I thoroughly enjoyed this show from start to finish. It has a light, upbeat tone, with romantic moments that push the boundaries slightly but are handled with restraint, keeping everything classy. The script introduces clever comedic elements that add something new to a story most of us already know, which keeps it engaging and fast-paced throughout.

The performances are a real highlight in this show, reminding us of the incredible acting talent we have in South Africa. Leah Mari and Chris Jaftha are both superb in their lead roles, holding the story together with consistently strong performances. Tiaan Rautenbach brings excellent comedic timing across multiple roles and is a real treat to watch, while Bo Molefe adds a unique sparkle through his expressive movement and wonderful stage presence. Thuto Lesedi Gaasenswe stands out as Kit De Luca, bringing warmth and energy to her role as Vivian’s best friend.

What stayed with me most was how enjoyable it all was. It is a feel-good production with just enough edge to keep it interesting, while still honouring the original. It is also fantastic to see a new large-scale show on stage, rather than another return run of something we have seen many times before.

Pretty Woman: The Musical is on at the Montecasino Teatro until 31 May 2026. Book tickets at Tickemaster.

The post Pretty Woman Lights Up the Stage With Charm and Confidence appeared first on Stage and Screen.

The film traces Michael Jackson’s journey from a young performer to one of the most influential artists the world has ever seen, with his music firmly at the centre of the story.

I walked in expecting something big, and I left genuinely impressed. This is pure entertainment. It knows exactly what it wants to be and delivers on that promise. The film leans into the music in a way that works beautifully, and it is hard not to get swept up in it. It is the kind of film that makes you realise how much we need experiences like this to pull people back into cinemas.

Jaafar Jackson is outstanding. He does not simply play Michael; he becomes him. It is a performance that feels instinctive and confident, and I would not be surprised if it earns him an Oscar nomination. Colman Domingo as Joe Jackson and Nia Long as Katherine Jackson are equally compelling, grounding the film with exquisitely strong performances.

What stayed with me is that even as someone familiar with Michael’s story, there were moments I did not know about. That added an extra layer of interest without slowing the pace.

I would highly recommend it. It is engaging, uplifting and driven by music that still holds power. Michael is now showing in cinemas nationwide. Tickets can be booked through Ster-Kinekor and Nu Metro.

The post Man in the Mirror, On the Big Screen appeared first on Stage and Screen.

Watching this production felt like pure escapism, the real reason people go to theatre, to be transported somewhere else for a while. Having seen CATS at this same theatre around a decade ago, this iteration felt lighter and fresher, with a softness that lingered long after the curtain call. Beneath the spectacle sits a gentle reminder about the power of being soft, a refreshing premise in a world that so often celebrates the opposite instead.

Several performances stood out. King B’s “Old Deuteronomy” radiated calm authority and contentment, with the interval photo opportunity on stage adding a warm, human touch. Tshepo Ncokoane’s “Gus the Theatre Cat” brought delightful character through quirky, thoughtful gestures. Jordan Roelofze as “Mr Mistoffelees” and Cassiel Eatock-Winnik as “Victoria” impressed with their exceptional dancing, full of grace and precision. And of course, Cindy-Ann Abrahams as “Grizabella” delivered an unforgettable rendition of “Memory”, leaving the audience visibly moved, an emotional high point that filled the theatre with tears and applause.

CATS is now showing at the Montecasino Teatro until 22 February 2026, with tickets available here.

More information is available here.

The post A Soft Purr of Theatre Magic at Montecasino Teatro appeared first on Stage and Screen.

This international smash-hit musical is now on at Artscape in Cape Town and will head to Johannesburg’s Teatro at Montecasino early next year. The exceptional South African cast includes Cindy-Ann Abrahams as Grizabella, King B as Old Deuteronomy, Dylan Janse van Rensburg as Rum Tum Tugger and Che-jean Jupp as Munkustrap.

The cast also features Stephan Van Der Walt as Admetus / Macavity, Sibusiso Mxosana as Alonzo, Sipesihle Ngamlana as Bill Bailey, Tatum Coleman as Bombalurina, Tshepo Ncokoane as Bustopher Jones / Gus, Michael Fullard as Carbuckety, Hannah Marshall as Cassandra, Darren Rockman as Coricopat, Brittane van Loggerenberg as Demeter, Morgan Marshall as Electra, Harry Smallman as George, Noa Duckitt as Jellylorum, Scarlett Pay as Jemima, Zoe Mclaughlin as Jennyanydots, Austin Tshikosi as Mungojerrie, Jordan Roelfze as Quaxo / Mr Mistoffelees, Tannah Levick as Rumpleteazer, Logan Timbre as Skimbleshanks, Tania Mteto as Tantomile and Cassiel Eatock-Winnik as Victoria, with Ryan Flynn, Jackie Lulu, Marco Titus and Phoebe Charles as swings.

Watch the introduction to the cast on YouTube Shorts.

Based on Old Possum’s Book of Practical Cats by T.S. Eliot, CATS first premiered in London’s West End in 1981 and went on to play nearly 9,000 performances over 21 years, breaking records and redefining musical theatre. Since its debut, the show has been staged in over 54 countries, translated into 23 languages and seen by more than 77 million people around the world. Its enduring appeal lies in the magical fusion of music, poetry, dance and storytelling. At its core, CATS invites audiences into the mysterious world of the Jellicle Cats, who gather for their annual Jellicle Ball to decide which one among them will ascend to the Heaviside Layer and be reborn.

This South African season aims to thrill a new generation of theatre lovers while reigniting the nostalgia of devoted fans. Pieter Toerien, whose past productions include My Fair Lady, The Sound of Music, The Phantom of the Opera and the currently-running Joseph and the Amazing Technicolor Dreamcoat, says: “We are delighted to bring CATS back to South Africa. It remains one of the most exciting and emotionally rich musicals ever written — a timeless spectacle that continues to inspire audiences across generations.”

Bringing the production to life are Associate Director and Choreographer Chrissie Cartwright and Musical Supervisor Peter McCarthy, who have honoured the creative vision of the show’s original team — director Trevor Nunn, designer John Napier, and the late Gillian Lynne, whose iconic choreography continues to define its distinctive style. Their combined legacy aims to ensure that this production captures both the classic heart and visual spectacle that have made CATS a worldwide phenomenon.

CATS SA performance dates

• Cape Town – Artscape Opera House: 10 December – 11 January 2026
• Johannesburg – Teatro at Montecasino: 17 January – 22 February 2026
• To book for either the Cape Town or Johannesburg shows, go to:  webtickets.co.za
• For more information, go to: www.pietertoerien.co.za

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Cape Ballet Africa’s production of The Nutcracker, now on stage at the Teatro at Montecasino, is one of those rare festive rituals that still feels special. Presented with Tchaikovsky’s beloved score and performed by a 50-strong company alongside international guest artists, this new version honours tradition while feeling intentionally considered and warmly inviting. With choreography by Maina Gielgud, artistic direction by Debbie Turner and sets by Michael Mitchell, the production opens the door to a dreamlike world of high society of years gone by, snowflakes, sweets and courage, setting the tone for a show that feels genuinely celebratory.

There is something about attending the ballet that feels like buying yourself flowers. It is a deliberate treat, a moment of personal indulgence that fills the soul rather than the schedule. Watching The Nutcracker unfold here carried that exact feeling. The music is a reminder of how timeless Tchaikovsky truly is and just how many of his melodies live in our collective memory, resurfacing with a rush of familiarity as the music swells.

The production itself is poised and polished, beautifully assembled without feeling stiff. The decision to retain the original Russian character through costumes, props and performers of different ages gives the ballet a grounded authenticity. Standout performances include Denys Cherevychko, visiting from Ukraine, who brings a distinctive presence to the stage, Marcel Meyer, whose artistry extends beyond performance into costume design and the children portraying the rats, whose innocence and charm were just delightful.

Cape Ballet Africa’s The Nutcracker is now on at the Teatro at Montecasino until 28 December 2025.

More info: montecasino.co.za | and To book: webticket.co.za

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Brett Krüger as Sweeney Todd was magnetic. His brooding stillness and chilling glares made every movement feel intentional and threatening. Opposite him, Ashleigh Hilton completely stole the show as Mrs Lovett. She was quick, funny and utterly captivating, balancing menace with mischief in every line. Together they carried the story with real chemistry, and the rest of the cast rose to the challenge with strong vocals and razor-sharp delivery.

The technical elements gave the production a thrilling edge. The clever use of fake blood, props and a “splash zone” had the audience half-laughing, half-flinching. Fog poured through the theatre for most of the performance, wrapping everything in a ghostly haze. At times, the small stage felt crowded, but the cast’s precision and energy made it work.

There were a few sound wobbles at the start, and the first act ran a touch long, but those were minor in the grand scheme of such an ambitious show. The singing was genuinely outstanding, the timing flawless, and the atmosphere electric from start to finish.

Sweeney Todd at The Centurion Theatre is gruesome, gripping and brilliantly executed. It’s the kind of production that makes you forget you’re sitting in a small theatre in Centurion and not somewhere deep in the heart of Fleet Street.

Catch it before the final curtain falls on 1 November 2025. Tickets are available via the Centurion Theatre website.

Read more about the show here: Sweeney Todd Brings Halloween Thrills to Centurion

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After a triumphant run in Cape Town, Chicago The Musical has arrived at the Montecasino Teatro, and it’s easy to see why audiences can’t get enough of it. I’ve always loved dark humour, and this production leans deliciously into that side of the story, delivering two and a half hours that fly by in a blur of wit, rhythm and style.

Samantha Peo once again steps into the role of Velma Kelly, and it’s clear why she keeps being invited back. Having played Roxie Hart in earlier South African productions and Velma in the Chicago World Tour, she inhabits the character with precision and charisma, commanding every scene she’s in. Jonathan Roxmouth as Billy Flynn is, as always, born for the stage. He brings a charm and showmanship that feels effortless, delivering each number with that undefinable flair only he can pull off.

Tankiso Mamabolo as Mama Morton is a powerhouse presence, her voice rich and her timing impeccable. Dean de Klerk’s Amos Hart provides the perfect counterpoint, offering warmth and heart that make you root for him completely. M.E. Marvey as Mary Sunshine is an absolute treat, and it was wonderful to see Ferdi Gernandt back on stage, dancing with pazazz and adding texture to the ensemble.

One of the things that stood out most to me was the live band positioned right on stage. It adds an electric energy to the performance, especially the brass section, which grounds each scene with those unmistakable tones layered with sultry swagger. The music becomes a character of its own, reminding you that this show is as much about sound as it is about story.

You might think you’ve seen Chicago before, but this staging feels sharp, fresh and full of attitude. From start to finish, it’s a slick, stylish reminder of why this show remains one of the most enduring musicals of all time.

Chicago The Musical runs at the Montecasino Teatro until Sunday, 16 November 2025. Tickets are available through Ticketmaster.co.za.

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by Betty Bangles

Daaaahlings!

I took a trip down to Cape Town and with lots of thanks to The Fugard Theatre and Stage and Screen, I got to see Kinky Boots, and now I have something to say….

I first saw Kinky Boots two years ago on Broadway and fell in love with the show. So, when they announced that The Fugard will bring an original production of this show to South Africa, I threw glitter in the air and did a little celebratory dance of my own. But also, I was a little scared; Will they find the perfect Lola? Will the boots be fabulous? Will ‘Lauren’ be funny?

Well, in true Fugard style, they did NOT disappoint! This show is entertaining, and appropriate for all Walks and Feathers of life, but kiddies under 10 years old, may require some PG.  Before I get ahead of myself, let me tell you what Kinky Boots is about.

The story of Kinky Boots is based on true events, about two people who think they have nothing in common.  Factory owner, Charlie, struggles to save his family business, with Lola, an extraordinary entertainer having wildly exciting ideas of her own.  As the story unfolds, these two characters starts the journey to embrace their differences, to form their unique, and sensational friendship… and their own line of the infamous stilettos, unlike anything ever seen before.

Now back to me… or rather, my fears about this SA production. Like I said, The Fugard did not let me down. Lola is sensational, the boots are fierce, and ‘Lauren’ is a hoot.

Firstly, can I get an ‘Amen’ for Paul Wills’ set design. He used every square inch of a fairly small staging surface in such a way that it feels like you’re experience the Musical on a bigger scale stage. The lighting design by Tim Mitchel also deserves a special courtesy. A standout moment for me was the projection during the design scene.

Matthew Wild gets a kiss on the cheek from me. His direction plays a pivotal role in the smooth transitions of the scenes on a stage with some limitations.  Birrie le Roux gave me life with the costume designs. My favorite being the Angels’ outfits for the boxing match, with those high ponytails.

Darren Craig plays Charlie and Oh Boy, does he do it well. The song Soul of a Man is a tough one, and he smashed it. He can sing to me all day, every day.  Earl Gregory steps into the heels of Lola and do I dare say, it’s his best role I’ve seen him in yet. Gregory doesn’t play Lola, he becomes Lola. He forces you to look at him without saying a word.

Lola’s Angels are played by Tshepo Ncokoane, Philip Schnetler, Chester Martinez and Emile Doubell. They strut their stuff on stage in full fabulocity and makes you want to join them! Namisa Mdlalosa, who plays Lauren is fantastic and completely makes the character her own. Her version of Lauren actually works better for me than the ‘Broadway Lauren’. She steals every scene she’s in and her comedy timing is so perfect… I can’t even deal with it!

Kinky Boots tackle real life issues and pulls hard on your heart strings. It teaches acceptance and challenge the closed-minded. Not my Father’s Son made me do the ugly cry because I could relate to it so much. That is why Kinky Boots is such a loved and important show.

Everybody will find something they can relate to in the story and overall, it’s a toe-tapping, feel-good show.

If you have a heart, you will Love Kinky Boots!

This show currently plays on stage of the Fugard Theatre in Cape Town, until October 27, 2019.

Photo credit Jesse Kramer

[box type=”info” align=”alignright” ] [dropcap]B[/dropcap]etty Bangles is South Africa’s leading drag artist, and a self-confessed theatre junkie. As a created character by artist-in-his-own-right, Bernard Buys, Miss Bangles’ involvement within the theatre and TV industry, stretches from on the stage, to behind the scenes.  Stage and Screen thought it to be very appropriate, to have a musical like Kinky Boots, reviewed by her.

This review was voluntarily done by Bernard Buys, and acted purely as a trusted contributor to Stage and Screen. The views depicted in this review, are that of the contributor, but edited and published according to the established identity and standards of the publication. We thank Betty for the contribution, and hope for many more collaborations to come.[/box]

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by Louw Mulder

During the last 12 odd years, I have written ample reviews about entertaining theatre shows that effortlessly tell the story, requiring no effort from the patron to understand the subject matter. But this is certainly not the case with Peter Shaffer’s Equus, which I saw this weekend at Pieter Toerien’s Montecasino Theatre. This play is higher grade, and I was as excited as one would be when experiencing something you never have before.

Equus admittedly turned out to be the best non-musical stage production I have ever experienced. During this tumultuous journey of two acts, I was offended, confused AF, relieved, I felt compassion, anger, even aroused to some degree, which in fact, for lack of a more appropriate term, is a mind-fuck happening right in front of your eyes. I know this description may raise some eyebrows, but not if you were there, realising the powerful grip a production like this can have on your love for Theatre-Magic.

Equus is a psychological thriller, written in 1973. It once more made theatrical headlines in 2007 when it was brought back to the stage in the West End, with Daniel Radcliff, as the young lead. Even though I went into the theatre blind, and totally unaware of the story, nor the depth of the script, I was anxious to see it. For a South African production to go all out, you knew it had to be good, with the full nudity being a huge hype around this play, amongst many other things.

I make no secret about the fact that I am a theatre enthusiast and not an educated theatre expert at all. So during the first act, the degree of the English text, combined with the pace of the story being told, caught up with me as an Afrikaans speaking person. The story, dialogue and actual acting out of the various subjects, were in its own right very overwhelming, so much so that in my attempt to follow the plot, some disconcerting inferences were made, like hints of bestiality, even blasphemy, which is a personal no-go for me. These inferences of mine proved to be wrong.

Being open minded, my friend and I took some time during the interval to quickly read up on Equus. Since English is my second language, I knew there was room for error in my initial understanding of the text. This overview of what the essence of Equus is, shed some light on the play itself, making it much easier for me to enjoy and thrill with the rest of the theatre during act two.

For me, what makes this production by Pieter Toerien, as directed by Fred Abrahamse, the success it deserves to be, is the spot-on casting of its stars. I already mentioned the full-on nudity scenes Equus contains. Having seen several types of nudity acts on stage before, nothing compared to the ones I had experienced during Equus. With the psychological thrills and the very intense nature of the various subjects, I was completely astonished, by the power of theatre again, taking me captive to put me right there where the story cuts to the bone.

Sven Ruygrok plays the role of 17-year old Alan Strang, clearly challenged by certain psychological issues. The climax of the story, so to speak, unfolds during act two, when Strang, totally nude, is seduced by Jill, also completely undressed, which culminated into an on-stage simulated sex scene. In my humble opinion, Ruygrok here reintroduced himself this time around, as an artist, driven by the passion, dedication and commitment of a true stage professional.

I am fully aware that my awe of Ruygrok’s performance may seem exaggerated, but allow me to elaborate. For me, even the thought of being completely naked in front of a full theatre during an opening performance, is something daunting, audacious and typically not within an actor’s comfort zone on stage. The thing I noticed, which was clearly evident and extremely powerful for me, was that Ruygrok was completely in-character. Ruygrok fully surrendered himself to his role, being confronted by all the psychological elements. I experienced his portrayal of a spellbinding emotional breakdown and full-on loss of control, while being totally naked, as the true art form it is supposed to be. I sat there cold, without words, biting on a finger, trying to process the scenes in front of me.

I want to even further and say that Ruygrok demonstrated in true class, what it really means to portray a character no matter the intensity thereof – in this case referring especially to a scene in total nudity, forcing an overwhelming noise of a full theatre’s complete silence. His nudity was just another costume in the story of his character, in pursuit of delivering the perfect conclusion of the production’s riddle. I was captured by his performance in such a way, I had forgotten he was even naked…

It would however be unfair for me to refrain from mentioning the performance of Monique Basson as the Delilah of the storyline, Jill, whose equally naked performance brought the necessary support to Ruygrok’s role, to instill the sense of reality and power of that scene. But who better to affirm support for this daring role of Alan Strang, than world class South African Veteran Stage great, Graham Hopkins. Hopkins plays the psychiatrist, entrusted to get answers from the disturbed boy, showing subtle hints of being somewhat disturbed himself.

For me there was just a chemistry that sparked between Hopkins and Ruygrok, which made it work. Their characters were in constant conflict, compromising tussles and even though some may argue that there was a notable sense of discomfort between these two, it was exactly that, which caused their interacting roles to be as mesmerizing as it was.

Maggie Gericke, Andrew Roux, Marc Goldberg, Cassandra-Tendai Mapanda and Len-Barry Simons completed the rest of the cast, acting as various supporting characters, but mainly as the life within, and bodies of the horses, very incremental to the plot of the story. Initially, I thought that the well-toned bodies, slim, yet sexy sleek physiques of these actors, were used to create, or even emphasize the idea of a sexy theatre play, with the nude sex scene everyone knew was coming. When you get to the bottom of what is indeed happening, you realize that these sex-appealing bodies, and their intimate, luscious interactions with the disturbed young Alan, were the actual core cause, responsible for the psychological riddle that unfolds during Equus.

At the end, Equus, the powerful, yet deep-cutting play, is a stage production, which was made just more spectacular with Marcel Meyer, Charl-Johan Lingenfelder and Marc Goldberg on Abrahamse’s creative team. Effects, surrounding the fixed set of a stable for the six horses, included effective lighting design, which gave the theatregoer just that additional push into the intended direction to where it should go. Not to mention how the calculated positioning of certain lighting effects added goosebumps to clever choreography of Alan riding his horse, at the end of act one.

With the lights, smoke, simple props and sexy artists, came the masks of horses’ faces, which I think could not have been more mesmeric. Designed in such a way, even the slightest movements and tilting of their faces, could non-verbally tell a tale of its own… No wonder, young Alan became obsessed, psychologically enslaved, and in a way corrupted by these creatures, completely creating some sense of empathy with the audience, for the twisted, and also some scary viewpoints, Alan made known throughout his consultations with Dr. Martin Dysart.

Equus is a theatre play, but in its real definition, a pure piece of art, which means it will by some not be comprehended as intended, appreciated as justified, or even be praised as the magical piece of theatre I got to experience. With so many elements, magical theatre techniques, a story that will leave you cold, and yes, the naked sex scene that turned into the most powerful emotional breakdown you will ever see on a stage, the fact is that you will have to go judge the success of this production, for yourself.

Please be reminded that this Production, is not for the feint hearted and I think that if you are an old-school conservative sceptic, rather stay away, than to be scarred for life.

I have added the link to the Official Synopsis of Equus below, if you feel the need to be informed about this masterpiece, in order for you to enjoy all the theatrical elements of this play, without the unnecessary confusion… lol, like I was confronted with.

Equus will run in Montecasino until 26 May 2019.

[button color=”gray” size=”medium” link=”https://en.wikipedia.org/wiki/Equus_(play)#Plot_summary” target=”blank” ]Click here for the Synopsis of Equus[/button]

This Review was edited by Genevieve Viera

The post Equus appeared first on Stage and Screen.

deur Christa Steyn

Om ‘n film te maak wat geestesversteurings aanspreek is ‘n brawe ding om te doen, maar dit het akteur en aanbieder, Pietie Beyers, nie ontmoedig om sy eie ervaring van obsessief-kompulsiewe versteuring in ‘n draaiboek en film te omskep nie.

Skemerson, wat dus deur ware gebeure geïnspireer is, vertel die verhaal van ‘n jong man wat aan patologiese twyfelversteuring ly. In ‘n oomblik van totale wanhoop bevind hy, Sella, vertolk deur Pietie Beyers, homself op die Bloukransbrug, waar sy pad met twee vreemdelinge, Emma (Anneke Weideman) en Lidi (Elize Cawood), kruis. Hierdie ontmoeting het nie net Sella se lewe gered nie, maar dit het ook die lewens van Emma en Lidi aangeraak.

Beyers is bekend vir sy rolle in Binnelanders, Buurtwag en Sy klink soos lente, asook vir die aanbieding van Blitsbrein, ’n speletjiesprogram wat op VIA uitgesaai word. Sy karakter, Sella, wat ironies genoeg “Place of Peace” beteken, gaan deur ‘n besondere donker tyd in sy lewe. Sella se ontmoeting met Emma en Lidi was dalk aanvanklik lukraak, maar dit was uiteindelik die kruispad wat hom gered het.

Sy mede-aktrise, Anneke Weideman, maak na ‘n sewejaaronderbreking van die toneelwêreld weer ‘n draai op die silwerdoek. Weideman werk tans voltyds as geneesheer, maar het die geleentheid om die rol van Emma te vertolk, dadelik aangegryp. Die veteraan-aktrise, Elize Cawood, vertolk die rol van Lidi, Emma se terminaalsiek ma, en ten spyte van haar siektestoestand sorg Lidi telkemaal vir komiese verligting in oomblikke van wanhoop.

Alhoewel die film hoofsaaklik ‘n uitbeelding van die stryd met ‘n geestesversteuring is, word die onderliggende tema van liefde ook aangeraak. Beyers vertel soos volg: “Skemerson is ook ’n storie oor die liefde: romantiese liefde, liefde vir almal om jou en liefde vir jouself. Dit is ’n universele storie en een van die eerlikste films wat jy ooit sal sien”.

Om sodoende berusting te kon vind, moes Sella eers liefde aan homself bewys en aanvaar dat dit “okay is om nie okay te wees nie”. Depressie en soortgelyke versteurings is nie ooglopend sigbaar soos ‘n snymerk, letsel of wond nie. Dis ‘n innerlike stryd en ‘n alleen pad wat daardie persoon daagliks moet trotseer. Sella se geesteswroeging word versterk deur die regisseur, Phillip Rademeyer se eenvoudige verteltegniek, asook gepaste en dramatiese agtergrondmusiek, met erkenning aan die komponis, Riku Latti, wat meestal die plek van oorbodige dialoog inneem.

Die enigste kritiek in hierdie opsig is dat die agtergrondmusiek tonele met tye oorheers het. Maar ten spyte hiervan het die musiek en William Collinson se voortreflike kamerawerk die Oos-Kaapse landskap op vredevolle wyse uitgebeeld.

Met die loklyn “Dis okay om nie okay te wees nie” bring die skrywer en vervaardigers ‘n boodskap van hoop aan diegene wat met geestesversteurings worstel. Danksy finansiële steun van die farmaseutiese maatskappy, CIPLA, wat ‘n verskeidenheid medikasie vir depressie en soortgelyke geestesversteurings produseer, kon die film gemaak word.

Phillip Rademeyer het die regie behartig, terwyl Palama Productions, onder leiding van Niel van Deventer, die film vervaardig het. Rademeyer, wat hoofsaaklik teateropleiding ontvang het, meen dat hierdie projek ‘n steil leerkurwe was, maar dat dit hom na aan die hart lê omdat hy self al by tye met sy geestesgesondheid gesukkel het.

Skemerson word op die 3de Mei 2019 landswyd vrygestel.

[box type=”info” align=”alignright” ] [dropcap]C[/dropcap]hrista Steyn is an Academic in the world of South Africa’s Entertainment Industry, and a true friend of Stage and Screen.  You can read Christa’s work at www.flieksioneel.co.za.

This review was voluntarily done by her, and acted purely as a trusted contributor to Stage and Screen. The views depicted in this review, are that of the contributor, but edited and published according to the established identity and standards of the publication. We thank Christa for the contribution, and hope for many more collaborations to come.[/box]

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