From the producers of the award-winning Hedwig and the Angry Inch and Rock of Ages, VR Theatrical is proud to present their latest local offering, The Dead Tinder Society. 

https://www.facebook.com/VRTheatrical/videos/380943879256657/

In a story of love, loss and sex on the N1, The Dead Tinder Society grapples with finding the poetry in the pandemonium of seeking your significant other.

Currently running at the Pieter Toerien Studio Theatre at Montecasino, this original script is set to catapult audiences into the hilarious, but oh-so-familiar head-over-heels world of online dating from the 26^th of July to the 25^th of August.

Naledi nominated and renowned theatre maker Ashleigh Harvey wields the pen in this bittersweet and moving comedy about the ‘ups and downs’ of dating in a world ruled by screens and cheesy pick-up-lines.

Meet Jody Green, a 36-year-old recently divorced mother of two.  With the help of her best friend Ray, she signs up to Tinder (the infamous mobile dating app) in an attempt to put her shattered love life back together again.

Daring to go on dates with a wide range of colourful characters, to put it politely, Jody bites off more than she can chew as she hurtles down the path of self-discovery.

The production will be directed by Lesedi Job who is no stranger to crafting original South African plays.   The production will star Sharon Spiegel-Wagner and Mpho Osei-Tutu in the leading roles.

Harvey’s witty tale of Tinder and its tendencies is honest, unforgiving and reflective of a society hell-bent on appearance and sexual desire.  And underneath all the hilarity beats a beautiful and fragile heart – a heart like yours and mine.

A must-see for all who have ever dated.

The Dead Tinder Society

Tickets from R130 can be booked at Computicket

Age restriction: PG (Contains colourful language and adult themes)

Dates:  26 July – 25 August

Venue:  Pieter Toerien’s Montecasino Studio Theatre

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Into the Woods is a sleek and sexy beast of a musical. It is in turn moody and magical as well as witty and wise, providing the kind of intellectual and emotional satisfaction, and the kind of exhilarating theatrical experience that you would expect from Stephen Sondheim, the creator of musical masterpieces such as Sweeney Todd and West Side Story.

James Lapine of Book fame and Stephen Sondheim, who brought us Music & Lyrics, take everyone’s favourite storybook characters and bring them together for a timeless, yet relevant, piece… and a rare modern classic. The Tony Award-winning book and score are both enchanting and touching.

Don’t be deceived – this is not a musical for children… This is a wicked and wonderful cautionary fairy tale for adults that will both delight and haunt you. It is all about what it is to be human, to long for something other and to wish for something more than what you have; to deal with the inevitable loss and the terrible beauty that this journey through the world offers us.

Into the Woods has all the allure of the fairy tale, the mystery and the whimsy. It tells of love, loss, desire, hope… and revenge… With its roots deeply planted in old folk tales, it offers a rich harvest of ideas. The production also has a dazzling score with ravishing melody and seductive rhythms. It also boasts one of the cleverest, most complex set of lyrics ever written for musical theatre.

This is Sondheim at his very best; a very rare opportunity to revel in his wisdom and originality. Productions of this kind only appear once in a blue moon!

Be spellbound by this delightful tale that will show at Pieter Toerien’s Montecasino’s Theatre. Featuring a star-studded ensemble cast to the likes of Kate Normington, Earl Gregory, Zak Hendrikz, Jessica Sole, Haylea Heyns, Michael Richard, Graham Wicks, Candice Van Litsenborgh, Dianne Simpson, Nathan Kruger, LJ Neilson, Schoeman Smit, Ashleigh Harvey, Sarah Richard, Brandon Moulder, Naret Loots, Alyssa Harrison and Megan Rigby, Into the Woods is sure to astonish the audience!

Into the Woods is directed by Steven Stead, with set design by Greg King, costume design by Neil Harris and lighting by Tina le Roux.

Into the Woods:

Pieter Toerien’s Montecasino Theatre

8 March 2019 to 14 April 2019

Performances on Wednesdays to Fridays at 7:30pm, Saturdays at 4pm and 8pm and Sundays at 2pm

Ticket prices vary between R375, R275, R175 and R100

Book at Theatre Box Office on 011 511 1818 or at Computicket.com

The post Into The Woods appeared first on Stage and Screen.

With Compliments of Pieter Toerien Productions, we are giving away 11 double tickets to the performance of Into the Woods to be staged on Friday, 8 March 2019 at 19:30 at the Pieter Toerien’s Montecasino Theatre.

Into the Woods is a sleek and sexy beast of a musical. It is in turn moody and magical as well as witty and wise, providing the kind of intellectual and emotional satisfaction, and the kind of exhilarating theatrical experience that you would expect from Stephen Sondheim, the creator of musical masterpieces such as Sweeney Todd and West Side Story.

Into the Woods has all the allure of the fairy tale, the mystery and the whimsy. It tells of love, loss, desire, hope… and revenge… With its roots deeply planted in old folk tales, it offers a rich harvest of ideas. The production also has a dazzling score with ravishing melody and seductive rhythms. It also boasts one of the cleverest, most complex set of lyrics ever written for musical theatre.

Into The Woods Competition is now closed.

Please Note:

1. This competition Closes on Wednesday, 6 March, 2019.
2. Tickets are only valid for the specified dates and performance times.
3. Seat allocations are up to the discretion of the promoters.
4. Tickets may not be upgraded, or exchanged for cash, or for alternate performances.
5. The prize comprises of two tickets per winner.
6. No-Shows will not receive replacement tickets.
7. By entering this competition, the participant agrees to the terms and conditions.
8. Prizes does not include accommodation and / or travel to and from the event.
9. Winners will be notified by mail.
10. One Entry per Email Address will be entered into the draw.

The post Win Tickets to Into the Woods appeared first on Stage and Screen.

by Louw Mulder

Avenue Q… there’s actually so much to say about this production, currently on stage at the Pieter Toerien’s Montecasino Theatre. It’s a puppet show, but it’s an adult play, it’s a superbly composed musical, but it is also a presentation of the fact that South African Theatre is ready to take the next steps towards innovative, edgy and ground-breaking stagings.

Jaco van Rensburg and Wessel Odendaal of VR Theatrical, together with Kosie Smit, present this arrangement in association with Dalro, with the musical staging and direction handled by Timothy le Roux, who I thought outdid himself. Robert Lopez and Jeff Marx composed the music and lyrics for Avenue Q, which is based on the book by Jeff Whitty. As the show progresses, the clever tunes slowly swift your initial impression away from the one you entered the theatre with…

Leaving the theatre after the show, I had an idea of what the structure and theme of my review would be. The naughty bits, the catchy tunes of a very clever and well-composed score was still fresh in my mind. But as I reminisced the next day with pen and pad at the ready, the whole realisation of Avenue Q hit home!

The main attraction around Avenue Q, as would be rightfully created by the leading advertising campaigns and publicity views, are the puppets, the main attraction and stars of the show. We have Princeton, the graduate with a BA in English, Rod, the homosexual who himself still has to come to terms with his secret, and then there is Nicky, who is the messy slacker with a bit of a wild side. Adding to the edgy side, is Kate Monster and Lucy, both slightly promiscuous female characters who are in constant search of Princeton’s attention. In my layman’s opinion, I couldn’t find any fault with the visual presentation of the puppets, and compliments with huge respect goes to their creator, Kosie Smit, who breathed life into all 18 puppets featuring each night in this production. Smit, whose passion and love for this show spoke for itself during the build-up to the opening night, is also in charge of the Scenic design, which I thought was stunning.

Nowhere was it ever made a secret that the content of Avenue Q exceeds real edginess, and possibly wouldn’t be seen as appropriate for conservative people, or teens under the age of 16 for that matter. After seeing the show myself, the story of Avenue Q is powerful enough to manipulate anyone’s views on matters that play a part in the lives of each and every one of us. There are puppets having sex on stage, a fair share of swearing, and some will say inappropriate utterances that may offend a lot of diverse theatre goers. Be that as it may, all the profanity and full-frontal nudity is coming from the puppets, which I believe makes all of this more acceptable!

Modern day issues, current-day curveballs and everyday events, are all addressed in a very comic and uproarious fashion. It disguises the hurt and cold truths of life, with the healing power of laughter. I refer to issues such as unemployment, being homeless, losing one’s job and even the rejection of friends and loved ones. The internal struggle with one’s sexuality, and the battle of coming to terms with it, feature prominently in the story, with perfect fit. These are the themes of truths we all face daily, that surface above the whole mosaic of memories when thinking back to Avenue Q, as you are lefty with a final thought… “It’s only for Now!” And yes; Everyone on Avenue Q, are a little bit racist too…

I do believe that the powerful message, which was camouflaged by the magic of humour, was made as effective as it is, due to the production quality. I am totally uneducated and uninformed about the art-form of puppetry, that my enthusiastic raves about Avenue Q may be seen as disproportionate, but I am sure once any theatregoer sits back, let go and enjoy the show, they will be entranced by the same childlike fervour I experienced.

With an edgy and very sharp script, I found it to be effectively complimented by the lyrics of each song. Dawid Boverhoff, Avenue Q Musical Director, did a stellar job, which I think would honestly not have been this powerful without the contribution of the strong and impressive cast. I thought that all their performances were enhanced by their passion and eagerness for this new genre, supported by every unique puppet.

The strong voice of the very talented Ashleigh Harvey, is a definitive sound which I found to illustrate many of the stories’ emotions, which the expressionless puppets had to tell. Her natural style of acting, even though in the shadow of her doll, pulled through in such a perceptible form, that her character’s intended expressions were effortlessly transferred to her puppet.

Alongside Harvey, is Ryan Flynn, who manipulates the lead character, Princeton, as well as the closeted gay republican, Rod. Whether his puppetry techniques were according to academic techniques, I cannot say, but I thought he was amazing throughout both acts. What was totally enchanting for me, was the moment I realised that the personality of Flynn’s character, imperceptibly echoed through his puppet. As impressed as I was with this, so I can cite how I thought the sturdiness of Flynn’s performance somehow kept the rest of the cast on par, which I thought was key to their phenomenal ensemble performances,

The rest of the cast consist of Daniel Geddes, Nieke Lombard, Greame Wicks and Songezo Khumalo whom all, through their puppets and their associating characters, contributed in his or her own right to Avenue Q’s success. Among the craziness of the puppets, are the three real people. For me, the inclusion of human characters added a valuable balance between the deep-cutting themes of the script, and the human reality. Yamikani Mahaka-Phiri, Grant Towers, and the hilariously talented Rebecca Hartle, each played their roles with effortless talent.

If you give me only a half a chance, I will grab the opportunity and fill a few more pages about my raving thoughts on Avenue Q. Older theatre experts may say that my exaggerated praise for this production are excessive, and that I am turning a blind eye to its shortcomings, but I do believe my views are justified, as I experienced a total sense of entertainment, along with the excitement of this brand-new genre introduced to SA Theatre.

As a warning, do not ruin your own Avenue Q experience by watching online video’s of this show, because one, you need to see it live, secondly, this South African production is way better than all the ones online, and thirdly, The Internet’s for Porn..

Due to the gut-busting depth of the text, the complete essence of Avenue Q will be best experienced after seeing the show for the third time.  Avenue Q opens this Saturday, 19 May 2018, on stage of the Pieter Toerien’s Montecasino Theatre, and will run for a limited season. The show plays for 2 hours, 15 minutes, with a 20-minute interval. Parental guidance for younger patrons are advised, as Avenue Q carries an age restriction of 16.

Visit VR Theatrical’s Facebook page for more detail on the show times.

The post Avenue Q appeared first on Stage and Screen.

by Kosie Smit

If you told me three years ago that I would be building puppets for AVENUE Q, I would not have believed you and would have laughed nervously.

I have an extensive Scenic and Lighting background, and have been producing theatre for almost two decades. On the odd occasion I would agree to build creative elements for productions, but my knowledge of building puppets was very limited.

As a kid I built some puppets with Papier-mâché and they became my little actors in puppet shows. They were very basic.

When the opportunity arose for me to build AVENUE Q’s puppets, I grabbed it with both hands and tackled the challenge head on. I had to build 18 puppets from scratch and they not only had to conform to the director’s needs, but also had to be moulded on the character descriptions and personalities described in the script.

I did an in-depth study on Puppet Mechanics at the University of YouTube, and then started building enthusiastically. Every puppet is unique and has a particular personality. Each one also has its own unique problems when it comes too physically building them – but you fall in love with each one because you work so intimately with them.

I did not realise how long each puppet would take to construct. The process is incredibly time-consuming. From start to finish it can take up to 5 days to complete a single puppet. I am sure that with some practise it will get faster.

I had to create and construct unique patterns for each puppet. The patterns have to be cut out of felt and then hand-stitched. Foam is sculpted to create the different body parts.

There are 12 different puppet characters in the production but we have realised that it is too time-consuming to undress them quickly because of the mechanics and their build, so we had to build multiple sets to assist with quicker costume changes.

The puppets are made up of a combination of foam, fur, felt and fleece. All details, such as the eyes are handcrafted and the hair is made of faux fur or synthetic wigs.

Creating these little people was a daunting but exhilarating task. It was a vast learning curve for me, but I truly loved the process. I often get asked which puppet is my favourite, but I am unfortunately not able to tell as they all feel a little bit like my own children.

Avenue Q

Pieter Toerien’s Montecasino Theatre from 10 May 2018

Wednesdays – 20:00

Thursdays – 20:00

Fridays – 20:00

Saturdays – 16:00 and 20:00

Sundays – 15:00

Tickets range from R100 – R350 and are available through Computicket. Discounts are available for block bookings – contact Geraldine on geraldine@montetheatre.co.za for block booking discounts.

Click here to read more about the Human Cast of Avenue Q!

[box type=”warning” align=”alignright” ] [dropcap]PG16[/dropcap]

Er, well, this is where it gets a bit fuzzy. If your teenager is mature enough to see a musical about issues such as sex, drinking, and surfing the web for porn, then they’ll probably love AVENUE Q too! Only you can judge. It’s hard to say what exact age is right to see AVENUE Q – parents should use their discretion based on the maturity level of their children. But we promise you this – if you do bring your teenagers to AVENUE Q – they’ll think you’re really cool![/box]

The post Avenue Q: Creating the Puppets with Kosie Smit appeared first on Stage and Screen.

In 2004, on Broadway, against all the odds, a little show called Avenue Q snatched 3 Tony Awards for Best Book, Best Score and Best Musical from a monster hit, Wicket. This year, VR Theatrical and Kosie Smit are proud to present that triple Tony Winner to Johannesburg Audiences.

The Broadway production was described as ‘equal parts puppetry, comedy and catchy tunes’. Avenue Q is a laugh-out-loud comedy musical that tells the timeless story of a recent college grad named Princeton who moves into a shabby New York apartment all the way out on Avenue Q. He soon discovers that although the residents seem nice, it is clear that this is not your ordinary neighbourhood. Together, Princeton and his new-found friends struggle to find jobs, dates, and their ever-elusive purpose in life.

The South African premiere will be Directed and Choreographed by Timothy le Roux, with Musical Direction by Dawid Boverhoff. Kosie Smit is tasked with Puppet Creation as well as Scenic Design. Lighting Design is by Oliver Hauser.

Le Roux said: “The all South African cast were put through their paces at auditions late last year. In musical theatre jargon the term ‘triple threat’ is often used to describe a person who is good at acting, singing and dancing. What makes this piece of theatre unique is that it includes all that – plus puppetry skills, which requires intensive training for our actors.”

The cast features stellar performers: Ashleigh Harvey as Kate Monster/Lucy, Clive Gilson as Princeton/Rod, Daniel Geddes as Nicky/Trekkie Monster, Grant Towers as Brian, Yamikani Mahaka-Phiri as Gary Coleman, Rebecca Hartle as Christmas Eve, Nieke Lombard as Bad Idea Bear, Graeme Wicks as Bad Idea Bear and Songezo Khumalo will fulfill various Understudy Roles.

Avenue Q is special in that the actors operate the puppets in full view of the audience, using both their hands while singing, acting and dancing. AVENUE Q contains scenes which may be unsuitable for children under 16. Children under 5 will not be admitted.

Avenue Q

Pieter Toerien’s Montecasino Theatre from 10 May 2018

Wednesdays – 20:00

Thursdays – 20:00

Fridays – 20:00

Saturdays – 16:00 and 20:00

Sundays – 15:00

Tickets range from R100 – R350 and are available through Computicket. Discounts are available for block bookings – contact Geraldine on geraldine@montetheatre.co.za for block booking discounts.

[box type=”warning” align=”alignright” ] [dropcap]PG16[/dropcap]

Er, well, this is where it gets a bit fuzzy. If your teenager is mature enough to see a musical about issues such as sex, drinking, and surfing the web for porn, then they’ll probably love AVENUE Q too! Only you can judge. It’s hard to say what exact age is right to see AVENUE Q – parents should use their discretion based on the maturity level of their children. But we promise you this – if you do bring your teenagers to AVENUE Q – they’ll think you’re really cool![/box]

The post Avenue Q appeared first on Stage and Screen.

By Jaco du Plessis

In a world where war and violence have become a daily feature, from the news to our social media, one has to ask if we really need to take this subject matter to the stage. My answer is a definite YES! Yes, because of a show like Cheers to Sarajevo, co-written by Aimee Mica Goldsmith and Lidija Marelic, currently showing at the Alexander Bar on Strand Street.

Walking into the small theatre space the audience is met with the debris of what could possibly have been a modest apartment, graffiti line the walls and the furniture is sparse. The show hasn’t even started yet and already there is an uneasiness in the air. The lights dim and we meet three friends; a Bosnian women, Mirela, played by actress Goldsmith, her Serbian boyfriend, Aleksander, acted out by Alistair Moulten Black  and Lamar Bonhamme  portraying the role of Slobo. The three are unnervingly cheerful in this first scene, something that won’t last very long.

The three friends go through all the pain and suffering that comes with war – food shortages, dodging bullets and bombs, but all the while are trying to be strong when the greatest challenge of this ethnic war threatens to pull their friendship apart. One thing is clear during the first few minutes of the show, is the love between Mirela and Aleksander. This love that was forged on the streets of Sarajevo from a young age has managed to keep them alive during this difficult time and keep them hopeful of a future together, a future that becomes threatened by a South African photo journalist, Peter, played by Stephen Jubber.  The South African is in Sarajevo to document the war, and soon starts to develop feelings toward Mirela.

What follows isn’t an easy viewing as the war and its atrocities are brought centre stage, the characters change and a once strong Mirela falls victim to her friend Slobo’s cruel hands, the ambitious Aleksander becomes a broken soldier and the South African looking to make his mark as a photojournalist tries to become the one person to save Mirela.

The dark mood in the air is enhanced under direction of Ashleigh Harvey, assisted by Sven-Eric Muller.  The clever use of documentary audio tracks entrap you into the war setting, you become increasingly anxious in your chair as the sound of constant machine gun clatter and the exploding bombs heighten your senses. The direction makes you go from angry at the circumstances, to sad and emotional as Mirela breaks down during one of the final scenes. Goldsmith delivers a heartfelt performance, you connect with her emotions, her frustrations and her sheer determination to not let go of what she believes in; the country she calls home and the people she loves. Her performance is one that will sit with you for some time after the production has ended.

Another stand out performance is Lamar’s portrayal of Slobo, which takes you on a riveting transformation journey. The once cheerful man we meet in the first few minutes, gets replaced with a dark tormented soldier. Lamar moulds the character to an almost mannequin-like exterior devoid of all emotion, with intense violent and brutal outbursts breaking through at times.  I was pleased to see such diversity in his stage presence.

The lights darken and for a moment the audience is glued to their seats, it takes a moment to realise that the show is over, tears are brushed from a cheek to my left and I’m at a loss for words. A standing ovation follows and people leave the theatre. Confused and emotional, angry and frustrated, I am left with questions. Why did this war happen? How did it end? How many people lost the love of their lives? This was not an easy show to watch, firstly because I didn’t know much about the Yugoslavian war, I was too young to remember when it all took place.  Secondly, watching this play is for the theatrical art lover, because this show doesn’t sugar coat the subject of war, but once you start processing it all you also come to the realisation that beneath the turmoil and the anguish there lies a story of love and compassion, and the fight to stand up for what is right and to say this is who I am and I will not allow my circumstances get the better of me.

This is a show you have to go and see, it delivers performances that are guttural, ones you can somehow relate to and it shows you how through all the struggles that we face in life, we do not need to give up on what we believe in.  This show transcends the theatre space and brings this reality to us in a way that we can connect with.

Cheers to Sarajevo runs from 26 June – 8 July at the Alexander bar.  Tickets cost R80 if booked from their website, and R120 at the door.

This review was edited by Bronwen Kerry.  Photos by Jesse Kramer

The post Cheers To Sarajevo appeared first on Stage and Screen.

by Louw Mulder

It is not the first time I have had the privilege to review a Fugard Theatre Production, but it is the first time I am writing about a production performed at the Fugard Theatre. Being in Cape Town is always an experience for a Gautenger like me, and to see a professional musical like Funny Girl  on its home stage, completes a perfect visit. I was pleasantly surprised with the Fugard Theatre itself, it has a very nice, intimate, friendly and arty feel. I think it is a brilliant idea for out of towners to include a visit to this theatre when traveling to Cape Town.

After a successful run of West Side Story in Cape Town and Johannesburg, and returning to the stage in 2018, Eric Abraham and the Fugard Theatre have produced the 1964 Broadway hit, Funny Girl, The Musical – the stage production most theatre critics say was Barbra Streisand’s big break when she played the lead role in the original production at the Winter Garden Theatre.

Even though it is a treat to see experienced musical theatre actors and actresses perform, nothing beats that feeling of being impressed and blown away by performers I have seen for the first time in a lead or prominent role. The Fugard Theatre is becoming a key player in providing these opportunities with the likes of Shaun Smit in Rocky Horror, and most recently Lynelle Kenned in West Side Story. With Funny Girl, they did not disappoint.

With names in the cast becoming more and more familiar to the regular theatre junkie like myself, Funny Girl did not fall short at all. But I have to elaborate on two of the performances that made me excited for what is to come in the future.

In the lead role, playing Fanny Brice, is the remarkable Ashleigh Harvey. Harvey has also appeared on the cast list for Rocky Horror, and Shrek – the Musical, but Funny Girl is the production where she has really imprinted her talent in the industry. The role is complicated in my view, as it needs a strong voice, and also an actress that plays a not-so-clever, naïve girl, who grows into a mature lady towards the end. Harvey was outstanding, because she was funny when she needed to be, sincere when the role required it to be, and also forced complete silence in the audience when she showed off her vocal abilities. In character, she also does look like a Fanny…

The performance I remember most distinctly, is that of Cameron Botha, in the role of Eddie Ryan. His credits in musical theatre include performances in West Side Story, Sweeney Todd, Peter Pan Pantomime, as well as a whole lot of Afrikaans productions. Even though these were smaller roles, Botha is getting sexier and more mature as an actor in his own right. The distinct characteristic of an impressive performance, is someone who owns the stage, consumes the attention of the audience member, making the stage look small and irrelevant. This was Botha on the night.

The rest of the Funny Girl Company includes Clyde Berning, Kate Normington, who also played her role brilliantly as always, Diane Wilson, Michelle Maxwell, Grant Towers and well known acting veteran, Mike Huff. The boys in the ensemble cast includes Sven Eric Muller, Sibusiso Mxosana, and Daniel Fisher.

The ladies added the snazzy, glitz and sex appeal needed to complete the cast line-up. Lucy Tops, Jenna Robinson-Child, Tyla Nurden and Tamryn van Houten played their roles with a high standard, alongside the more experienced Ambre Chanel Fulton, Michele La Trobe, and one of our most promising theatre actresses, LJ Nielson.

Innovative sets, and smooth transitions between scenes is also something that is mostly overlooked by many patrons, but for me, it is something that can make, or break a pertinent element of a stage production, namely the flow of the show. With a revolving stage, Saul Radomsky designed a set that promotes such a suave flow between scenes, which does not distract the audience from the story unfolding.

Even the costumes were classically appropriate for a story that plays off in the 1960’s, and I think Birrie le Roux did a fashionably remarkable job in designing them. Daniel Galloway and Benjamin du Plessis were responsible for illuminating the stage, and Mark Malherbe completed the creative team as the sound designer.

One of South Africa’s top maestros, and also resident Musical Director to the Fugard Theatre, Charl-Johan Lingenfelder, was in charge of the music. Louisa Talbot, also with a remarkable resume, worked out the moves, as choreographer for Funny Girl. The music was powerful and classical, swing and cabaret at times, but whatever the genre, it was melodically orchestrated. The dances, moves and steps, were in sync with the music, and under the leadership of multi-award winning director, Matthew Wild, the production of Funny Girl was set to be a success from the word go.

Us in Gauteng pray with you Cape Townians for rain, but Don’t let it Rain on My Parade.

You can visit www.thefugard.com for show times, and ticketing information.

This review was edited by Bronwyn Kerry.  Photos courtesy of the Fugard Theatre

The post Funny Girl appeared first on Stage and Screen.

By Louw Mulder

Sometimes, in the hustle and bustle of today’s life, it is just refreshingly entertaining to sit back, relax, and let the magic of a feel-good, almost panto-style musical take over. And that is a little understatement of how much I enjoyed Shrek, The Musical, which opened last night at the Lyric theatre in Gold Reef city.

Telling this very famous tale of Shrek, Donkey and Fiona on stage, on the back of a very successful and well known animation film, can seem to be a daunting task, but KickstArt Productions did very well doing just that. Normally I would start a review by praising the cast, but before doing so, I believe it will be most appropriate to lead this write-up with the amazing job the creative team did.

Lead by director Steven Stead, the South African production, based on the original Broadway show in New York was staged in just as a colourful and energetic fashion, as the overseas original. I must make special mention of the costumes, originally designed by Tim Hately, which was perfectly brought to life by South Africa’s Shanthi Naidoo. With freaks from all genres of different fairy tales, it was a perfected task, fitting all these roles into character.

Award-winning Choreographer, Janine Bennewith, stepped up to the party in a fabulous way. The dancing was simply spectacular, bearing in mind her work had to take into consideration the limitations in movements, brought on by the identifiable costumes and the prosthetics. The costumes and choreography, which never lost any of its energy, was without a doubt the winning combination that brought life into the story, played out on the Shrektacular Music, composed by Jeanine Tesori. The score is being conducted to the right sounds in this South African production by Naledi Winning MD, Rowan Bakker.

The reason why I referred to this musical in my introductory paragraph as almost panto-style, was by no means condescending, but in fact a crucial component of this experience. Even the farting-fight and burping-battle between Shrek and Fiona, got that beautiful sounds of children’s’ laughter to fill the auditorium. As Stead explained in his radio interview before the show; visually, it is for the kids, but if you as an adult let yourself go and follow the dialogue, it is just as much a show for the adults, as for the little people.

The puppets’ contribution to the holistic enjoyment of the fantasy, was executed in the most fascinating way, and hats off to the puppeteers who were responsible for doing so. From exploding singing birds, cheerful little mice, to even the larger-than-life purple dragon, played their part in making this production so worthwhile for the kids, but also surprisingly pleasant for the grown-ups. Well done to designer Greg King, one of KickstArt Productions’ founding members, and former Puppet master at the Playhouse Puppet Company. This work was magical to watch.

So, with all the creative sides done, only one aspect of this musical still remains. That will be the voices, feet and faces on stage telling the story – the cast. Applause to the very young and talented company, which was built up with sheer delight within their core. From Lyle Buxton as Shrek, Rory Booth as the beloved Donkey, Jessica Sole as Fiona, to even Graeme Wicks and Shani Mclea as Pinnochio and young Fiona respectively, every actor owned their character, and the complete dedication was noticeable.

But the performance of the night, and I am sure will be throughout their season, is that of Jacobus van Heerden, in the role of Lord Farqaad. Lord Farqaad is the corrupt, very short and arrogant prince, who need to marry a princess in order to become king. With the stunning costume design, van Heerden played his part on his knees, and managed to do so quite convincingly. His dedication to his role, the choreography while acting on your knees, and the sheer mastery of his acting talents, were all put together to create one of the most enjoyable villains I have ever seen on stage. There is still much to be spoken about van Heerden’s talent, but it is best experienced live on stage.

Names in the ensemble include Megan Restall, Luciano Zuppa, Senna Moreira, Ashleigh Harvey, Devon Flemmer, Senzesihle Radebe, Haylea Heyns, as well as talented stage stars such as JP Rossouw, Adam Dorè, Samuel Hyde and Tumelo Tokgwi to name but a few of the 30-member cast. Well done to all of you, and you are not freaks.

Shreck is not a serious musical, so please do not go and expect such. Go there to be entertained as much as I was. If you let your inner youth out, and just sit back to take it all in, you might find yourself seriously entertained. If I could, this musical would have received 7 Curtain Calls from us.

Shrek and the team from his Swamp will still adore audiences at the Lyric theatre, Gold Reef City until the 17^th of July 2016.

Photos by Mariola Biela

The post Shrek, The Musical appeared first on Stage and Screen.

Make room for ogre-sized family fun as the greatest fairy-tale never told comes to life in the Broadway and West End hit Shrek The Musical which heads to Johannesburg for a limited season at Gold Reef City from 24 June to 17 July 2016.

From the producers of Little Shop of Horrors, Cabaret and more recently Sweeney Todd, KickstArt now brings Jozi audiences the musical stage adaptation of DreamWork’s global movie phenomenon Shrek!, set to delight old and young during the June/July holidays.

The talented local 28-strong cast will be bringing these instantly recognizable characters to life in this fabulous, fun, charming and hugely funny musical.  The leads are portrayed by Lyle Buxton (Cabaret, Annie, Beauty and the Beast, Sweeney Todd) as Shrek, Rory Booth (Xtrafactor, Puss in Boots, Aladdin) as Donkey and Jessica Sole (Cabaret, I Love You You’re Perfect Now Change, Orpheus in Africa) as Princess Fiona.

Also in the cast are Jacobus van Heerden (Popcorn, Little Shop of Horrors, The Ladykillers) as the diminutive Lord Farquaad; Graeme Wicks (Sweeney Todd, Aladdin) as Pinocchio; Charon Williams Ros as Gingy the Gingerbread Man and a ferocious fire-breathing dragon…. With a huge cast of fairytale characters, and a chorus of tap dancing rats!!

The stellar cast also includes; Ashleigh Harvey, Kyra Green, Luciano Zuppa, Samuel Hyde, Daniel Fisher, Tumelo Tokgwi, Senzo Radebe, Zchane Zietsman, Shani McLea, Sarah Richard, Caitlyn Thompson, Sarah Falconer and more.

The Johannesburg premiere of the hit Broadway show Shrek The Musical will be the first of many major productions to be staged at Gold Reef City following the completion of the recent multi-million Rand redevelopment; the premiere entertainment destination in the south of Johannesburg.

“The recent extensive refurbishment and expansion of Gold Reef City has created a perfect opportunity for us to stage this superb and larger-than-life Broadway inspired musical adaptation of the hit movie “Shrek”.  This magnificent production will feature a large cast, spectacular music and great humour that will delight both children and adults alike”, says Noeleen Bruton,  Director of Marketing – Tsogo Sun Group.

Shrek the Musical is directed by Steven Stead, designed by Greg King, choreographed by Janine Bennewith, lighting by Tina le Roux with musical direction by Rowan Bakker. It is based on the 2001 DreamWorks Animation Motion Picture Shrek! and the book by William Steig. The musical adaptation has book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori.

Shrek the Musical has become a global phenomenon with productions staged internationally including on the WestEnd and Broadway. With an enormous cast, a fabulous score; speedy set changes; extravagant costumes, prosthetics and make-up – this is quite possibly one of the most challenging and elaborate productions staged by multi-award winning producers, KickstArt. It promises to be quite extraordinary, deliciously funny and a joyous romp for the whole family!

The story revolves around a benign ogre named Shrek who lives contentedly alone in a swamp. However, his solitude is disrupted when a band of disgruntled fairytale creatures show up on his property after having been banished from the Kingdom of Duloc, on pain of death, by the evil Lord Farquaad.

Irritated by having to share his swamp, Shrek journeys to see Farquaad  with the intention of regaining his privacy. On the road, he rescues a talkative donkey who insists on tagging along to show him the way. Shrek and Donkey arrive in Duloc where Farquaad demands that Shrek rescue his intended, Princess Fiona. The two unlikely friends set off to save Fiona. After a quest involving a fire-breathing lady dragon, Princess Fiona is “rescued” from the tower by Shrek. On the way back to Duloc, Shrek and Princess Fiona get better acquainted and Donkey tries, unsuccessfully, to match-make them.

As Princess Fiona and Lord Farquaad are about to be married, there is an uprising from the fairytale characters, and Princess Fiona realises that Lord Farqaad is perhaps not her champion after all. And in the tradition of all good fairy stories, the villain is vanquished, the hero finds true love, and they all live happily ever after….

In the recent BroadwayWorld.com 2015 Awards, Shrek received two further awards; for best Costume Design (Greg King) and Best Family Friendly Entertainment.  And now it’s Jozi’s turn to enjoy this Shrektacular theatre production that’s been turbo charged as it brings a favourite movie to life on stage!  There is no better quality entertainment to be enjoyed in the winter holidays that’s ideal for everyone, not just the kids. A Broadway production at an affordable price!

Shrek The Musical is on at The Lyric Theatre, Gold Reef City

24 June to 17 July 2016.

Afternoon performances run from Wednesdays to Sundays at 14h30 with evening performances on Fridays and Saturdays at 19h30.

Bookings can be made at www.goldreefcity.co.za or by calling The Gold Reef City Box Office on 011 248 5000 or through Computicket.

Tickets range from R150 – R290.

A variety of discounts apply:Tsogo Sun Rewards cardholders enjoy instant savings: 10% (Gold); 15% (Platinum); 20% (Black).

Group bookings of 20 or more qualify for a 10% discount if booked directly with the Gold Reef City Box Office only on

011 248 5000.

Edgars Club card holders enjoy a 10% discount.

Shrek-tacular Show & Stay Deals are available at The Gold Reef City Theme Park Hotel and include a delicious buffet breakfast at Barney’s Restaurant, access to all major rides and entertainment in the Theme Park, show tickets, and complimentary shuttle service to and from the casino complex.  Visit goldreefcity.co.za for information, contact Gold Reef City Reservations on 011 248 5700, or email Goldreef.reservations@tsogosun.com to book today.

The show runs for 2 hours 10 minutes with a 20-minute interval.

NO CHILDREN UNDER 4 YEARS will be admitted into the auditorium.

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