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The Big Bad Musical

/ antakalipa

The Big Bad Musical – Putting the Wolf on Trial and Fairy Tales on the Witness Stand

There is something magical about walking into a theatre for the very first time.

The architecture is unfamiliar. The corridors have no memories attached to them. Every light, every seat, every curtain feels like the beginning of a relationship waiting to happen.

That was my experience at the Roodepoort Theatre.

A beautiful venue with an undeniable sense of occasion. We were fortunate enough to sit right at the front, close enough to hear every laugh, witness every expression and become completely immersed in the world unfolding before us. It was my first visit, but if The Big Bad Musical is any indication of what this theatre offers, it certainly won’t be my last.

Produced by Stageworx, The Big Bad Musical (16–30 July 2026) takes one of humanity’s oldest storytelling traditions—the fairy tale—and gleefully turns it inside out. Written by Alec Strum, with original music and lyrics by Bill Francoeur, additional music and new songs by Matthew Marinus, musical direction by Gemma Marinus, and directed by Timothy Le Roux, the production asks an unexpectedly profound question beneath all its comedy:

What if history has misunderstood the Big Bad Wolf?

It is a question that transforms the familiar into something wonderfully unpredictable.

Instead of lurking in dark forests waiting for innocent victims, the Wolf finds himself standing before a courtroom.

Justice, rather than revenge, takes centre stage.

The audience becomes the jury.

Suddenly childhood memories become evidence.

Every fairy tale needs heroes and villains.

This musical suggests that perhaps neither exists quite as neatly as we remember.

The courtroom setting is inspired. It allows beloved characters from different fairy tales to collide naturally while exposing how unreliable stories can become after centuries of retelling.

The Big Bad Wolf insists he has been the victim of terrible public relations.

The Fairy Godmother prosecutes with unwavering confidence.

The Evil Stepmother—ironically one of fairy tales’ most notorious villains—becomes the Wolf’s defence attorney.

Immediately the production announces its intentions.

Nothing is sacred.

Everything is funny.

The audience’s role elevates the experience beyond passive theatre.

We are no longer simply watching.

We are participants.

Jurors.

Every testimony, every joke and every musical number quietly asks us to make a decision.

Can someone escape their reputation?

Can a villain rewrite history?

Or are some actions impossible to forgive?

Personally, my verdict was simple.

Bad.

The Wolf may passionately insist he has become a vegan.

An admirable lifestyle choice.

Unfortunately, there remains the rather awkward matter of eating Red Riding Hood.

And her grandmother.

Eating people remains difficult to defend in any legal system.

Then there are the Three Little Pigs.

The Wolf openly admits he huffed.

He puffed.

He demolished a house.

When the evidence includes property destruction and attempted meals involving humans, centuries of “bad publicity” begin to resemble… accurate reporting.

The theatre itself reflected this delightful uncertainty.

Some audience members believed the Wolf had genuinely been misunderstood.

Others remained unconvinced.

Conversations erupted throughout the auditorium as strangers debated innocence and guilt like seasoned lawyers. After hearing the audience’s views, the Judge ultimately ruled the Wolf…

Bad.

Justice, it seems, prevailed.

One of the production’s greatest strengths is its refusal to treat its fairy-tale characters as cardboard cut-outs.

Every familiar face possesses personality.

They have opinions.

Flaws.

Vanity.

Humour.

Unexpected intelligence.

The production understands that audiences already know these characters.

Rather than introducing them, it reinvents them.

Musically, the production keeps its playful momentum through an energetic collection of songs that continuously push the story forward.

“Good or Bad” introduces the central question with infectious energy.

“Good Guy” cleverly explores reputation.

“Who’s Afraid of the Big Bad Wolf” transforms childhood familiarity into theatrical spectacle.

“The Wolf Likes Grandma’s Clothes” embraces absurdity with complete confidence.

“He Huffed and Puffed” turns one of literature’s most famous acts of destruction into comic musical theatre.

“I Cried Wolf” gives new life to another timeless tale.

Then comes perhaps the evening’s funniest question:

“How Does Nobody Know What a Tuffet Is?”

To be perfectly honest…

Neither do I.

The mystery remains unsolved.

“This Wolf’s a Vegan” may well be one of the production’s most delightfully ridiculous ideas, while “Good or Bad (Reprise)” provides a satisfying conclusion that reminds us the trial has never really been about wolves.

It has always been about judgement.

The performances breathe vibrant life into every page of the script.

Jessica Driver delivers a commanding Fairy Godmother whose authority never overshadows her wit. She balances courtroom confidence with fairy-tale sparkle, making for a delightful prosecutor determined to expose the truth.

Bulelo Landman embraces the challenge of portraying a Wolf who is equal parts charismatic, suspicious, amusing and perpetually defensive. His performance keeps the audience guessing, and even when his explanations become increasingly unbelievable, he remains thoroughly entertaining.

Among the evening’s greatest highlights is John Tsenoli as the Judge.

His timing is exceptional.

His reactions are priceless.

He anchors the courtroom while allowing the comedy to flourish around him, creating many of the production’s loudest laughs. Every entrance, interruption and verdict lands with confidence, proving that authority figures can be every bit as funny as the accused.

Siba Dyaphu delivers an inspired Evil Stepmother whose role as defence attorney is one of the production’s cleverest ideas. Watching one of fairy tales’ most infamous villains passionately defend another supposed villain creates delicious dramatic irony.

Kristy Suttner, portraying both Grandmother Hood and The Shepherd, demonstrates impressive versatility, giving two distinct personalities equal charm.

Evanca Moolman‘s Miss Muffet adds playful energy and perfectly complements the production’s whimsical spirit.

Neo Diabeng Kele captures Red Riding Hood with warmth, innocence and confidence, becoming an important emotional thread throughout the trial.

Jade Kabatznik, as Pig Three, contributes wonderfully to the production’s ensemble chemistry, while Aidan Mc Arthur Antonio, as Pig Two, ensures the pigs’ side of the story is heard with humour and conviction.

Malakai Marinus, portraying The Boy Who Cried Wolf, gives fresh life to another classic character, reminding us that truth has always been a complicated thing in fairy tales.

No performance feels forgotten.

Every actor contributes to a colourful theatrical tapestry where ensemble work matters just as much as individual brilliance.

Visually, the production delights in the familiar.

The costumes immediately identify each character while allowing their personalities to shine beyond the stories that first made them famous. The courtroom setting cleverly unifies characters from different fairy tales into a single believable world, creating an imaginative playground where wolves, pigs, fairy godmothers and nursery-rhyme legends coexist effortlessly.

Perhaps what impressed me most was the production’s understanding of comedy.

Comedy is rhythm.

Timing.

Listening.

Reaction.

The biggest laughs often arrive not through dialogue alone but through pauses, glances and perfectly timed expressions. The cast demonstrates an excellent understanding of this delicate craft, allowing the humour to arise naturally rather than forcing it.

The result is a production filled with warmth, laughter and genuine audience participation.

Performance art has always possessed a remarkable ability to reimagine familiar stories.

It asks us to return to worlds we thought we already understood, only to discover something entirely new waiting beneath the surface.

The Big Bad Musical achieves exactly that.

It transforms childhood nostalgia into an evening of laughter, music and surprisingly thoughtful reflection. It reminds us that stories evolve, perspectives shift and reputations can always be challenged—even if, after hearing all the evidence, the verdict remains exactly the same.

The Wolf had his day in court.

He pleaded his case.

He blamed bad publicity.

He even claimed to be vegan.

But some evidence simply cannot be ignored.

He ate people.

He destroyed homes.

And after hearing every witness, every song and every argument, the jury—and ultimately the Judge—reached the only conclusion that felt right.

Bad.

As the curtain fell and the applause echoed through the beautiful Roodepoort Theatre, one thing became abundantly clear.

Justice had been served.

And theatre, once again, reminded us why live performance remains one of humanity’s greatest art forms.

It invites us not merely to watch stories.

It invites us to become part of them.

Congratulations Timothy Le Roux and the whole team for a great show and a deserved standing ovation.

CONSTELLATIONS

/ antakalipa

Constellations: Infinite Possibilities, One Extraordinary Love Story

There are some productions that entertain. There are others that challenge. Then there are rare productions that linger long after the final curtain call has fallen, continuing to occupy the mind like a beautiful unanswered question.

Constellations, currently playing at Theatre on the Square in Sandton, is one of those rare productions.

Written by acclaimed playwright Nick Payne and presented by How Now Brown Cow, this remarkable play arrives in Johannesburg carrying the weight of glowing Cape Town reviews and considerable anticipation. Having spoken before the performance with producer Julie-Anne McDowell Hegarty, whose enthusiasm for the production was impossible to miss, it quickly became clear that this was a work everyone involved believed in deeply. Animated, passionate and visibly excited, she spoke of the show’s reception in Cape Town and the audiences who returned to experience it again.

After witnessing the production myself, I understood why.

I would happily see it again.

That may be the highest compliment one can pay a piece of theatre.

Directed by acclaimed theatre-maker and choreographer Jay Pather, Constellations is a smart, funny, intellectually stimulating and deeply moving exploration of love, fate, choice and the infinite possibilities that shape our lives. It is theatre at its most intimate and its most ambitious simultaneously.

A Love Story Written Across Universes

At its heart, Constellations tells the story of Marianne and Roland.

Marianne is a physicist. Roland is a beekeeper.

Their relationship begins with what appears to be a simple encounter. They meet. They talk. They connect.

But this is where Nick Payne’s extraordinary imagination transforms what could have been a conventional romance into something far more profound.

Drawing inspiration from theories of quantum physics and the concept of the multiverse, the play repeatedly revisits moments in Marianne and Roland’s relationship. Conversations restart. Outcomes change. Choices shift. Tiny alterations create entirely different emotional realities.

In one universe a relationship begins.

In another it ends before it starts.

In one version there is betrayal.

In another forgiveness.

In one reality there is hope.

In another heartbreak.

The audience witnesses countless variations of the same lives unfolding simultaneously, as though someone is turning a cosmic kaleidoscope and revealing new patterns with every movement.

What makes the concept so effective is that it never becomes cold or academic. The science provides the framework, but the beating heart of the story remains unmistakably human.

Anyone who has ever wondered “What if?” will find themselves reflected somewhere within these countless possibilities.

What if I had said yes?

What if I had walked away?

What if I had stayed?

What if I had loved differently?

The play reminds us that entire lives can pivot on moments so small we barely notice them at the time.

Two Performers, Countless Lives

A production built upon such an intricate concept succeeds or fails on the strength of its performers.

Fortunately, Mark Elderkin and Mwenya Kabwe are magnificent.

The challenge placed before them is enormous.

They are required not merely to play two characters but to portray dozens of emotional realities. They must shift between joy, uncertainty, flirtation, anger, grief, tenderness and devastation, often within seconds.

One moment they are strangers.

The next, soulmates.

Then adversaries.

Then lovers again.

The transitions are seamless.

Their chemistry anchors the entire production and allows the audience to navigate the play’s constantly shifting realities without ever losing emotional connection.

Mwenya Kabwe brings remarkable intelligence and emotional precision to Marianne. She captures both the scientific curiosity of the character and the vulnerability that lies beneath her intellectual confidence.

Mark Elderkin delivers Roland with warmth, humanity and quiet emotional depth. His grounded performance provides the perfect counterbalance to Marianne’s restless analytical mind.

Together they create something genuinely special.

The result feels less like watching actors perform and more like observing parallel lives unfolding before us.

Jay Pather’s Elegant Direction

Jay Pather’s direction deserves enormous praise.

A lesser production might have become tangled within its own complexity. The play’s structure is unconventional and demands extraordinary clarity from its director.

Pather understands that the audience does not need every scientific theory explained. Instead, he trusts them to feel their way through the emotional architecture of the piece.

The production moves with rhythm and precision.

Scenes appear and disappear like fleeting memories.

Moments overlap.

Time bends.

Reality shifts.

Yet the storytelling never loses coherence.

There is confidence in the staging, allowing silence, stillness and space to become as important as dialogue.

The result is theatre that feels simultaneously intimate and expansive.

Minimalism at Its Finest

One of the production’s greatest strengths lies in its restraint.

The set design embraces simplicity rather than spectacle.

There are no extravagant distractions.

No overwhelming visual gimmicks.

Instead, the production creates an environment where imagination can flourish.

The stage becomes a blank canvas upon which entire universes are projected.

This minimalist approach proves particularly effective because Constellations is fundamentally a play about possibilities. The sparse design allows audiences to focus on the shifting emotional landscapes rather than physical scenery.

The props are used with purpose and precision.

Nothing feels excessive.

Everything serves the story.

Every object, every movement and every visual element contributes to the larger narrative without drawing attention away from the performances.

Light, Space and Possibility

The technical elements deserve recognition for their subtle brilliance.

Lighting becomes one of the production’s most important storytelling tools.

Changes in illumination help signal shifts between realities and emotional states. At times the lighting creates a sense of cosmic wonder, reinforcing the play’s fascination with quantum mechanics and parallel universes.

Elsewhere it narrows and focuses, drawing attention to the fragile intimacy between Marianne and Roland.

The effect is often breathtaking.

The audience feels suspended between worlds.

The technical design never overwhelms the human story but consistently enhances it.

That balance is difficult to achieve.

This production achieves it beautifully.

Humour Amidst the Heartbreak

Despite its philosophical depth, Constellations is frequently very funny.

Nick Payne’s writing sparkles with wit.

The humour emerges naturally from character interactions rather than forced punchlines.

The audience laughs often.

Those laughs matter.

They create emotional contrast and make the more painful moments hit with even greater force.

Because eventually the play confronts subjects far deeper than first impressions suggest.

Mortality.

Loss.

Regret.

Acceptance.

The finite nature of existence.

As the story progresses, the emotional stakes grow significantly. The laughter gradually gives way to reflection, and reflection eventually leads to something approaching profound emotional truth.

Many audience members may find themselves unexpectedly moved.

I certainly was.

Why Constellations Matters

The brilliance of Constellations lies in its ability to operate on multiple levels simultaneously.

It is a romantic drama.

It is a philosophical exploration.

It is a meditation on science.

It is a study of human connection.

It is a story about how fragile and miraculous our lives truly are.

Most importantly, it asks one of humanity’s oldest questions:

If infinite possibilities exist, what makes this particular life meaningful?

The answer, the play suggests, may simply be love.

Not perfect love.

Not eternal love.

Just love itself.

Messy, complicated, beautiful and fleeting.

The kind that gives meaning to whatever universe we happen to inhabit.

Final Verdict

Constellations is intelligent theatre without being pretentious.

It is emotional theatre without being sentimental.

It is ambitious theatre without losing sight of its humanity.

Jay Pather’s assured direction, the exceptional performances of Mark Elderkin and Mwenya Kabwe, the elegant technical design and Nick Payne’s extraordinary script combine to create one of the most thought-provoking productions currently on Johannesburg stages.

This is a play that trusts its audience.

It invites us to think.

To feel.

To imagine.

To wonder about the roads not taken and the lives not lived.

And when the lights finally fade, it leaves us staring into the night sky of our own memories, contemplating the countless constellations of choices that brought us to where we are.

In a universe of endless possibilities, seeing Constellations at Theatre on the Square feels like exactly the right choice.

Congratulations Jay Pather and the whole team for a great show and a deserved standing ovation. 

Peter Pan Jr.

/ antakalipa

Peter Pan Jr. at Peoples Theatre: A Joyous Flight into Neverland

There is a unique sound that exists only in children’s theatre.

It is not the applause at the end of a performance. It is not the overture from the orchestra or the final bow from the cast.

It is the laughter of children.

Pure. Unfiltered. Honest.

If adults politely applaud what they appreciate, children enthusiastically celebrate what they love. They gasp. They laugh. They point. They sing along. They become part of the adventure.

That wonderful sound echoed throughout Peoples Theatre at Joburg Theatre during the opening performance of Peter Pan Jr., a colourful, energetic and thoroughly delightful production that understands exactly who it is for and never loses sight of that mission.

From the moment the curtain rises, audiences are invited into a world where imagination reigns supreme, pirates roam the seas, fairies sparkle in the darkness and children can fly.

It is family entertainment in its purest form.

Produced by Peoples Theatre Productions, this adaptation of the beloved classic embraces the wonder and innocence that has allowed the story of Peter Pan to endure for generations. The result is a production overflowing with enthusiasm, warmth and youthful energy.

Children’s theatre is often misunderstood.

Some assume that performing for young audiences is easier than performing for adults. The reality is precisely the opposite.

Young audiences are perhaps the toughest critics in the world. Their attention cannot be taken for granted. Their engagement must be earned every second. Every joke, every song, every dance routine and every dramatic moment must work.

Peter Pan Jr. succeeds because everyone involved understands this fundamental truth.

Under the direction of Jill Girard, the production moves with confidence and momentum. There is never a sense of stagnation. Every scene carries purpose and excitement, keeping young audiences invested throughout the journey from London to Neverland.

The production’s visual appeal deserves special recognition.

Colour bursts from every corner of the stage. Costumes, lighting and staging combine to create a world that feels magical without becoming overwhelming. The visual storytelling constantly stimulates the imagination, giving children plenty to marvel at while allowing the performers to remain the focus.

Grant Knottenbelt’s set design effectively transforms the stage into a playground of adventure, while Lebogang Phahlamohlaka’s sound design ensures that every song, joke and dramatic moment reaches audiences clearly.

Musically, the production is in excellent hands.

Musical staging by Sandy Richardson-Dyer and musical direction by Coenraad Rall inject the show with vibrancy and movement. The ensemble work is particularly impressive, maintaining energy levels that rarely dip throughout the performance.

The choreography embraces the playful spirit of childhood. Nothing feels forced. Nothing feels mechanical. Instead, the production captures the spontaneous joy that defines the best children’s theatre.

At the heart of the production stands Raymond Skinner as Peter Pan.

It is a role that requires a very specific balance. Peter must be adventurous but vulnerable, mischievous but lovable, brave but still unmistakably childlike.

Skinner captures these qualities beautifully.

His Peter Pan genuinely feels like a boy determined to remain forever young, forever free and forever resistant to the responsibilities of adulthood. He embodies the spirit of a character who refuses to grow up, who would rather chase adventures than wear ties and attend meetings.

It is an engaging and believable performance that anchors the entire production.

As Captain Hook and Mr. Darling, Lesedi Rich delivers one of the show’s standout performances.

Rich possesses that rare ability to command attention the moment he steps onto the stage. His portrayal of Hook is animated, energetic and wonderfully humorous, finding the perfect balance between menace and comedy for younger audiences.

His physicality is exceptional. Every gesture, expression and movement contributes to the character’s larger-than-life personality.

There is an infectious enthusiasm to his performance that resonates throughout the theatre. Children respond instantly to him, laughing at his antics while eagerly anticipating his inevitable confrontations with Peter Pan.

Rich is simply captivating from start to finish.

Luciano Zuppa once again demonstrates why he remains such a dependable and entertaining performer.

As Smee, he provides many of the production’s comedic highlights. His timing is sharp, his character work is precise and his interactions with Captain Hook consistently generate laughter from audiences young and old.

It is a performance filled with charm and warmth.

Bethany-Joy Jiyane shines in her dual roles as Tiger Lily and Mrs. Darling.

These are very different characters, yet she navigates both with confidence and grace. As Tiger Lily she brings strength and presence, while as Mrs. Darling she offers warmth and maternal compassion.

Her versatility is one of the production’s strengths.

Junior Geel also deserves recognition for his work as Big Chief Sitting Bull and Pirate. He embraces both roles enthusiastically and contributes significantly to the production’s sense of adventure and fun.

One of the most exciting performances of the evening comes from young performer Peo-entle Pitso as Tinker Bell.

Even at this early stage of her career, Pitso displays remarkable confidence and stage presence.

Audiences may remember her impressive work in Matilda Jr., and once again she demonstrates why she is a young performer worth watching closely.

Tinker Bell is one of theatre’s most beloved characters. Despite often communicating without words, she must still convey emotion, personality and charm.

Pitso succeeds admirably.

She captures the fairy’s playful spirit while maintaining the magical quality that has made Tinker Bell an icon for generations of young theatre-goers.

She is undoubtedly one for the future.

What makes Peter Pan Jr. particularly successful is its understanding of its audience.

This is not a production attempting to modernise the story beyond recognition. Nor is it trying to appeal primarily to adults.

Instead, it embraces imagination, adventure and innocence.

It celebrates childhood.

It reminds audiences that there is value in wonder. That imagination matters. That growing up is inevitable, but perhaps we should not be in too much of a hurry to leave childhood behind.

Peter Pan Jr. is entirely family friendly. Parents can bring young children knowing they will experience a wholesome theatrical adventure filled with laughter, music and joy.

In an era where entertainment often competes for attention through spectacle alone, Peter Pan Jr. succeeds through something much simpler.

Heart.

The production understands that children’s theatre is not merely about keeping young audiences occupied for an afternoon. It is about creating memories. It is about introducing future generations to the magic of live performance.

For some children in the audience, this may well be their very first theatrical experience.

Judging by the smiles, laughter and enthusiastic reactions throughout the performance, it will not be their last.

As the cast took their bows on opening night, the loudest endorsement did not come from critics, industry professionals or invited guests.

It came from the children.

Their laughter filled the theatre.

Their excitement was unmistakable.

And in children’s theatre, there is no greater review than that.

Peter Pan Jr. is a vibrant, energetic and joyful celebration of imagination, performed by a committed cast and creative team who understand exactly what makes children’s theatre special. It is a production that flies confidently into Neverland and returns carrying exactly what audiences hope to find there: adventure, laughter, magic and the enduring belief that happy thoughts can still make us soar.

Matilda Jr.

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Matilda Jr.

At the Peoples Theatre, Joburg Theatre for the opening of Matilda Jr. I was so excited for this one! As a kid, I used to love the movie. To be honest, I still love it today. I would never dare change the channel if it’s on. Nostalgia, it takes me back to simpler times. A time when I yearned for telekinetic powers to defeat and outwit my bullies. I truly loved the show, it had me laughing and reminiscing all the way. There’s nothing better than hearing a child’s laughter, the show had that effect. Everyone was entertained, it is mellow, humorous, light and family-friendly.

The set is colorful and the transition between scenes is seamless and efficient. Everyone knew their cues and the show just flowed. I absolutely loved Peo-entle Pitso as Matilda. She is sharp witted and fast. She performs with a lot of love, she’s mischievous, she sings and she’s convincing, she is simply brilliant! One for the future. Luciano Zuppa is straight-up Miss Trunchbull. Musculine, crooked teeth, towering and intimidating. Raymond Skinner as Mr. Wormwood is definitely my favorite. He has zero regard for reading and derisively calls Matilda a “bookworm”. It’s crazy that Matilda has read “Crime and Punishment”, I agree with his father’s assessment. He ultimately gets in trouble with the Russian mafia for his shady deals. Jordan Rogers is gorgeous and enjoyable as Mrs. Wormwood. She is materialistic and wants the good life. She also doesn’t understand Matilda and she doesn’t waste her time trying to, she’d rather spend time with her boy toy, dancing with her wedding ring out of sight. Amelia Stephens is simple as Miss Honey. Long dresses, clean presentation, tame and a calm demeanor. I laughed out loud when Matilda asked if she was poor. Yes, she is poor. However she is kind, caring and empathetic – qualities that make her a great teacher and she gets the big house at the end.

Amazing show, the kids are in sync and well practiced. They sang, they danced and they delivered lines with precision. The writing is fabulous, everything and everyone is fabulous! Highly recommended, wonderful, wonderful show!

Directed by Jill Girard and Sandy Richardson-Dyer
Musical Director – Coenraad Rall
Set Design – Grant Knottenbelt

Congratulations to the Peoples Theatre and the whole team for a great show and a deserved standing ovation.