At the Market Theatre for the opening of “Breakfast with Mugabe, Standard Bank had an influence, drinks, soup, bread and general snacks on the house. Posed for pictures with distinguished people, met the director Calvin Ratladi.
Written by Fraser Grace, ‘Breakfast with Mugabe’ stars Themba Ndaba portraying Mugabe and Gontse Ntshegang as his wife, Grace. Craig Jackson plays Mugabe’s psychiatrist, Dr Peric, while Zimbabwean actor Farai Chigudu takes on the role of Mugabe’s bodyguard. The play is about Zimbabwean president Robert Mugabe’s fictional imagining of conversations with white psychiatrist Dr Peric. Initially, Mugabe is avoidant, he misses appointments and comes late. They go deep delving into Mugabe’s psyche, the struggle is unearthed, bombings comes to the surface and love of country is elevated. The characters speak in Shona for realism, the play is in English. Exploitation happens, the white farmer loses his farm. The play explores grief, healing, faith, nationalism and legacy.
The set is in Zimbabwe’s head of state, coat of arms on the wall and a portrait of a painting on the other side of the wall. Elevated slightly by a stage in the middle is a trio of chairs and a table for juice. On the ground is soil, it features at the start and the end of the play. Themba Ndaba is brilliant as Robert Mugabe, he embodies his mannerisms, the restless energy, panting, speech and demeanor. I loved Gontse Ntshegang, she is so beautiful and amazing, she stole the show as Grace. She is after your farm white man. Craig Jackson as Dr Peric is a psychiatrist whose about learn what it means to be a white farmer in Zimbabwe, he learns the hard way, he loses. Farai Chigudu as the bodyguard beats up the white psychiatrist.
Thought-provoking piece of theatre that delves into the intricacies of human nature. I know I missed so much, it’s not something you watch once. You need multiple viewings to scratch the surface. It can completely go over your head, it needs meditation and contemplation. This is undoubtedly a masterpiece.
Congratulations Calvin Ratladi and the whole team for a great show and a deserved standing ovation.
At Joburg Theatre for the opening of “Carmen”, full house, mature demographic. Always wanted to go the opera since “The Godfather”. It has that appeal, the voices, drama, emotion, gusto, heritage and culture.
I love this form of storytelling, they sing dialogue, less to do with words and more about emotion, feeling and execution. Sing your heart out, be expressive and articulate, take your time, the stage is yours. The opera is sung in French and English subtitles to translate, it helped with continuity and following the story. Don’t have the vocabulary to describe the voices, such beauty, heavenly is my attempt. The choruses are mezmarrizing, in sync, perfect delivery and immersion in the current moment. In flow and in love with what they were doing. You have to have a voicebox, good pipes and deliver high notes. Tone deaf and you don’t have a chance! Even when they were laughing, they were in tune. This is not idols, no wooden mics for untalented people. These are serious professionals, people who dedicated their whole lives to opera – music. People who can really sing. Four acts, large ensemble, orchestra, gorgeous costumes, the sets change in every act, they transport you to Seville. Love consumes, a tragic story about betrayal and love. My first experience of the opera and I absolutely loved it. Shoutout Bridget and The Buz Hive.
The story unfolds in the sun-drenched streets of Seville, where Carmen – an independent woman – refuses to be bound by anyone’s rules. Her relationships with the soldier Don José and the charismatic bullfighter Escamillo ignite a stormy love triangle of passion, jealousy, and betrayal. George Bizet on the score, some of the pieces performed are “Habanera,” and Toreador Song. The Sempre Opera Ad Hoc Choir, under the direction of Kobus Buys are perfect. Everything is perfect.
Congratulations George Bizet and the whole team for a great show and a deserved standing ovation.
I am not a fighter, I am a reader, way to pretty to get in a fist fight. I am not a savage, I provide the light, alright, I am bright, way too pretty to not be on your sight. You can have the glory but keep fucking me with me and you’ll be sorry, turn you into content cause your whole vibe is just boring. Fighting over a bitch? Would never get involved like a snitch. Vibe crooked like a witch, that ain’t my craft, I am a work of art. She’s all yours, way too pretty to engage in trivial affairs. It’s not an affair, she wants me but can’t get me, life isn’t fair. Look at the skin, clear like the cloudless blue sky, no lie, glowing and radiating like the sun of God. Would walk on water if I wasn’t transfixed by my image. I am the legend of Narcissus who lived to become a poet. Work of art, number one forever, you can never get leverage. I am greatness personified, it doesn’t matter in what age. Too pretty even when I age, would never entertain your rage, too dignified like a sage, too pretty even when I age. Work of art, revered by God’s, way to major to play a minor part, way too pretty to not play the part.
On the square to watch The Tramp. Amanda Bothma, Daniel Anderson and Paul Ferreira – devastating triple threat! Stick to the secret formula, let’s get the people on their feet cheering and clapping.
Amanda Botha on the script, good feelings, reverse engineering, biographical, sharp witted, with personality, contemplation and reflection. Paul Ferreira on piano, spotless without a blemish, backbone, the pulse silently beating to provide life and sustenance. The first time I ever saw Daniel Anderson perform, I thought “goat” and I managed to shake his hand and tell him to his face. The goat has struck again, back to back, within weeks to casually deliver another masterpiece. I maintain my stance, the greatest performer of all time, it’s amazing what he does on the stage, simply unbelievable. He has energy, expressive, animation and enjoyment on his face, he is mobile and on his feet, running, climbing on top of props, dancing, singing and telling a story all at once. Charisma so bullish, it ripples through the ceilings of charts. Fantastic endurance, breath-control and stamina. Singing and voice intonation is just world class. Captivates you from the first minute until the end, presence, commanding, enthralling. When he sang “If my friends could see me now” after Charlie Chaplin became the most famous person in the world, it connected. I loved smile.
Wonderful set design by Willem Disbergen, middle screen that provides visual cues, we see footage of Charlie Chaplin’s films, two big suitcases that are also screens and the wheelchair Chaplin reels in the show with as an old man at the start of the show. Paul is next to the steps, giving the stage to Daniel to fully optimize. Sonwa Sakuba provides the choreography, worked well with Daniel to match Chaplin’s mannerisms and movements.
Born in London, England Charlie Chaplin transcended and innovated the moving picture business and found his way to Hollywood where he was later exiled. Chaplin wrote, edited, directed, produced, starred and composed music for most of his films. He refused to work with sound films. The show explores Charlie Chaplin’s life, his ascent to the top, the construction of “The Tramp”, the silent era, his movies; The Kid, The Gold Rush and City Lights, the film with Adolf Hitler and how he became the most recognizable person in the world.
An outstanding show, Wela Kapela make me so excited. Daphne Kuhn and Theatre on the square deliver yet again, effortless.
Congratulations Amanda Bothma and the whole team for a great show and a deserved standing ovation.
At the Market Theatre for the opening of “The moon looks delicious from here”. The story follows Aldo Brincat, from Malta, born in Egypt Alexandria, who immigrates to apartheid South Africa. The play explores identity, family, language, sexuality and a ever changing political landscape.
No sets, no backdrop, clear stage, no fancy lighting, just him telling the story from different perspectives, dressed in all black with linking rings in his back pocket. He is on his feet the whole time. The magic tricks with his rings are spellbinding, so illusory, one moment he is holding two rings and the next six. When you look again the rings are all tangled up to form the Audi logo, then the Olympics logo and then the circles are in singles again. It’s magic. As a magician, he dreams to perform for Nelson Mandela someday.
Amazing storyteller who literally creates magic out of nothing. He is the show. He creates something from moment to moment, no lag time. He strings you along, you are in his capable hands. He provides the tempo and enacts the characters in his story with ease. He switches in and out, switching voices and mannerisms beat by beat to create a cadence that is seamless. He is captivating and tells the story with heart. The performance has a lot of range, that’s to be expected considering the characters he inhabits. A storytelling magician, he is in complete flow the whole time. Makes it seem so easy but it’s not because he does so much, inhabing different characters under one breath. The opening scene consists of two characters, one male and one female. To illustrate the differences between the characters, he uses one of the linking rings in his hand as a hat for the male and uses the other linking ring as a fan to convey the females perspective. It is effective, he also switches voices and intonation for dramatic effect. The show has elements of physical theatre, he mimics the sounds of objects.
Solo performances are often tricky and difficult, to entertain and keep the audience invested in the storyline is no child’s play but it’s no big deal for Aldo, he seemingly does everything on his own, with just linking rings in his back pocket. It’s easy, it’s masterful, pure magic. A storytelling masterclass.
Congratulations Sjaka Septembir and the whole team for a great show and a deserved standing ovation.
Some of you ladies don’t need a man in your lives, you are Alphas, ballbreakers! You even have balls and raging testosterone. But oh, I get it, you are a “strong woman” right? What a load of bullshit! This PC culture makes me sick. Relax, go be a “strong woman” over there, alone. Ain’t no man got time for that. Better, try being gay or is it lesbian, sorry I am not woke, that strap-on will give you the dick you have always longed for. Cut off your tits to complete the transformation and if you are flat, then you have completed the transformation. Who said anything about being submissive, there’s a war on gender and you are being dismissive. Who taught you to hate yourself? You identify as what? My nigga, gender is a fact! That ain’t blood, it’s beet juice just like the imitation of a dick you have that’s kinda cute. “Strong woman” why don’t you cut the shit, yous a alpha chick, a ballbreaker. Own it and get a bitch ass nigga you can dominate.
Some of you ladies don’t need a man in your lives, you are Alphas, ballbreakers! Let’s cut the bullshit, gender is a fact! This PC culture makes me sick.
Great show, wonderful story grounded in reality. Charmaine Weir-Smith is my new favorite actress, I’ve started following her on Instagram! Her performance was awesome, she killed it! I saw my mother in her. Crazy how social media can be both a blessing and a curse. On the one hand you get to see pictures of your crush, on the other hand it can induce depression with the incessant comparing. Let’s not forget how a viral campaign can make or break you. It certainly destroyed this family, we have the idiot, insensitive son to thank for this misfortune. It was a stupid joke, why would they broadcast it to the world like that? It was easy to care for the characters, I think a family dynamic enforces that. The show was funny and the pacing was perfect, awesome writing and masterful acting down to the microexpressions. It was a performance show and the cast performed! I am also guilty of using Facebook as a form of escapism, it’s easier to live through the lives of others especially when your life is filled with boredom. Rape is never an easy topic, a lot of cringe moments, I was left frustrated and disappointed with the idiot son. I shared in the father’s disappointment. He deserved the expulsion and to lose his beautiful girlfriend, he gets no sympathy out of me. The marital problems of the husband and wife has me contemplating about marriage, is it viable? Is it worth it? Are all marriages like that or is it just a running gag at this point? The lighting of the show was awesome, the lights moved the show, the lighting told the story. I was watching but I didn’t feel like a bystander, I was immersed in their world, I could relate with the characters, I understood their conundrum and like them I didn’t have the answers. I love that there is no Hollywood-fairytale conclusion because life isn’t like that, the human condition is difficult and we improvise along the way, no one has the answers and we are all fated to die. No one will remember us in the grander scheme of things because time forgets. Ending the show with the sons fuck-up was a nice touch and we also saw the notorious viral video, true boys will be boys but that was the worst video I’ve ever seen in my life, deserving in the expulsion of all those who where involved. Yes, harmless fun, boys playing around, it’s a joke, it’s funny, no one was raped but the expulsion is justified, they tainted the schools image and potentially the reputation. I salute and applaud the whole team. That was a classic show, the best. I loved the social commentary, it’s fun to observe, condemn and laugh at ourselves on the stage.
Wonderful story, great sets and the best Jazz music, I recognized the coal stove, worn out door and cohabitation associated with being from the township. A stadium of people can coexist and live together in a 4 room house and that’s the case in this story. Maybe not a stadium but family, extended relatives, girlfriend and close friend. Jewish girl moves in and is welcomed to the family. I love the family dynamic, makes the characters relatable as you can see yourself in their image, it forces you to care for the characters and stay engaged with the story, the conversations are hearty, free flowing and feel natural, dialogue funny, witty, serious, heartfelt and emotional. The show had everything, it was supremely entertaining. There’s a lot of range, textures and layers to the acting. For the most part the show is comedic but it does get threatening and dramatic. I cared for the characters, I saw my sister, mother, father and uncle. The gangster was humanized in a way I had not seen since “The Sopranos”, we got to see what the protagonist is usually like with his family, that made him a bit likeable despite the fact that he is a bad person with questionable morality. Like on “The Sopranos”, his family are enablers of the lifestyle. The mother welcomes a life of crime since his son gives him money. The gangster’s girlfriend, Princess is textbook Carmella Soprano with the lavish lifestyle and like Carmella, she is manipulated and bought with jewelry. She stays in the relationship despite the physical and emotional abuse. She is labeled “A princess of the slums” and as such, she has to take all the abuse, she has no other place to go, she has no other options, she’s living a good life, she’s in, she’s in! For most of the show, it feels like a sitcom, the live Jazz band controls the tempo and creates the feel, the 1954 Sophiatown jazz feel, love the costumes, the double breasted suits, cane’s and hats, it is gentlemanly and gives intellectual vibes. The actors on the stage were amazing, they were convincing, they were in sync, they had chemistry, they had a lot of enthusiasm and were animated and lively. They looked like they were having a lot of fun, they connected deeply with their characters. My favorite character is Lulu, the school girl, she’s funny and I appreciate her perspective. I enjoyed the gangsters performance, he had the crowd at the palm of his hand, he is violent, a bully, exhibits preditory behavior, manipulative and an overall bad person. Oh well, what do you expect from a gangster? Yes he is a family man but a gangster nonetheless. Great cheographed moves with wonderful melodic and harmonic singing, the band are amazing throughout, they are hidden for most part of show by the set (Shacks/Informal settlements) but they are revealed to the audience when Sophiatown is bulldozed to the ground. The depiction of the township is so accurate with the loud dogs and music, it made chuckle. In the end, everybody moves out or to be precise is forced out! Even Princess snaps out the trance she was in and figures she deserves better. Segregation and apartheid prevails and the white Jewish girl moves to Yeoville, ending the chance at romance with her black writer intellectual, the gangsters righthandman Charlie, is forced to live in pipes under a bridge because he is colored and can’t move to Meadowlands. One day gets knifed to death courtesy of a fight he was involved in. The rest of the family gets relocated to Meadowlands. Their movers are unsympathetic, insensitive Dutch men who are on a schedule and don’t negotiate with anyone, they just bring everything down! Having identified with the core characters for more than 2 hours, you feel their pain and helplessness at the situation. In the end they all lost. Amazing story with authentic characters played by actors who executed optimally.
Theatre is female. Daphne opened the door, Regina called me in, Sharon took me with her and Sam showed me everything. These are all my girls, I love them with impunity, they loved me and I love them forever. After I took the “Dress Code” script, I experienced some turbulence. Me and Regina were at loggerheads and she didn’t want me at the theatre anymore. I had defied, disrespected her and my time working as stage manager was done! I was tired of being bossed around, she was tyrannical and condescending. She never missed the opportunity to remind me that I owed her for the job. It was unfair and inaccurate, I landed the job myself. I talked to Daphne, I was at the theatre every week watching shows, the theatre needed help with operations and they approached me to help and I accepted. Regina switched everything around, it was I who needed the job, I was lucky to be there and she was the one who hired me not Daphne. I went with what she said because I needed to be there so I can understand the landscape and be apart of theatre. She started with that narrative very early on, one the first day and she was on top from the very first day. She dominated me, she was overbearing, she humiliated me, every time Daphne paid me, she made it a point to ask me how much she had paid me. After my response she would proceed on reminding me how lucky I was I had that job. I was doing the job, I was perfect at it, I was an asset to theatre and yet I was in bondage to her! She used to tell me every day that this was her theatre. Her demeanor was narcissistic. I hated that. I knew I wasn’t going to last from the first day she took that R100 from me, I knew I would turn on her sooner rather than later. What she didn’t understand is that I wasn’t motivated by money or fear, I was doing this for the love. That gave me the edge to be strategic because I wasn’t afraid of losing the job, I welcomed it if it meant I couldn’t work with dignity. She wanted your balls for that paycheck and my balls were mine. I dislike being micromanaged, I prefer to work with autonomy and space, I will do the job perfect if not I will take responsibility for the down fall. I don’t need to be put down and reprimanded in front of an audience, that won’t give you the best results. The truth is that me taking that script was premeditated, I was being spiteful, I wanted her to see and acknowledge me, it was my receipt for everything and my way of showing her that I was pretty narcissistic too. The script had other uses too, I took it to get close to the cast, I knew I wasn’t going to last at the theatre. I anticipated her response, she was outraged and played the victim when I was only reflecting her, I knew my position at the theatre was secured. I stayed away for a while but I’ll be back.
Now that I wasn’t working at the theatre anymore, I connected with Sharon. When we were together working on the “Dress Code”, she said she wanted to take me with her after “Dress Code”. I never forgot that. I told her the theatre didn’t have space for me anymore and reminded her of what she said. She acquiesced and stuck to her word giving me tickets to her shows. When I talked to her, she was there, responding with speed, attention and care. It would have been easy to dismiss me but she didn’t. When theatre had turned it’s back on me and I had nothing, she was there, she was theatre and she was the best. Her show with Allen Committee “Same Time, Next Year” at Montecasino was awesome, she mesmerized me, such talent, I was in awe and she took me to Montecasino, something that raised my spirits because I was not on the square anymore. I will never forget Sharon Spiegel-Wagner, she was there for me, she’s the reason I stayed with theatre and she did it alone. She did take me with her, after the square, I was at two of her shows. I got VIP treatment, I had the best seats and got to see her and hug her after the show. Only good feelings about Sharon.
I came back on the square to watch some shows and was a regular again. They had some kid who replaced me. Good kid, good energy and we connected quite well but to be honest he wasn’t better than me. I was not intimidated at all, in fact I was relieved. True, I do have a bias that makes me think I am the best but I also give credit where it’s due. I didn’t think this new kid was going to last. I thought Regina was going to eat him up! I was happy he was there because he gave me space to maneuver around. With him around I’d be at the theatre more often and have zero responsibilities whilst engaging and living with the people in the theatre. The last time I was there, I didn’t control the narrative, I worked there for a month and towards the end I was painted as an asshole. A label I welcome because I had to be one. With the new kid there, I’d paint my picture, they would see me for who I was and not through unfair projections that weighed me down. I would interact with the staff and help out where necessary whilst avoiding being micromanaged and taking orders from the boss. It was perfect, let him do the job, I’ll take the credit, my plan was long-term. It worked out pretty well, the theatre was home again, every time I showed up I was greeted with a cold beverage and the staff absolutely loved me. When the theatre was packed I assisted the staff and Daphne would give me something in terms of monetary compensation. It was part-time work but I got what I wanted, I was working with autonomy. The new kid didn’t last, he was my replacement but I was working alongside him. I was doing his job better than him. He was the second replacement who couldn’t replace me, oh well at least he worked for a couple of months. After months of labor, Regina finally let down her guard and welcomed me back to the theatre. She gave me back my R100 and I apologized for taking the script, I acknowledged it was a jerk move and we have a new relationship. The truth is that I’ve been an asshole at times, I did her and the theatre wrong, I am not perfect. Still, she forgave me multiple times and tried to show me what was right. I realize that she fought with me so much because she cared. She was the only person who cared. She wanted me to do the right thing. I love her for that even though at times I couldn’t communicate that. Yes, I was selfish and egotistical but it was a defense mechanism. The world had not been kind to me. She gave me everything, she gave me a chance, she took me me in and I will always be grateful for that. I love her the best. Love flows, we are cool.
One day I came in to watch “Vincent”, a show I knew pretty well. It was their second run, their first run was successful. The show is highly acclaimed and was always sold out. I served as a member of the production team on the first run and I was happy to be a part of the crowd for the second. That’s when I met Sam of SamSays and we connected right away, with the greatest of ease. It was so easy talking to Sam, everything flowed. She was a theatre enthusiast and knew everything and everyone. She reviewed shows and went all around the country. We talked about theatre and the Springboks, the World Cup final was playing that day All Blacks vs. Springboks, a game we won! It was a perfect day, “Vincent” was a masterpiece and we won the World Cup. I followed her on her socials and we have been close ever since. She has taken me everywhere! She recommends the best shows and she helps out in every way possible. No hyperbole, Sam is the best thing that has happened to me in the world of theatre. She expanded my horizon and I met new and awesome people because of her. Her reviews are great and I rate her very highly. I never would have met Sam if I didn’t take that “Dress Code” script, I never would have connected with Sharon Spiegel-Wagner if it weren’t for that script. Taking that script is the best thing I’ve ever done. Theatre loves me post that script.
At Joburg Theatre to watch SARAFINA. Beyond ecstatic to watch this masterpiece. Full house, every seat taken and it’s like that for the remainder of the run. The movie is pretty great but there is nothing like the theatrical production.
Bantu education, exuberant youth in black and white uniform, soldiers, police, violence, despair and hope. I’ll extend my neck and declare that it’s the greatest show of all time! Perfect choreography, heavenly voices, boundless energy, relatable South African characters, world class performers, fabulous lighting that moved the story and the content is king! The lighting throughout the show is just wonderful. The set evokes the 1970’s, wide stage that is separated by a fence. One side is the students world and the otherside, the soldiers world. On either side of the students world is scaffolding. When there was a monologue, the students dispersed to the scaffolding, making the stage bigger for the performer sharing the monologue. Focus, intensity, with the spotlight fully illuminating the performer.
The play speaks to something deep – freedom. The right to exist without demarcation, limitations or conditions imposed by the unjust, unfair system. The right to just be. Huge stage, the performers make used of every inche. They run, they jump, they dance, they are energetic, animated, expressive and free. The music band are just the best. At the start of the show, the theatre suffered a blackout, the auditorium was dark, the band carried on playing as the audience took out their cellphones to provide the light. It was a beautiful sight, like fireflies. Small glitch, the lights came back on and the crowd went crazy! We were invested in the story from the very start. The show had everything, it was comedic, silly, serious, festive, covered injustices, Bantu education, unrest, sexual assault, apartheid and death. Crocodile is so mischievous! He physically beat his classmates to be Nelson Mandela. His classmates still picked Sarafina, a girl, to be Nelson Mandela. Being the strongest doesn’t always produce the desired effect. So in love with mistress, she teaches her classes with complete conviction, the students trust and respect her. When she performed in that red dress it was as if I were struck by cupid’s arrow.
This is a large ensemble and everyone is important. Some of the names in the production are Noxolo Dlamini, Hlengiwe Pearl and Busisiwe Mhlanga.
Nompumelelo Gumede-Ngema provided the choreography.
Sarafina is the greatest theatrical production of all time. It’s a complete theatrical experience. Thank you to the visionary, an absolute Legend, Mbongeni Ngema for his genius. Thank you to the exceptional performers who gave everything to bring the story alive. SamSays on the credits.
Congratulations Mpho Molepo and the whole team for a great show and a deserved standing ovation.
antakalipa 