising from changing cultures was therefore lost.
Indicating the resulting torture of these conflicts was Rasha Jahshan spinning out of control and wanting out, exacerbated by women being brain washed by societies' "norms". There is also the symbolism of a woman being treated as a puppet on a string by the string puppet in the video paralleling the action of the woman in the flesh and the scene where dolls are being placed in the sand.
Each of the plays at the Musho Festival has two performances and those of Sounds from Here are on January 13 and January 14, both at 20h00 at the Catalina Theatre (Wilson’s Wharf). Tickets R50 (R25 students and Old Age Pensioners) with season tickets at R200 for five shows. For more information visit the web site www.mushofestival.co.za and to book tickets contact the Catalina Theatre on 031 305 6889. – Maurice Kort
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