By David Simmons

Joburg Theatre is infused with bucket loads of wit and charm this March where Aunty Merle: The Musical has taken centre stage. Together with abundant local humour, local problems and some of the best one-liners on offer, audiences are in for a very special homegrown experience! Aunty Merle: The Musical is making its Johannesburg debut after two successful runs in Cape Town.

There is something quite remarkable about productions with an authentic feel, especially ones that represent people from each corner of society. We as an audience find solace when privy to stories that reflect and mimic one’s own life and inner feelings, making ones theatrical experience all the more worthwhile. If there was ever a time where humour in our country is most needed, Aunty Merle: The Musical sets the standard for huge comedic relief, igniting a warm and welcoming energy to the stage.

This family inspired musical, straight from the heart of Cape Town’s bustling Athlone has a certain tenderness to it, yet at the same time exudes strong themes with equally strong characters who make sure their stories are told in the best possible light. Aunty Merle Abrahams is no stranger to Cape Town, and for those who have enjoyed her antics over the years will find her anecdotes and comedy prowess all the more appealing.

Merle, or as she is commonly referred to as Athlone’s Rose is in fact the brain child of Marc Lottering and one could say his alter ego. She has been part of Marc’s one man shows for many years and although she may have aged ever so slightly, she is still a force to be reckoned with. Lottering is almost unrecognisable as Merle who epitomises the true characteristics of a typical house wife on Belgravia Road in Cape Town.

There is gossip aplenty at the Abrahams resident, especially with Merle’s faithful neighbour Soraya, portrayed by Carmen Maarman and housekeeper/friend Lidia depicted by Tankiso Mamabolo who’s vocal talents are worthy of praise. Royston Stoffels acts as Merle’s husband Dennis whose affection for his wife is loving and kind-heated. Their Son Carl, coming to terms with his own sexuality is sensitively performed by Anzio September whose character effortlessly has the knack of letting go of his past and enter into a new phase of openness and self -realisation.

Merle’s daughter Abigail Abrahams, played by the enormously talented Tracey-Lee Rose, has just been proposed to by her long-time boyfriend Alan White, a wonderful performance by Paul Du Toit. Abigail and Alan come from different spectrums of life, and with the usual stereotypes of mixed marriages and social standing long forgotten, there is not an inch of doubt that these two are destined to be together.

Alan’s wealthy family from Bantry Bay together with the Abrahams clan are both welcoming of each other even though their opinion and ideals are disagreeable at times. The fast-paced scenes with Merle and Claire bantering over wedding plans together with Dennis and David’s interaction is a joy to watch creating a very interesting family dynamic.

Gina Shmukler and Adrian Galley give a wonderful charm to Claire and David White, Alan’s parents. Claire can’t wait to have ’exotic’ grandchildren however makes it perfectly clear that they are not allowed to call her ‘Ouma’! No story is complete without its resident villain who just so happens to be Abigails Ex, Denver, and a slimy and slippery character brought to life by Loukmaan Adams whose shared secret with Abigail he threatens to leak.

Directed by Lara Foot with music written by Marc Lottering and Tarryn Lamb, this wonderfully diverse musical in essence is all about acceptance and understanding and most importantly how we embrace it. Together with a phenomenal 7 piece band on stage don’t miss this proudly South African experience!

Aunty Merle The Musical will be running at the Joburg theatre until Sunday the 3^rd of March 2019.

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By: David Simmons

2018 has been a very busy year for Joburg Ballet. They have skilfully presented audiences with world class offerings, not forgetting a company of dedicated artists each embracing their own unique talents. Each production, whether a classical representation or modern enactment, has set a very high standard for dance in this country. The level of flair and expertise of every dancer has been admirable and consistent throughout, making the art of ballet all the more comfortable to appreciate.

With twelve months of the year almost through, it’s always fascinating to revisit past productions of the season, and how the evolution of every single showcase has been delivered with effortlessness and ease. December sees the company bring Cinderella to the Teatro at Montecasino and one can certainly reveal that the best has been left for last!

Cinderella couldn’t have come at a better time. In fact, it’s a production that embodies the true light-heartedness and festivity of what this time of the year brings. It’s a celebration of new beginnings and the start of something special.

Cinderella’s story is one we have all heard before. It’s a magical tale of the outcast who rises up to achieve greatness, but at the same time has to endure various obstacles on a very cobbled and uncertain path. It’s an appropriate story line especially for young children and adults alike, wanting a little magic and sparkle in their lives. Themes of courage and trusting your own convictions ring true to this staging, making for a glittering viewing.

Our female lead in question, played by the always elegant and poised Shannon Glover, brings a very whimsical feel to her role. Glover has given us a very dignified Cinderella, one who doesn’t need introduction, but who gracefully progresses on her quest to happiness.

Even in her tattered clothes and ruffled hair she is a marvel to watch, each step and movement as light and airy as her good-natured character. Her only solace are the mice she has befriended, and together they dance and amuse themselves in the dusty cinder filled kitchen they call home.

No story line is complete without our resident rival, and we are subtly introduced to Cinderella’s step Mother portrayed by Kitty Phetla, as always, a massive presence on stage. Phetla is mesmerising in her rendition, transfixing the attention of the audience to her fluid-like moves and capabilities as a senior soloist.

Cinderella’s two ridiculously slapstick stepsisters, Louise and Carla played by Chase Bosch and Keke Chele respectively,  add huge amounts of comic relief to the show. They bring a touch of pantomime maddens to their roles and take full advantage of the slick and fast paced choreography. Their rollicking performances are filled with huge amounts of laugher, and with the silly season in full motion their dramatics are very much welcomed.

Claudia Monja gives a dazzling performance as The Fairy Godmother and projects a collected serenity in some of the most beautiful solo renditions. Monya as always is polished and elegant, an apparition like vision who appears and then disappears in memorable sequences.

This rages to riches tale wouldn’t be complete without a Prince and a Ball and the usual amounts of frivolity that come with it. Ruan Galdino provides a charismatic and noble energy as Prince Charming. He fits the role perfectly and is in-tune with the regal effects of his character. Together with Glover, they both impressively transport us to an imperial backdrop of grace and refinement. The exquisite dance scenes at the ball will give you reason to see this production again and credit needs to be given to the entire company who give this ballet a strengthened bond.

As the story goes, the enchantment of the ball and the prince’s affection comes to an end and when the clock strikes twelve nothing is as it was, and Cinderella is back to where she started. However, with the help of a glass slipper, a touch of make-believe and bucket loads of fairy dust she gets the happy ending she so deserves.

This full-length ballet in two acts is choreographed by Artistic Director Iain Macdonald who has smoothly transported us into a world of fantasy. The sets and backdrops are beautiful and music from Johann Strauss adds the most wonderful festive element to an already sumptuous offering. Together with elegant costumes and romantic lightening, Joburg ballet has undoubtedly cast a magical spell over theatre goers and ballet enthusiasts alike.

Cinderella will be running at the Teatro at Montecasino until the 23rd of December 2018. Tickets are available at Computicket or at the theatre box office.

Photos: Bill Zurich and Lauge Sorensen

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by David Simmons

If you haven’t heard the name Jann Klose before or been privy to his music for that matter, you may want to do some research! This award-winning pop singer and song writer has just launched his new Album In Tandem and together with an eclectic arrangement of tracks, Jann’s strong message shines effortlessly through his song-making. I had the change to sit down with Jann to discuss his appreciation for the arts, his influences and his love for Africa, in anticipation to his tour across SA this month.

No stranger to Southern Africa, Klose grew up in various destinations around the world. He was in fact raised in Kenya and Germany and subsequently The United States became his permanent home. Although his upbringing is a distant memory, he remembers East Africa rather fondly, the beauty of nature and off course the music which made a huge impact in his life. Some of the first live performances he witnessed as a child were African street performers, singers and dancers. The fascination of dancing combined with the rhythm of ethic influence, has travelled with him throughout his life and created a wonderful cornerstone for his general love for music. Jann remembers music entering his life at a very young age. He describes music as being a ‘healer’ which has gotten him through some of the hardest times in his life.

Klose’ love for the arts and musical theatre also started at a young age. While studying voice in Cleveland, Ohio, he sang with several local ensembles including the Cleveland Opera Chorus. His fascination and hunger for live theatre was evident and he used his singing abilities and talent to break into the performing arts in New York. Young artists will do everything and anything in their ability to reach their dreams and Jann remembers the struggle of all the auditions he had to endure, sometimes as many as 3 to 4 a day. Jann was cast in The Who’s Tommy after a couple of months of ‘hitting the pavement hard’ and loved the experience. He then travelled with the Broadway national tour of Jekyll & Hyde and the Jesus Christ Superstar European tour and learned a great deal about life on the road and performing every night, at times 9 shows a week.

Creating music can be one of the most rewarding pastimes an artist can undertake however it’s very interesting to witness the evolution of a singer and where their inspiration derives from. In Jann’s case he had many musical inspirations. One artist that paved the way for him was Prince. “His artistic persona and skills were just off the hook and really inspired me to go into music” Jann reflects affectionately. There is no doubt that hard work and determination can bridge the gap between success and failure and Jann has created a name for himself in the music industry by persevering and honing in on his musical talents.

Jann reflects on one of his favourite Shakti Gawain quotes that has centred him in times of difficulty and disorder. “Imagine what you want in life, then say out loud: this or something better now manifests for me, in the most satisfying and harmonious ways and for the highest good of all concerned.” He has been using this inspiring quote for years which has helped him on his musical journey of purpose and persistence.

Being an ambassador for Desmond Tutu’s Tutudesk campaign, Klose has a very strong bond with South Africa. “I love coming here for the people, the music, the food and off course the nature… It’s just a really beautiful spot on this planet.” He has worked with many names in the South African music industry such as Karen Zoid and Tamara Dey, who have been outstanding collaborators and add a soothing local touch to his already diverse mix of compositions.

After nearly a year of working on his 6^th Album, In Tandem, this reflecting journey of work has flourished into an album of 13 incredibly diverse tracks. “I wanted to create a collaborative album and draw in all the different writers and artists I had met over the years touring in the US, Canada, Europe and Africa. It was a massive undertaking but I had a ton of support from my colleagues and friends. Music Exchange, BMI London, Academy of Sound Engineering and producer RJ Benjamin were instrumental in turning this into a reality” he tells.

Jann’s music has a certain calmness to it. It is as if he is speaking directly to his audience and telling a story along the way. He relates to this sentiment full-heartedly. Says Jann: “That’s why I do it, to tell stories and connect. It’s one of the great power’s music has to offer.” Klose has a wonderful knack with relationship building in his songs and this can have a huge impact on how a musical story is exposed to an audience. “It’s really about creating a connection and a story. You never know to what extent it will connect but when it does, it’s magical!”

As all performers know the life of a touring artist can be gruelling and especially with early calls and late-night performances it is important to find your balance. Jann finds his balance by being outdoors which can focus even the most jumbled of minds! “Running helps… When I’m too tired or don’t have time, I walk and try to surround myself with nature and get away from noise.”

A number of stand our collaborative tracks from his new album are Love High and Take me 2 Forever. Love High has the perfect setting. The music video takes the viewer on a trip through the streets of Brooklyn evoking the true sense of an American love story. “I really have attribute this to the director Klaudyna Astramovicz and DP Wyatt Ward… It was their vision! New York and especially the Williamsburg neighbourhood in Brooklyn just has this built in raw energy that we all felt would serve the vibe of the song the best” he explains. Take me 2 Forever, Jann’s second stand out track, has a wonderful electric feel with acoustics that have a slight African ring to it. “RJ Benjamin who co-wrote and produced the track pushed myself and co-writer #3 James Stewart into that direction and it stuck!”

With a 12-month journey of working on In Tandem, Jann has combined his love of music and a reflection on his own personal echoes into a wonderfully thoughtful album. Exploring themes of love and the ways of the heart, the album’s meaning holds true to its title. In essence In Tandem is a partnership, a collective contribution and togetherness of friends, relationships and a brilliant musical voyage.

In Tandem is out now on digital and CD. Download or stream Jann Klose’s brand-new album ‘In Tandem’ now.

Pictures taken from Jann Klose’s Facebook Page.

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By: David Simmons

There is a refreshing satisfaction when one leaves a theatre after a musical with children at its core. Think back to the timeless musicals you have seen not only as a child, but also more recently on our South African stages. The Sound Of Music comes to mind with unique and loveable child performances. Then we have Annie, a powerful leading role by one knockout leading lady who is all action, drive and perseverance. And now, with our newest theatre recruits, all your favourite childhood characters have come to life. Matilda the Musical has gloriously taken ownership in a true Kaleidoscope of colour and show-stopping girl power!

You may have noticed the trend of strong and powerful female leads who withstand their own storms and invariably come out stronger at the end of their journey. Whether these leads are adults or young children, the message of empowerment is particularly clear and unstoppable. Matilda The Musical has a very strong message of acceptance and courage and delivers with showstopping vitality.

It’s always interesting to witness a story that most have come to love from the pages of a book that has been communicated through song, dance and visual characterisation. The effectiveness can be far more appealing and the message more powerful when altered for a live production. In Matilda The Musical’s case, this enchanting story ignites with a huge voice and the right amount of energy for a large-scale, truly unmissable theatrical offering.

Based on the 1988 children’s book by Roald Dahl, this hugely polished and fast paced musical is suitable for a new generation of impressionable young children. With some of the most wonderful and touching music you will hear on a stage, the cast, most of which are talented youngsters, enjoy scene after scene with maturity and ease. Tim Minchin’s music and lyrics are memorable and many of the showstopping numbers have become the anthem for the powerful childhood themes of the show. This coming of age story delivers a masterful and thoughtful script and with its strong message throughout, the appeal is extremely pleasing

The plot is simple and in fact rather sad, but as we know in stories like these, it’s not all downhill and mayhem for the leading lady in question. Matilda Wormwood is a lonely child who reads books to escape her awful upbringing. She is talented beyond her age and is far wiser than her dim-witted parents believe her to be. She immerses herself in the pages of her books and creates magical tales that take her to worlds of make-believe.

There are 3 Matilda’s playing the lead in the run of this musical feat, however opening night saw the wonderfully talented Morgan Santo playing the title role. One can describe her performance as a winning combination of sensitivity and resilience. She is a tiny package of energy and sheer likability and is a huge force on stage. The same can be said about Kitty Harris, who we saw in our second visit to this production. In her professional debut performance, this young talent revealed her true gift for the stage and is certainly a bright young theatre star to look out for.

Huge admiration needs to go to the LAMTA academy, for the magic and professional training they impart onto these impressive youngsters. Their directors, Anton Luitingh and Duane Alexander, also resident Director and Associate choreographer of this tour have moulded these incredible actors into shining examples of the wonderful young talent we have in this country.

Mr and Mrs Wormwood are played by Stephen Jubber and Claire Taylor respectively. Jubber, who will be remembered for a somewhat similar role in Annie, is effortlessly wakey and gives a brilliant portrayal of Matilda’s slimy, small town crook father. Taylor, recently seen in Rock of Ages, is a marvel as always to watch. Her stage presence is truly magnetic and her loud, boisterous and ditzy Mrs Wormwood needs huge recognition.

When Matilda starts at her new school, she meets the wonderfully and sweet voiced Miss Honey played by Bethany Dickson who’s grace and demeanour on stage is remarkable. Both Miss Honey and Matilda have to deal with their demons and tackle whatever insecurities they have head-on, and the sincerity of their relationship on stage, was hugely visible through their professional approach to their characters.

Children’s stories are never complete without a villain and there probably has never been a more shining character driven role than the one given by Ryan De Villiers who plays Miss Trunchbull. De Villiers gave an unforgettable performance on both nights we saw the production and whoever he was channelling came through in bucketloads! His performance is an admirable highlight of the show and if there were any doubts to see Matilda, let Ryan’s performance be your driving force. Miss Trunchbulls flamboyant character in true panto style humour and devilish charm, is so outrageous it’s hard to keep a straight face during her scenes.

The set design is glorious and filled with huge amounts of detail and charm. You will feel as if you are floating on the pages of a book with letters and words that make up the entire expanse of the stage. Set- and costume designer Rob Howell adds sparkle and magical touches. There are fast set changes, slick choreography and how can one forget Bruce Bogtrotter and his famous cake eating scene? With a live 8-piece band led by the brilliant Louis Zurnamer, Matilda is one Musical that should not be missed!

Matilda The Musical will be running at The Teatro at Montecasino until Sunday the 2^nd of December where it moves to the Artscape Theatre from the 11^th of December.

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by David Simmons

In the wonderful make-believe world of Ballet, stories of love, romance and friendship come to life with the powerful and somewhat eloquent energy of dance at its core. For a sparkling October showcase, the company from Joburg Ballet brings the timeless story of The Nutcracker to the Joburg Theatre’s Nelson Mandela stage. With a slick production and choreography by Angela Malan and artistic management by Iain McDonald & Lauren Slade, the exquisite company have masterfully embodied the music of Tchaikovsky in a wonderful 2 Act pre-Christmas treat.

The Nutcracker has become synonymous with the festivities of Christmas and Holiday cheer and there is no doubt that this offering will have wide appeal to young and older ballet enthusiasts. There is something quite powerful about the fascination and charm of classical ballet, however each theatre goer will experience and take home something completely different. This appealing and magical art form, now more than ever, has a larger appeal to audiences who are interested in discovering something unique and different.

The Nutcracker has been seen throughout the ages for over 100 years and still has magically retained its values and sentimentality.  It has become an almost cult ritual that celebrates the end of a year with sparkle and smiles. Throughout the year Johannesburg audiences have been privileged to witness a number of internationally acclaimed Ballets and The Nutcracker delivers a worthy admiration

It all begins one Christmas Eve where we are invited into a house full of party goers, family and friends who decorate a beautiful and towering Christmas tree. We meet the beautiful young Clara, played by Ana Paulino, who is gifted a toy Nutcracker from her Godfather, Dr Drosselmeyer, performed by Craig Hedderwick, only to discover that her ‘gift’ turns into a handsome prince at midnight. Both Clara and her prince take a magical journey to the Kingdom of the Sweets to rejoice in a display of dancing and cheerfulness.

Along the way we get to meet the Sugar Plum Fairy, the Snow Queen and a group of deliciously eccentric characters. As any magical story goes, there is a great deal more to behold especially with a company who are all effortless in their undertaking.

Audiences continue to remain in awe of a very young and hugely talented company. How refreshing to witness passionate dancers who have the ability to hone in their craft and mould into their respective characters. Stand out performances in this production, are the wonderfully eloquent Nicole Ferreira -Dill who embodied the Snow Queen with ease and Shannon Glover who was graceful in her rendering of The Sugar Plum Fairy. Claudia Monya as always shows strength and ease in her ability as a principal dancer . Credit needs to be given to the hugely talented Armando Barros, Leusson Muniz, Revil Yon and Ruan Galdino, a quadruplet threat who individually make the art of storytelling through movement and dance all the more wonderful to watch.

Understated yet powerful sets have a captivating feel especially when we are transported to different scenic changes. This production is joined by the Johannesburg Philharmonic Orchestra and under the baton of Conductor Eddie Clayton is it wonderful to hear all the memorable music we have come to love.

Considering The Nutcrackers short run, we would suggest you clear your calendars for the week and make a date with Joburg Ballet to experience this classic ballet and beautiful story telling at its best.

The Nutcracker will be running at the Joburg Theatre until 14th of October 2018. Tickets are available at Webtickets or at the theatre.

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by David Simmons

With just a few days into spring, things are gradually warming up at Joburg Theatre! For the next two weeks, Cirque Infernal takes to the stage and kick starts the warmer months with a fiery bang! With a proudly all-European cast, this part circus part fantasy journey brings a certain mystery and interest to its offering. It’s not often we get to witness circus acts on a stage, let alone in a circus setting however, the weird and wonderful characters of this production set the stage ablaze for a night of make believe, nail-biting antics and pure theatrical magic!

Having been awfully spoilt for choice this year with locally and internationally produced productions, we are long overdue for some light hearted (and at times toe curling!) family fun. Reminiscent of the side shows of the 1920’s, Cirque Infernal sits in a league of its own. With a group of talented performers each honing in on their respective skills (some more challenging than others), this modern showcase is full of energy and punch. It has a driving force that entrances the audience with a package full of tricks and boundless curiosity.

Over the centuries circus acts have had world-wide appeal and there is no doubting that Cirque Infernal will fascinate Johannesburg audiences alike. It may be the risk-taking presentations that add that extra audience thrill or the fact that one never really knows what to expect.

In our collective subconscious we hope with crossed fingers that there will be zero slipups or even a few missteps, however the slick nature of this show doesn’t allow for any fails or disappointments.

There are the usual moments of gasps and shock but for the most part you will feel like getting up on your chair and cheering the artists on. With a group of eccentrics each playing their part with excellence and bravery you will be wowed with a tour de force of expertise and flair.

It’s always intriguing to see circus type performers who use their own talents without the use of animals to enhance their acts.  This animal friendly show is jam-packed with a unique offering and stylish mix of showstoppers. Backed by an avant-guard soundtrack, changing throughout to create a mysterious yet somewhat bizarre dream like atmosphere, we are introduced to the characters that each bring their talents to life in this two-act show.

From tightrope walking and fire-eating to a contortionist who effortlessly weaves herself in and out of her own body, we are simply spoilt for choice. Scottish husband and wife team Rachel Irving and Charlie Peratt are one of the highlights of the show. They make knife-throwing look like a breeze and although their act is difficult to watch there are fortunately no fatalities! We are also introduced to the two Romanian brothers Valentin and Catalin Badea, who effortlessly use their bodies in an act of balance and true acrobatic style. The show comes to close with the wall of death, an explosive and visually appealing set of motorbikes and daredevils.  We won’t give too much away – you’ll have to see the show to experience the Cirque Infernal grand finale!

Creator and founder Danny Varanne effortlessly transports you to another dimension where make believe comes to life and we are forced to adapt to the wonders of circus excitement.

Cirque Infernal is anything but bright lights and fairy dust. It’s dark and gothic and at times there are moments of unease however for the most part and especially for novice enthusiasts of circus escapades, you’ll get to experience an incredibly versatile and eclectic show.

Cirque Infernal will be running at the Joburg Theatre until the 23rd of September 2018. Tickets are available at Webtickets or at the theatre.

There’s an age restriction of No Under 5’s.

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by David Simmons

It’s very rare we get to witness two completely different genres of dance in one very exciting and ambitious evening. Fire an Ice, a befitting name for two contrasting works, opened at the Joburg Theatre to mixed emotions. Diehard classical Ballet enthusiasts will revel in a gorgeous presentation of Act 3 of Raymonda, and those who appreciate modern dance will be equally indulged by the contemporary, Whispers of My Soul. Adjusting between the two pieces may be a little jolting for some, however the energy and mood shift between both acts make for a very ‘different’ theatrical experience.

As of late, Joburg audiences have been spoilt for choice with locally produced ballets that present a company of admirable dancers. It’s with ballets of this calibre that firmly bestow some of the best talent the country has to offer. For this season we get to observe two very different works of ‘art’.

The first represents the joy of traditional ballet, a genre that has been admired for centuries. The second showcasing for some may come across as unchartered territory, however it is very refreshing to see something original and innovative being staged. Dance, in its entirety is meant to explore different touch points both onstage and in the audience. Fire and Ice does just that and gives theatre goers something profound to talk about.

Raymonda Act 3 is the first time Johannesburg theatre goers will get to witness this famous Russian ballet. I would have loved to have been privy to the full -length work as we are offered a story steeped in romance and Hungarian influence. I found myself wanting to reverse a few steps to capture this enchanting story, however getting a taste of the final act added to an already noteworthy evening.

Sparkling costumes by Andrea Delgado created an almost imperial sensation which the dancers used to their advantage. With a glorious score by Russian composer Alexander Glazunov and staging by Brazilian producer Guivalde de Almeida, Raymonda Act 3 portrayed just the right amount of Ballet excellence.

For the second half of Fire and Ice, Whispers Of My Soul catapulted the audience into another dimension, a huge shift from the polite and elegant first act. This ‘new age’ offering brings with it the expertise of Paris-based choreographer, Redha who effortlessly transported viewers to a very dark and frigid place. It’s more Paris fashion show than dance exploration, but the combination works wonders.

The costumes, also designed by Redha needed a runway to showcase their craftmanship and were pivotal in brining the story the life. His offering is very haunting and at times you’ll find yourself unable to express your true feelings. The shear scope of the stage together with the usual movement of contemporary dance creates an out of body experience – something new to behold for amateur and novice dance lovers.

Pointing out exemplary performances from the company wouldn’t be fair, as each and every dancer took on their respective roles with aplomb and excellence. The transition from a 19^th century Russian Ballet to an almost futuristic offering is no easy task, and it is very clear that these young professionals have what it takes to embody vastly different characters.

Raymonda and Whispers of My Soul will appeal to two completely different audiences and although we are lucky enough to be seduced by two works, each will have stimulating impacts.

Fire and Ice will be running at the Joburg Theatre until the 8th of July 2018. Tickets are available at Webtickets or at the theatre.

Photos by Lauge Sorensen

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Producers Joburg Theatre and Bernard Jay announced that The Color Purple would be extending its run on The Mandela Stage at Joburg Theatre for Women’s Month in August 2018.

Popular actress and vocalist Lelo Ramasimong, who achieved a great personal success playing the role of Darlene in The Color Purple in February, will now step into the lead role of the troubled blues singer Shug Avery.

Lelo Ramasimong became a house-hold name in SA when she made it into the top 10 on Idols SA. Since then she has performed as a vocalist in major venues all over the country and was voted by Seventeen Magazine as the Top Young South African Artist. She also became a finalist in the Cosmopolitan Most Awesome Women of the Year.

Lelo’s theatre career has included award winning performances in Little Shop of Horrors, Dreamgirls, African Footprint, Under African Skies and Burn the Floor.  She was the lead female vocalist in the popular television show Strictly Come Dancing and was one of the artists in the new television series Coke Studio, collaborating with well known producer 37MPH to create the hit single Shine.

Seventeen of the original twenty cast members signed to reprise their roles, including acclaimed Didintle Khunou as Celie and Aubrey Poo as Mister.  Janice Honeyman, Bernard Jay and musical director Rowan Bakker then embarked on another round of auditions to find the three necessary replacement cast members.

Well known actress and vocalist Lelo Ramasimong, who initially played the role of Darlene in The Color Purple, will now be stepping into the leading role of Shug Avery.  Lelo created her own fan base during The Color Purple’s first season with her spine-chilling vocalisation of the role of Darlene.  Now her fans can’t wait to experience the gutsy, blues singing she will feature as Shug Avery.

After several audition sessions, the creative team identified the three highly talented people to join the cast: Masego Mothibakgomo, Terrence Ngwila and Lebo Borole.

Masego Mothibakgomo takes over the role of Darlene from Lelo Ramasimong. Masego obtained her Bachelors of Arts in Drama from the University of Pretoria.  Her theatre work includes roles in Disney’s The Lion King, Romeo and Juliet, Alchemy of Desire/Dead man’s Blues directed by Ball State University’s Wendy Saver-Mortimer and Seussical. Masego is also embarking on a career as a singer/songwriter in the commercial music industry.

Terrence Ngwila will be playing the role of Grady. He is trained in American Latin, basic Tango, and Jazz-Ed but he describes himself mostly as a hip-hop and dub-step dancer. Terrence was also trained and awarded an introductory teaching certificate in Jazz-Ed by one of South Africa’s dancers on Broadway, Pinto Ferreira.  He was part of the award winning South African ‘soapie’ Generations: the Legacy and worked with Paul Grootboom on The President’s Man.  Terrence played the lead in the production 1606, which received an Ovation Award at the Standard Bank National Arts Festival in 2015. Other theatre roles include Marikana The Musical, Freedom and Sophiatown – all at The State Theatre in Pretoria.

Lebo Borole also joins the company. Lebo studied drama and performance at the National School of the Arts and continued her studies at the University of Witwatersrand, where she received a Bachelor of Arts degree. She has worked as a radio personality at Trans World Radio and performed in an acapella music group called Blacklace. She toured Hong Kong in Disney’s The Lion King as Nala. Lebo was also cast as the lead in the musical Milked Voice and is currently featured in the new musical Tsotsi in Cape Town.

The Color Purple will re-open at The Mandela at Joburg Theatre on August 7th 2018 and will run until September 2nd.  To book you can call 0861 670 670, go online at www.joburgtheatre.com or book in person at the Joburg Theatre box office.  Theatre patrons can also book online and pay at selected Pick N Pay stores.

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By David Simmons

Celebrating art in South Africa is probably one of the most rewarding pastimes a person can participate in. We not only pay homage to art in its theatrical form, but applaud and honour the bursting and at times overlooked talent our country has to offer. The latest, sumptuous offering from Joburg Ballet brings us Carmen, a dramatic exploration of passion, seduction, jealousy and betrayal, the perfect quartet for a night of sheer and uncensored entertainment. Together with an illustrious score by Georges Bizet, Carmen scoops a well-deserved double thumbs-up.

Most classical music and opera enthusiasts will be familiar with the music and powerful story of Carmen. However, the title role and character in this impressive ballet is a complex one. Even though Carmen’s transparency is evident on stage, she is a woman with an agenda and an evident carnal desire to seduce even the most inconspicuous of men.

2018 has seen a number of productions focusing on women and Carmen is no exception. With a character who knows no limits in the art of seduction, we as an audience automatically fall in love with her. We may not agree with her motives, nevertheless her conniving free spirit is hard to pass off as unnoticeable. Her journey is one of desire and betrayal that ultimately leads to her downfall.

Set in Seville, Spain, Carmen’s account of love and deception is one we have heard countless times before. Hers is an emotional yet obsessed battle of sort, scarred with the usual complexities of deceitful liaisons. The intense and at times frenzied communication through dance and movement, makes this theatrical savouring all the more enticing. We witness a fiery love affair between Carmen and Don José, but their courtship is doomed from the start. Their passionate connection is distracted with the presence of Don’s finance, Micaela, and not forgetting Carmen’s star struck conquests, Captain Zuniga and Escamillo a famous Toreador.  Carmen snakes her way around weaving an imaginary cloak wherever she goes. She leaves no stone unturned and no contemporaries untouched.

The incredibly slick choreography by Veronica Paeper and Iain Macdonald’s artistic direction, gives this Ballet a notable flair, befitting international standards. If you are expecting pink tutus and sparkling tiaras, think again! Carmen is a first-class act filled with gypsies, flamenco influence and the unmistakable sights and sounds of a bygone era. The understated scenic backdrops and sets, typical of life in the 1800’s together with moody lighting throughout, creates a perfect ambience in keeping with an already high-spirited Ballet.

Playing the title role of Carmen is Claudia Monya who smoothly channels her desire and frustration with the flutter of an eyelash, the seductive arch of her leg and even a poised tilt of her neck. She is a marvel to watch with each movement in unison with the rhythmic click of a castanet, or the intense beat of Spanish footwork. Leusson Muniz as Don José is equally convincing and gives an enduring performance. Armando Barros who embodies Escamillo the handsome Toreador and Nicole Ferreira-Dill who takes on the role of Michaela, each exquisitely master their respective roles with fierce determination. Credit needs to be given to the entire company who effortlessly contribute to a very bold staging.

To add to an already outstanding offering, Joburg theatre welcomes The Johannesburg Philharmonic Orchestra who under the baton of Brandon Phillips creates a dazzling addition to an already well-crafted show. Joburg theatre is highly praised for producing Ballets of the highest standard and Carmen is no exception. The production sits in a league of its own and has a refreshing yet powerful tone. This may be one of the best locally produced ballets I’ve seen and with its incredibly short run it will be disrespectful not to see it twice!

Carmen will be running at the Joburg Theatre until 15 of April 2018. Tickets are available at Webtickets or at the theatre.

[tooltip text="Photos: Lauge Sorensen" gravity="nw"]Photos supplied by Joburg Ballet[/tooltip]

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by David Simmons

Gate69 together with VRT theatrical theatre have once again unravelled this very bold and gutsy story on stage and this time around it is here in Johannesburg. Introducing complex characters to an audience can be a daunting task especially when the themes presented are strong, expressive and at times brutal. However, it is incredibly refreshing to observe and recognise an important piece of work, especially a production of this calibre.

Hedwig and The Angry Inch catapults on stage with its Joburg debut, bringing a dark and frightening past to life with an eccentric character, whose voice needs all the attention it can get. After it’s very successful Cape Town run, this edgy Rock Musical couldn’t have come at a more explosive time. Around the world and most importantly in South Africa, we see prominent and provoking issues continually brought to the forefront. Issues such as freedom of speech, bravery, understanding, and most importantly acceptance, become part of our daily lives. These contributing factors play their part in expressing one’s individuality and voice in times of adversity and struggle. However, our story, beautifully executed onstage, brings to life a time where one’s voice was a mere obscurity, and freedom of speech was nowhere to be seen.

Hedwig and The Angry Inch is probably one of the most commanding, yet sensitive pieces of theatre you will witness on stage. The discovery of this daringly twitchy and flamboyant musical, has a meaningful and expressive soul, highlighting prominent and notable issues that will command an audience’s full attention, now, more than ever. The sensitivity and vulnerability of the show is brought to life by two anomalous and somewhat aberrant individuals. Alongside her husband Yitzhak, Hedwig, a transgendered rock singer, who is still scarred by the extremities of her botched sex change, brings to life the story of an unconventional personality in a conformist and oppressive society.

Set in East Germany, and later on in Kansas, we journey with Hedwig where she intimately divulges her life in monologue and song. We commiserate with her past hardships where she divulges stories of her mother, her father and her lovers along the way. Hers is a raw and graphic depiction of someone trying to grapple with life’s complexities in a world where being different had its consequences.

Paul Du Toit’s performance as Hedwig is something quite remarkable to behold. His channelling of this vulnerable singer, in costume and more importantly in his character realisation, is utterly believable. The attributes around Hedwig’s character is filled with the pain of past disappointments and even more so the hurt of her present existence. She pulls you into a spiralling world of her own destruction and then spits you out with equal amounts of anger and hate. This allows audience members to experience the suffering and neglect she embodies.

Genna Galloway is a truly magnificent force as Hedwig’s suffering husband. I was mesmerised with her mannerisms and facial twitches, some so convincing that you forget that you are witnessing a woman playing the identity-driven role of a man. Both Galloway and Du Toit’s responsibilities are less performance and more real life, as there will be people who resonate with both their unravelling stories.

The set is simple yet effective. At Centre stage, representing a life of pain and suffering, we are given access into a squalid caravan, strewn with 1970’s memorabilia, wigs, bras and resentment. We, as an audience, become the voyeur and bear witness to a life in shambles. With brilliant music and lyrics by Steven Trask the live Rock Band is led by Musical Director Wessel Odendaal. The music is loud and garish and you won’t forget the manic strobe lightening anytime soon. Musical numbers such as Tear Me Down and Sugar Daddy, promise to provide ample amounts of rock from a bygone era.

With a slick and stylish direction, Elizma Badenhorst produces an energetic force that at times is hard to stomach. It’s fair to say that this musical has an extravagant voice that will resonate with many people; young, old and those still discovering who they are. Hedwig and the Angry Inch, although dark, funny and harrowing, has the right amount of sentiment that will certainly give each and every theatre goer something to talk about for some time to come.

Hedwig and The Angry Inch will be running at Pieter Toerien’s Montecasino Theatre until 1^st April 2018. It is important to note that his production carries an age restriction of PG16, and runs for a continuous 90 minutes.

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