Journey to Oom Kris<\/strong><\/a>: The rousing harmonies of the The Kgo\u0161i Mampuru II Unitas DCS Choir filled the cold corners of the cavernous Great Hall despite the scaffolded tiers of seats staring bare upon the stage. <\/p>\n\n\n\n Struggle songs such as Senzeni na? and the groovier Mamelodi, amongst others, were the glorious accompaniments to a rather stilted story about the sentencing of struggle heroes Solomon Mahlangu, Vuyisile Mini, Benjamin Moloise, and John Harris who, although were hanged to death by the apartheid state at different times, were placed on death row together here in service of artistic cohesion. <\/p>\n\n\n\n The Oom Kris in this musical theatre is the morbid overseer of the gallows at the Pretoria prison, excellently played by Ratlhagane Radikwadi Matthews Mafoko who oozes the cruel contempt of an apartheid functionary. <\/p>\n\n\n\n But even Oom Kris admits that the singing of the political prisoners, even as the noose was placed around their necks, haunted him. The centrality of music, of harmony, in the revolution is the main theme of the play and what saves it from plodding proselytism. <\/p>\n\n\n\n Showing on 2 July at 12pm, 3 July at 4pm, and 4 July at 10am.<\/em><\/p>\n\n\n\n Sophie Joans is (not) a real comedian<\/a><\/strong>: Watching Sophie Joans perform has always been, and remains, great fun. Mostly because she up for doing the whackiest shit. Even when she’s serious and extracting tears rather than laughter, you’re never quite sure what weird turn lies ahead. This quality is amped up by a factor of at least three when she’s in stand-up persona. <\/p>\n\n\n\n She’s not the funniest comic, but is funnier than most. And other than Rob van Vuuren, she is the most unpredictable, and can happily ad-lib. Which is where she needs to be more careful. As much as we love her, a show is a show and if she’s going to direct herself, more discipline is needed. She wandered down some side alleys, which were entertaining, but we all got a little lost along the way. <\/p>\n\n\n\n If pulled tight by about 15 mins (the fest premier show went on for almost 70mins), this one will be a winner, particularly given her ability to hang the patriarchy by its own tender balls. <\/p>\n\n\n\n Azi Sakwe and Best in the World<\/strong><\/a>: This may be the most self-indulgent show I’ve ever had the misfortune to watch. Azi, Sanele Mswi, and Sisonke Maqhashu as the vocal trio upfront acted like the ‘in’ girls at their own shared birthday party while the band were just expected to hold up their egos as best they could.<\/p>\n\n\n\n Yes, these three Eastern Cape women can sing. They have strong, captivating voices undermined by issues with key and timing. So much so that at times it felt like they and the band were in different gigs. And I don’t think it was the band’s fault. The three vocalists high-fiving each other didn’t help the perception that they were having a great reunion rehearsal at our expense.<\/p>\n\n\n\n And telling us God is opening doors for us was plain patronising. Get serious.<\/p>\n\n\n\n The Piano has Something to Say<\/a><\/strong>: There are some musicians (see above) who could learn a lot from the hour and hours and hours and hours and hours and hours that Rostislava Pashkevitch-Ngobeni has put into practicing at her instrument. From Bach to Gershwin, the mastery is clearly evident.<\/p>\n\n\n\n In between brilliant renditions of famous and lesser-known compositions, Pashkevitch-Ngobeni tells us stories from the life of a concert pianist. Mostly a little sad, a little lonely, but laced with a gentle self-deprecating humour. <\/p>\n\n\n\n Whether this manages to fully hold up to the musical theatre bar is debatable, but the magnificent sounds she conjures from the grand piano in the Beethoven Room makes the issue moot. <\/p>\n\n\n\n