The Jongosi Schools’ Festival happens on the Friday before the Hilton Arts Festival starts in the evening. It is a brilliant initiative that brings school children to the Festival for a day of shows and workshops, thereby developing audiences and bringing theatre to children, and children, and young adults, to the theatre. Giving them access
I had a dream last night, set on some stage with wings, in which someone asked if there was a notation for dance, to which, in my dream, I answered, “yes, Laban.” And then, in my dream, I understood the meaning of the book in Flotsam: it was the notation of Elu’s ballets. Except, it
Set in the specific context of grey-area Joubert Park in the late 1980s, staging Curl Up and Dye now begs the question: what meaning for our present can be brought to audiences by the play today, and, given the racism of the characters, how does it relate to a dialogue around racial unity for our
Bonding over the power outage in a mood of anticipation, and eager to know whether the show would actually go up, we were let into the venue after all to be greeted by a modern day Medusa, sans the snakes scales and wings, draped in fairy lights. Turns out they were part of the set,
With a theatrically evocative beginning in gesture and sound, The Xhosa Chronicles is a lament for lost stories; it does not consist of these stories, which the title might suggest, because they have been erased and rewritten. Instead, the show chronicles how this history has been obliterated by the ‘visitors’, initially welcomed by the elder
From the moment performer and electro-muso Julia*n Meding entered in his/her wolf mask I knew I was just going to love this show. In his/her (we’ll just use the masculine from here because Hamlet) walk-on physicality, Meding embodied that mask in such a way that I felt instantly connected. It had an immediately captivating, paradoxical
Adults are so busy ‘adulting’ in their reasonable, abacus-driven world of doing things of ‘consequence’ that they belittle, dismiss and patronise the childhood world of creative play and artistic endeavor. The parental voice shouts: “Do your homework, Stephen, stop that scribbling!” And for a lonely child, the imagination becomes fertile ground in which to find
Presented in The Beethoven Room with its expectations of a concert, Undine is listed as Theatre; professing to be a ‘theatrical’ blend of concert, and storytelling, with multi-media – which actually is just illustrative slides. The show is full of text, read indulgently by flautist Tatiana Thaele, occasionally underscored by interpretative piano responses from Yohan
Detritus for One: A physical performance piece about the ephemerality and memory of physical performance, Detritus for One, is tender, intelligently conceived, masterfully executed, emotionally moving and imaginatively engaging. Alan Parker references physical theatre pieces that ignited his imagination in the past, the remnants of which he recalls through physical sketches, use of props, and music.
In The Wings is not a lecturing, educational piece about physical disability preaching the need for inclusion through frustrating or brutal contexts of exclusion. It is about ability – the ability of members of a family to communicate and pave their way into their future. And it shows that disability is not only physical.