By Louw Mulder

After 39 years, when the Original London Cast took to the stage for the inaugural performance of Evita, I was honoured to attend the opening performance of the same production at the Teatro in Montecasino, by Pieter Toerien Productions and David Ian Productions. Knowing the music very well, but with very little knowledge of what to expect from the original 1978 Andrew Lloyd Webber and Tim Rice staging, the excitement leading up to the curtain raise, was fully justified.

The set design for me was very minimalistic, yet very effective and efficient. The magnificent lighting design was a pivotal element that stood out for me, as it created and emphasised the mood, as intended by the creators of this musical. To be honest, very early into the first half, I thought frowning to myself: “Is this it?” But this was all part of the production. Just as Evita Peròn herself, the mood and design of this staging built up, grew stronger and bolder, and at the end, I could see the intentions of the creative design team coming full circle.

Besides the acclaimed music-lyrics duo of Lloyd Webber and Rice, this production of Evita was directed by the 1978 Director, Harold Prince, with the original choreography by Larry Fuller, and production design by Timothy O’Brien used in this production. “It’s been quite a while since the original production has been reproduced, and it is amazing to have this gem and the boldness of Tim Rice’s lyrics, which are in your face, revived again”, says Anton Luitingh, resident director of this world touring production. Also on this tour, award-winning, Duane Alexander, will travel as the resident Choreographer.

With this show’s creative design hailing from almost 40 years ago, a brand-new offering to this musical, is the experienced and superlative cast. I have to include this cliché phrase, because I think it is indeed a stellar cast. Hand-picked by Lloyd Webber, Rice and Prince, was Emma Kingston in the lead role. As with what appears to be the tendency in this production, I thought that Kingston’s portrayal started off shy, slightly reserved, building up to this powerhouse of a performance.

Apart from Kingston who joins this international tour from the United Kingdom, the rest of the cast are proudly South African, and include some of our best. I was personally thrilled to see two of my favourite stage giants, Jonathan Roxmouth and Anton Luitingh together on stage. The last time these two shared the stage, was with the 2009 production of Beauty and the Beast. “It was The Beast and Gaston together on stage again, but this time it was without masks”, Luitingh told me after the show. To see these two doing what they became known for, is reason enough not miss this show.

The rest of the cast include Robert Finlayson as Juan Peròn, and Isabella Jane as his Mistress. I was very impressed with Jane’s rendition of Another Suitcase in Another Hall which evoked a true sense of vulnerability in her emotions. The ensemble cast is strong, and includes local talent such as LJ Neilson, who will be playing the alternate Eva, Mark Richardson, who will alternate the role of Peròn, and Richard Gau, who will alternate Magaldi.

This show also sees JD Engelbrecht, in his Musical Theatre Debut. During a chat to him after the show, he told me how lucky he sees himself to kick-start his career with this production. “I have never had any professional training in Musical Theatre, so to enter this world of Musical Theatre with Evita, is very awesome”. To add to the new and fresh talent on stage, are the children, vital to some of the music in this musical. I think we can be proud of the talent that is coming forth, and this is due to the Musical Theatre Workshop, that develops these triple-thread performers with star quality.

But as I mentioned, the music of Evita is well-known, with a few of the songs in this score, having been hits on various charts, as stand-alone singles. What I appreciated this time around, was the quality and preciseness of the music I experienced. Hats off to Musical Director Louis Zurnamer and his orchestra, for just that.

This 2017 production of Evita will take you back in history, not only to the life and legacy of Eva Peròn, but also to the historic way this production was first produced in 1978. My impression is that this production is a true classic, adding justice to the art form it exemplifies. Theatre goers should not expect a modern, high-tech production with breath-taking special effects, but rather know that this production is, as it was produced, longer ago than Evita’s actual lifespan, before entering immortality…

Evita will run at the Teatro in Montecasino, until the 26 November 2017. Thereafter, the tour will continue to Cape Town, where it will run at the Artscape Opera House, from 1 December 2017 to 7 January 2017.

Evita Galary:  Photos by Christiaan Kotze

The post Evita appeared first on Stage and Screen.

by Louw Mulder

There are a couple of good reasons why we can celebrate the healthy state of South African Theatre, especially if I look at a couple of the highly acclaimed and professional shows I have seen lately; like Annie, Sound Of Music, Joseph and the Amazing Technicolor Dreamcoat, and now, Priscilla. But the real couple worth mentioning, is our country’s most successful Director and Choreographer duo, Anton Luitingh and his fiancé, Duane Alexander.

Anton and Duane met during the first touring South-African production of Cats, in 2001. This is after Anton obtained his B.Dram (Hons) Cum Laude degree in Drama from Maties, and Duane completed his training as the most outstanding student at the Waterfront Theatre School, and obtained teaching degrees in both modern and Tap Dancing. With these credentials, together with the love and passion both Anton and Duane have for Musical theatre, success was inevitable.

After Cats, Anton and Duane’s resumes speaks for itself, and there are too many success stories to mention in this article. Both have won awards, and played various lead roles in many South African Productions, and even toured the world to showcase their talent. But acting, was only the start. “You have to contribute more to theatre than just one aspect” they both made me understand.

As we went through their long careers in musical theatre so far, we talked about their involvement in the 2007’s production of Rent. “The South African audience loves the typical classic musicals, but Rent was the first challenging and edgy production, which for me was a very sentimental piece,” Anton said. The role of Mark Cohen was also Duane’s first role in the lead, a role he has wanted to play since he was a boy. With much enthusiasm, both Duane and Anton speak about the 10 year reunion of Rent, which is coming to the Teatro later this year. It is a concert staging with the original South African cast, original band and musical director for one night only.

In the last few years, Anton has established himself as South Africa’s leading resident director of full scale Musical theatre, with Duane flourishing in choreography, being resident choreographer in most of these shows, next to Anton. We spoke about the recent production of Joseph and the Amazing Technicolor Dreamcoat quite a lot, which seems to be very special to both Anton and Duane. This production, for which Duane won various awards for his choreography, is the first fully South African produced production that went on tour. Joseph is currently touring Australia and New Zealand, and as Duane says, he suffers a little bit from fomo, not being able to be there himself.

Boldly and passionately they speak about what works and what doesn’t work in today’s theatre productions. Their experience give merit to their comments, and their explanations and motivations are filled with comprehension and a detailed understanding of the industry. I just hung onto their every word for the whole two hours I spent talking to them.

Saddened, Anton explained that he would love to see more involvement in the theatre industry from an audience perspective. He explained that some brilliantly produced shows are not well attended, while others exceed expectations. Anton mentioned how he would love to see schools being more involved in theatre, and for theatre to become more prominent amongst young people. It was very evident to me that they are driven and have a vision for Musical theatre to prosper even more.

Both Anton and Duane are co-directors of the Musical Theatre Workshop, which invest in youngsters, now also expanding internationally. They elaborated that the biggest lesson that they teach in their workshops, is that the only ego anyone should be concerned about, is the ego of the show. No one individual person is bigger than the show.

I really wish I had time, and space to write about everything we spoke about, but the most exciting part is that the story of Anton Luitingh and Duane Alexander is far from over. When Priscilla’s run is concluded, their next project of being the Resident Director and Resident Choreographer couple, is the full scale production of Andrew Lloyd Webber and Tim Rice’s classic, Evita.   Anton speaks proudly when he tells me of the extensive international tour this production will embark upon, after delighting South African audiences later this year in Johannesburg and Cape Town.  And no, they are still not saying who will be playing the lead in Evita…

But for now, the attention is on Priscilla, which will open at the Montecasino Teatro next week after a very successful sold-out run in the Artscape Theatre in Cape Town. Both Anton and Duane speak fondly of how fun the show is, but also, how this show introduces new talent to the industry. In particular, they refer to Phillip Schnetler, playing his first major role as the very familiar and infamous character, Adam / Felicia.  As  up skilling and development of young future stage stars being high on Duane and Anton’s priority list, their faces both speaks of excitement and enthusiasm as they tell how promising Schnetler’s career can be.

Even though Priscilla will just be another successful entry on both Anton and Duane’s resumes, personally, this will be a production they will least forget.

During the cast party, after the Opening night performance of Priscilla in Cape Town, Duane proposed to Anton, and they got engaged to be married. They have been a happy couple for 16 years, since that first production of Cats in 2001. As both Duane and Anton explained, they waited for the right moment to do this, and an opening of a gay-themed show in their home town, with friends and theatre-family all present… they couldn’t have asked for a better opportunity.

As theatre fanatics, we congratulate Anton and Duane on their engagement, and wish them all the best in their future endeavours. With these humble artists, fully devoted to be involved with world class productions coming to our stages, we are in for some real magical theatre.

Feel free to visit http://www.musicaltheatreworkshop.co.za and also www.antonluitingh.com for more about Duane Alexander and Anton Luitingh and to follow their fascinating journey.

This article was edited by Bronwen Kerry.  Photos from Anton and Duane’s Facebook Pages.

The post We Talk to Duane Alexander and Anton Luitingh appeared first on Stage and Screen.

After much anticipation, the Naledi Theatre Awards is proud to announce the nominees for productions staged during 2016.

The Nominations Reveal was hosted by the Market Theatre and took place on 27 March at the Mannie Manim Theatre amidst great excitement from the theatre industry’s key players.

BEST THEATRE SET DESIGN

Greg King – Suddenly the Storm

Karabo Legoabe – Waiting for Jack

Kayli Elit Smith – Cheers to Sarajevo

Sarah Roberts – iLembe

Saul Radomsky – Bad Jews

Sylvaine Strike – DOP

Wilhelm Disbergen – AS

BEST COSTUME DESIGN

Jade Bowers (assisted by Camille Behrens) – Scorched

Floris Louw – Mannequin

Greg King and Shanti Naidoo – Shrek The Musical

Niall Griffin – Joseph and the Amazing Technicolor Dreamcoat

Onthatile Matshidiso – Egoli

Sarah Roberts – iLembe

Thando Lobese – TAU

BEST LIGHTING DESIGN

Gareth Hewitt Williams – Joseph and the Amazing Technicolor Dreamcoat

Hlomohang Mothetho – TAU

Mandla Mtshali – A Raisin in the Sun

Nomvula Molepo – Egoli

Oliver Hauser – Scorched

Thapelo Mokgosi – 6 Characters in Search of an Author

Wesley France – Suddenly the Storm

BEST SOUND DESIGN

Disney Nonyane – 6 Characters in Search of an Author

Emily Adams – I Love You, You’re Perfect, Now Change

Gladman Balintulo – iLembe

Lee Brune – Shrek The Musical

Mark Malherbe – Annie

Mark Malherbe – Joseph and the Amazing Technicolor Dreamcoat

Richard Smith – Sneeuwitjie

BEST CHILDREN’S PRODUCTION (Supported by ASSITEJ SA) (0 – 12)

Disney’s Peter Pan – People’s Theatre.

Disney’s Junior Aladdin – People’s Theatre.

Khokho’s Treasure – The National Children’s Theatre.

Library Lion – The National Children’s Theatre.

Mr Popper’s Penguins – The National Children’s Theatre.

Ntombi Dreams Big – Alt Eye Productions, Redhill Festival and PopArt

Seussical JNR – People’s Theatre.

BEST PRODUCTION FOR YOUNG AUDIENCES (Supported by ASSITEJ SA) (13 – 17)

Hoopvol – Pit Productions.

Just Antigone – The Movement.

My Japan – Andre Stolz,

Narrative Dreams – Seeds of Water

Shakespeare’s Coriolanus – National Children’s Theatre in ass with Renos Spanoudes

Woza Albert – Market theatre

BEST PERFORMANCE IN A CHILDRENS’ THEATRE PRODUCTION (Supported by ASSITEJ SA)

Gamelihle Bovana – Library Lion

Jovan Muthray – Just Antigone

Mathabo Tlali – Ntombi Dreams Big

Nyakallo Motloung – Just Antigone

Thapelo Sebogodi – Shakespeare’s Coriolanus

Veronique Mensah – Library Lion

Palesa Makhalima – Seussical Jnr

BEST NEWCOMER / BREAKTHROUGH

Aubrey Mogali – Narrative Dreams

Dean-John Smith – A Cock and Bull Story

Edwin van der Walt – A Cock and Bull Story

Daniel Richards – Pay Back The Curry!

Ezbie Sebatsa Moilwa – The Dying Screams of the Moon

Phillru van Achterbergh – Porselein

Wilhelm van der Walt – DOP

BEST ORIGINAL CHOREOGRAPHY

Duane Alexander – Joseph and the Amazing Technicolor Dreamcoat

Janine Bennewith – Shrek The Musical

Lennox Sibisi – Umshado – A Marriage of Heritage

Nhlanhla Mahlangu – TAU

Sonia Thandazile Radebe – Sophiatown & Nhlanhla Mahlangu

Weslee Swain Lauder – Saturday Night Fever

Oscar Buthelezi – iLembe

BEST ORIGINAL SCORE / ARRANGEMENT / ADAPTATION

Charl-Johan Lingenfelder – Joseph and the Amazing Technicolor Dreamcoat

Dawid Boverhoff – Altyd In My Drome

Eddie Mathiba – Umshado – A Marriage of Heritage

Heidi Edeling & Francois Steyn – Sneeuwitjie

Neo Muyanga – Turned Away and She Was Gone

Warrick Sony & Brendan Jury – Ubu and the Truth Commission

BEST MUSICAL DIRECTOR

Arthur Molepo – Sophiatown

Bryan Schimmel – Annie

Dawid Boverhoff – Altyd In My Drome

Heidi Edeling – Sneeuwitjie

Louis Zurnamer – Singin’ In The Rain

Rowan Bakker – Shrek The Musical

Wessel Odendaal – I Love You, You’re Perfect, Now Change

BEST ENSEMBLE

Egoli

I Love You, You’re Perfect, Now Change

Sophiatown

Sherlock Holmes

6 Characters in Search of an Author

TAU

Tease!

BEST CUTTING EDGE

AS

I See You

I Turned Away   and She Was Gone

Les Cenci: A play about Artaud

Porselein

TAU

The Year of the Bicycle

BEST SUPPORTING ACTRESS IN A PLAY

Ameera Patel – Scorched

Ashley Carine de Lange – Bad Jews

Barileng Malebye – Sophiatown

Lesedi Job – A Raisin in the Sun

Renate Stuurman – Suddenly the Storm

Tholani ‘Khoni’ Miya – iLembe

Toni Morkel – Tobacco and the Harmful Effects Thereof

BEST SUPPORTING ACTOR IN A PLAY

Alesandro Mendes – iLembe

Brandon Auret – The President’s Man

Craig Jackson – Sherlock Holmes

Katlego Letsholonyana – Egoli

Oli Booth – Bad Jews

Tiaan Slabbert – Porselein

Wilhelm van der Walt – DOP

BEST DIRECTOR OF A PLAY

Jade Bowers – Scorched

John Kani – The Dying Screams of the Moon

Lara Bye – Oskar en die Pienk Tannie

Marthinus Basson – A Cock and Bull Story

Sibusisi Mamba – 6 Characters in Search of an Author

Sylvaine Strike – DOP

Thabiso T. Rammala – TAU

BEST DIRECTOR OF A MUSICAL/REVUE

Elizma Badenhorst – I Love You, You’re Perfect, Now Change

Nataniël – Mannequin

Neels Clasen – Altyd In My Drome

Paul Warwick Griffin – Joseph and the Amazing Technicolor Dreamcoat

Steven Stead – Shrek The Musical

Weslee Swain Lauder – Sneeuwitjie

BEST SUPPORTING/FEATURED PERFORMANCE IN A MUSICAL/REVUE: FEMALE

Delray Halgryn – Annie

Kiruna-Lind Devar – Saturday Night Fever

LJ Nielson – Saturday Night Fever

Taryn-Lee Hudson – Singing In The Rain

Taryn Sudding – Annie

Tessa Denton – Altyd In My Drome

BEST SUPPORTING/FEATURED PERFORMANCE IN A MUSICAL/REVUE: MALE

Bongi Mthombeni – Saturday Night Fever

Jacobus van Heerden – Shrek The Musical

Jonathan Roxmouth – Joseph and the Amazing Technicolor Dreamcoat

Rory Booth – Shrek The Musical

Stephen Jubber – Annie

Steven van Wyk – Singin’ In The Rain

BEST LEAD PERFORMANCE IN A MUSICAL/REVUE: FEMALE

Angela Kilian – Sneeuwitjie

Bethany Dickson – Singin’ In The Rain

Charon Williams Ros – Annie

Jessica Sole – Shrek The Musical

Kate Normington – Robin Hood and the Babes in the wood

Lilla Fleischmann – Annie

BEST LEAD PERFORMANCE IN A MUSICAL/REVUE: MALE

Earl Gregory – Joseph and the Amazing Technicolor Dreamcoat

Graham Hopkins – Robin Hood and the Babes in the wood

Grant Almirall – Singin’ In The Rain

Lyle Buxton – Shrek The Musical

Neels Clasen – Annie

Willem Botha – Altyd In My Drome

BEST PERFORMANCE IN A PLAY: FEMALE

Busisiwe Busi Zofuka – Ubu and the Truth Commission

Busisiwe Nyundu – iLembe

Charmaine Weir-Smith – Suddenly the Storm

Ilse Klink – Scorched

Masasa Lindiwe Mbangeni – The Dying Screams of the Moon

Sandra Prinsloo – Oskar en die Pienk Tannie

Tinarie van Wyk Loots – Plant vir my ‘n Boom André

BEST PERFORMANCE IN A PLAY: MALE

André Odendaal – DOP

Andrew Buckland – Tobacco and the Harmful Effects Thereof

Andries Babalo Mbali – iLembe

Desmond Dube – I See You

Lunga Radebe – I See You

Motlatsi Mafatshe – Mooi Street Moves

Mpho Osei-Tutu – Scorched

BEST NEW SOUTH AFRICAN SCRIPT

DOP – Written by Retief Scholtz

I See You – Written by Mongiwekhaya Mthombeni

iLembe – Written by Small Ndaba & Phyllis Klotz

Pay Back The Curry! – Written by Mike van Graan

Sherlock Holmes – Written by Robert Fridjhon & Bronwyn Gottwald

Suddenly the Storm – Paul Slabolepszy,

TAU – Written by Thabiso T. Rammala.

BEST PRODUCTION OF A PLAY

Bad Jews

I See You

Scorched

6 Characters in Search of an Author

Suddenly the Storm

A Raisin’ in the Sun

Ubu and the Truth Commission

BEST PRODUCTION OF A MUSICAL

Altyd In My Drome

Annie

I Love You, You’re Perfect, Now Change

Joseph and the Amazing Technicolor Dreamcoat

Shrek The Musical

Singin’ In The Rain

Umshado – A Marriage of Heritage

The post Naledi Theatre Awards 2017: The Nominees appeared first on Stage and Screen.

Save the date! Showtime Management’s 10^th Anniversary Production of Rent  in Concert takes place at Montecasino’s Teatro on Monday, 15 May 2017 at 8pm. Tickets are now on sale at Computicket.  Presented by Showtime Management, this celebratory one night fund-raising concert features the much loved iconic and popular numbers from the stage production of Rent including Seasons of Love, Out Tonight, Without You, Will I and Take Me Or Leave Me performed by the original South African cast who reunite especially for this concert. They last performed together to rave reviews in the Tony and Pulitzer Award winning musical production of Rent, produced by Showtime Management ten years ago at the Alexander Theatre in Braamfontein and then Artscape, Cape Town.

“One is tempted to return just to relive the glorious music,” raved the Tonight on 20 July 2007 and now “Rentheads”, fans of the musical and theatre-goers are invited to take this once-in-a-lifetime opportunity to enjoy Rent in Concert.  Based loosely on Puccini’s La Boheme, the musical production of Rent follows a year in the life of a group of impoverished friends struggling to make it in New York’s East City Village as they struggle with relationships, drugs, loss, love, creativity, HIV/AIDS and paying their “rent”.

This concert version presents the entire score sung and performed with minimal staging. It’s all about the music, the songs and the strength of the beautiful voices that will have audiences singing along or sitting mesmerized, longing for more.  All proceeds go to HospiceWits whose “no end to caring” motto resonates with Rent’s themes of love, losing a loved one to a terminal illness, friendship and support. The music and lyrics written by Jonathan Larson performed by the South African cast tell the touching story though song.

The cast is passionate about the concert and eager to give of their time to support HospiceWits. All the 2007 leads – including Shaun V who is flying in from Dubai – and some from around the country, sees Duane Alexander, Aubrey Poo, Zane Gillion, Thokozani “Zano” Nzima, Talia Kodesh, Sivan Raphaely and Ilse Klink together with fellow cast members Chantal Herman, Jaco Van Rensburg, Anton Luitingh, Megan Victor-Carelse and Lorri Strauss on stage on 15 May. New to this staging will be Phillip Schnetler and Nicholas “Nicksoul” Nkuna, who are looking forward to joining the original performers.

What started as a light-hearted Facebook chat about getting together for the 10^th Anniversary of RENT is now becoming a reality.  Hazel Feldman and Tony Feldman of Showtime Management, the original producers of Rent are lending their full support to Rent in Concert and Montecasino, the concert host is providing the Teatro as the concert venue. Technical companies Gearhouse Splitbeam, ProSound and Computicket have donated their services while Music Theatre International New York and the Jonathan Larson Estate has waivered performance royalties, therefore greatly assisting in raising funds for Hospice Wits.

The concert also reunites the 2007 creative team of choreographer Jill Somers with Anton Luitingh and Duane Alexander who will recreate their performances in RENT as well as co-direct the concert version. Music Supervisor, Bryan Schimmel will once again, lead the band.

“Rent radically changed the Broadway musical in the 1990’s, so in keeping with our vision to continually provide world class entertainment that is unique to our venue, the Teatro at Montecasino is thrilled to be hosting this once off event to raise money for a very hardworking organisation such as Hospice Wits” Bryan Hill, General Manager, Teatro

Tickets for this one night only concert are limited and patrons are encouraged to book at Computicket as soon as possible. #RentConcertSA

SHOW INFORMATION

Monday, 15 May 2017 at 20:00

TICKET PRICES:

R150, R250, R350, R450

BOOKINGS:

Computicket by calling 0861 915 8000, visit www.computicket.com or visit your nearest Computicket service centre.

The post Rent In Concert appeared first on Stage and Screen.

Pieter Toerien & The Really Useful Group present this Tim Rice and Andrew Lloyd Webber’s sparkling family musical, which returns to Pieter Toerien’s Montecasino Theatre from 10 November 2016 to 29 January 2017, due to huge popular demand.

Retelling the Biblical story of Joseph and his coat of many colours, this magical musical is packed full of unforgettable songs including Any Dream will Do and Close Every Door to me.

Joseph and the Amazing Technicolor Dreamcoat stars Earl Gregory (Joseph, JC Superstar, Cats, Sweeney Todd) as Joseph – the role that launched his career in 2004 (and for which he won the Naledi Award for Best Male Newcomer) when he was fresh out of TUT! We also welcome Nadine, the JC Superstar heroin as the Narrator. Musical Theatre fans will be delighted at the news that audience favourite Jonathan Roxmouth (Sweeney Todd, Phantom, Cats, Sunset Boulevard, JC Superstar and more) who will continue to work his magic as the Pharoah!

The creative team will once again (as in the 2004 production) be headed by Director Paul Warwick Griffin, with Musical Supervision by Charl-Johan Lingenfelder and Musical Direction by Louis Zurnamer. Choreography will be by Duane Alexander.

Joseph and the Amazing Technicolor Dreamcoat features a stunning local cast of 23 of the best musical theatre performers and dancers, and promises to be “A Technicolor Triumph” for the whole family to enjoy!

Pieter Toerien’s Montecasino Theatre

Return season from 10 November

Wed – Fri @ 8pm, Sat @ 2pm, 5pm & 8pm, Sun @ 2:30pm & 5:30pm

Tickets: R350, R250, R150 & R100 with special Group Discounts available – contact Geraldine (011) 511 1988

We welcome Nadine as our Narrator

After almost 20 years NÁDINE is an artist that stands for quality, inspiration, energy, style and motivation in the South African Music and TV industry.

The youngster surprised young and old with “Krappies & Krefies” when she was only 13. Five years later she recorded the legendary “Kaapse Draai”, a song that became an evergreen hit in the Afrikaans music industry. More hits of the teenage superstar followed.

In 2008 international doors opened with a massive “This Time I Know” album that was recorded in Sweden and released in Germany, China, South Africa and worldwide via iTunes! Nádine is the first South African to win the annual World Peace Song Festival with the title track of the album when she beat Coldplay and Ladyhawke in 2010.

Her stunning live performances quickly caused a buzz, also in theatre… Early 2012 Nádine was nominated for the South African Theatre awards as the leading lady Mary Magdalene in “Jesus Christ Superstar”. Shortly after she was invited by top Afrikaans drama and theatre producer Deon Opperman, to play the lead role in the musical “Lied Van My Hart” opposite Steve Hofmeyr and Elzabe Zietsman to 1 500 people in the State Theatre Pretoria for two months.

With her latest local album Nádine took the chart position in the Afrikaans music again with the hit song “Skildery” which reached the #1 position on every radio station nationwide specifically on Jacaranda FM. The album was nominated for two GHOEMA awards and a SAMA (South African Music Awards)! Less than three months after the #1 position with “Skildery” Nádine did it all over again, May 2015, with the massive ballad of the album “Tyd”. Nádine has also just been awarded the Red Carpet Glamour Celebrity of the classy Afrikaans magazine SARIE.

In between her music career Nádine is the presenter of the tv show “Musiek Roulette”, that aired on national television in the prime time slot 8pm, every Friday night on SABC2. Talented Nádine is again nominated for an award as presenter at the Tempo Awards.

The post Joseph Returns to Jozi appeared first on Stage and Screen.

by Louw Mulder

Very seldom a theatre production of this scale makes you proud, and very positive about the future of SA Theatre. In this case, Annie doesn’t disappoint; it is a showcase of the young talent we can expect major success from in the future.

There are many aspects of Annie to rave about, but most of all, credit has to go to the producers for casting such an unbelievable cast. Perfectly fitted into each role, each character is portrayed with ease, contributing effortlessly to the magic of Annie’s Story. But Annie, the musical, is famous for the orphan girls, who serve as the core focus of the show. In this Pieter Toerien and Hazel Feldman Production, each little girl crawls into the heart of each audience member, which makes Annie an explosive experience of theatre excellence.

With great appreciation to the producers, I was blessed to see Annie three times, to witness all three groups of orphans perform their roles. It would be totally unfair of me to label the one better than the other, because the standard, dedication, and hunger to perform from all the kids, were astonishing and noticeable in their performances.

Bonisiwe Nomoyi plays Molly in Team Empire. It is this 11 year-old’s debut performance on the big stage, but her wittiness and comfortable demeanour would make you think she is already an experienced stage actress. From team Rockerfeller, also playing Molly, is Mikah Smith. Mikah is the ultimate definition of cuteness on stage. With an impressive resume already for a 12 year-old girl, her dream of becoming a professional performer, might be realised much sooner than she thinks.

But let’s talk about Annie… or the three Annies in this production. It was nothing short of entertaining to see all three off them perform; Emma-Rose Blacher, Caitlin Dicker and Lilla Fleischmann. Each of these Annies has the characteristics of a true performer. I still insist that choosing the “best” Annie, would be unfair, but I was really impressed with Fleischmann’s performance as Annie. It is not easy being alone on stage, with a dog that decides not to play its part. Fleischman showed real professionalism by continuing with her act, not fazed at all by Sandy’s unwillingness to co-operate.

To add to this, the chemistry between Fleischmann as Annie, and Daddy Warbucks, on the night played by Anton Luitingh, was so effective; the connection between orphan and adopted father-to-be was tangible. In saying this, there is nothing short of Neels Clasen’s performance as Daddy Warbucks. All the adult cast members showed real class in all the respective roles necessary to make Annie such an easy-to-enjoy musical.

Now, sometimes you get an actor that has to act in a silly, funny role, which is normally associated with the villain in the story. Many times, it is easy for such an actor to overplay the silliness and funniness, that it becomes annoying towards the end of the show. This was certainly not the case with Charon Williams-Ros, in the role of Miss Hannigan. Nominated for two Best Actress awards for her role in Sweeney Todd, Williams-Ros portrayed this role with perfection. She knew exactly where to draw the line between the silliness the role required, and overplaying the part. It is no wonder she had audiences on their feet at all three performances.

Completing the evil threesome with humorous success, is Stephen Jubber and Delray Halgryn as Rooster and Lily respectively. In total contradiction to these sly characters, is the loving and beautiful Taryn Sudding, perfectly cast in the role of Grace. To complete the cast in the ensemble, are well known theatre stars Duane Alexander, also the Resident Choreographer for this production,  Ambre-Chanel Fulton, Cat Lane, Stefania du Toit, with other talents like Michael Fullard, Michelle Lane, Hope Maimane, Jonathan Raath, Candice van Litsenborgh and Richard Vorster.

To join this wonderful cast, was Ben Mundy, in the role of Bert Healy, who got his training at the Arts Educational School in London.  Mundy acted previously as a swing in the UK and European tours of Annie, and no doubt his experience contributed immensely to this production,  in which he fulfilled the role of Dance Captain.

The production was executed in world-class fashion. The transitions between sets are done very smartly, changing right before your eyes, whilst distracted by some activities which makes the next scene just appear out of nowhere. Directed by Nikolai Foster, choreographed by Nick Winston, and taken over by resident director Anton Luitingh, this wonderful cast mastered this direction flawlessly.

Under the baton of Musical Director, conductor and Flying Maestro, Bryan Schimmel, the music is as magical as one would like to look forward to. I believe that directing all these kids, in their three groups, was not an easy task, so a huge F-Sharp and B-Flat thumbs up to Schimmel and the rest of the musical coaches for such delightful sounds.  Schimmel has an eight piece orchestra in the pit under his direction in this production.

Annie will enchant audiences in Gauteng until 27 November at the Teatro, Montecasino, after which it will move to Cape Town, to continue their hard knock life in the Artscape, from 2 December. Don’t delay. I will advise to book early, as tomorrow, is only a day away.

Annie is proudly presented by Pieter Toerien and Hazel Feldman, in association with Michael Harrison Entertainment and David Ian Productions.

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This review was edited by Bronwen Kerry from B Sharp Entertainment.  Photos by Louw Mulder

The post Annie appeared first on Stage and Screen.

Book by THOMAS MEEHAN, Music by CHARLES STROUSE, Lyrics by MARTIN CHARNIN

ANNIE is based on Harold Gray’s popular comic strip Little Orphan Annie. The comic strip premiered in the 1920s in the New York Daily News, and became one of the most widely read strips in the 30s and 40s. Lyricist-director Martin Charnin bought a coffee table book called “The Life and Hard Times of Little Orphan Annie” as a Christmas gift for a friend in 1970. The clerk at the bookstore was too busy to wrap the book, so Charnin took the book home to wrap it. Instead, he read it and fell in love with the strip, and set out to secure the rights, Christmas week of 1970. The friend never got the book.

Charnin championed the idea to colleagues Charles Strouse, a two-time Tony-winning composer, and Thomas Meehan, a short story writer for The New Yorker. It took a great deal of campaigning to get them interested, but the team was finally formed in 1971, when they began to write the musical.

This cracking new production of ANNIE, the world’s favourite family musical, stars Charon Williams Ros (Mrs Lovett in Sweeney Todd) as the tyrannical Miss Hannigan and Neels Claasen (Mamma Mia!, We Will Rock You) as Daddy Warbucks. Taryn Sudding (CATS, Sound of Music) plays Grace, with Stephen Jubber (Sunset Blvd, Jersey Boys, Mamma Mia, JC Superstar) as Rooster, and Delray Halgryn as Lilly. Mike Huff (Phantom of the Opera, The Sound of Music), Candice von Litsenborgh (Audrey in Little Shop of Horrors), Stefania du Toit, Jenna Robinson, Michelle Lane and Hope Maimane complete an all-star South African cast with a special appearance by Grant Almirall (Star of Singin’ in the Rain and Jersey Boys) as Bert Healey. The Resident Director is Anton Luitingh and the Resident Choreographer is Duane Alexander.

Following an extensive 6 month nationwide search we have found the 3 best ANNIES in the country – Emma-Rose Blacher, Lilla Fleischmann and Caitlin Dicker!

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search.

With its award-winning book and score, this stunning musical includes the unforgettable songs It’s a Hard Knock Life, Easy Street, I Don’t Need Anything But You and the eternal anthem of optimism – Tomorrow.

Leapin’ Lizards! You can bet your bottom dollar that you’ll love it!

Johannesburg: The TEATRO, Montecasino – 12 October 2016 to 27 November 2016

Performances: Tue – Fri @ 8pm, Sat @ 3pm & 8pm, Sun @ 2pm & 5:30pm

Tickets: R500, R400, R300 R200. Tuesday @ 8pm & Sundays @ 5:30pm: R450, R350, R250, R150

For Group Bookings and Charities please contact Geraldine (011) 511 1988

Cape Town: ARTSCAPE Opera – 2 December 2016 to 8 January 2017

Performances: Tue – Fri @ 7:30pm, Sat @ 3pm & 7:30pm, Sun @ 2pm & 5:30pm

Tickets: R500, R400, R300, R200, R150. Tuesday @ 7:30pm & Sunday @ 5:30pm:  R450, R350, R250, R150, R100.

For Group Bookings and Charities please contact Tracy (021) 438 3301

The post Annie appeared first on Stage and Screen.

by Louw Mulder

Set to the music of Andrew Lloyd Webber and the lyrics by Tim Rice, Pieter Toerien Productions, through the direction of Paul Warwick Griffin, once again brought a stellar production of Joseph and the Amazing Technicolor Dreamcoat to the stage. This time, this biblical story was a reinvented festival of colorful lights, song and dance, through the energy from the most perfect cast you could’ve assembled.

Thinking back to the opening performance, I clearly remember the astounding lighting design by multi-award winner Gareth Hewitt Williams, who created a world with lights, making this a Technicolor Dreamshow, where not all was just about the coat… The enchanting lighting design, made up of hundreds of colors, contributed immensely to this staging’s rejuvenated magic, and did so quite efficaciously.

The spirit of this production was also captured by the energetic moves on stage and hats off to choreographer Duane Alexander for what he has conjured up. The show’s fast paced and energetic dynamism, exploded in a well-groomed display of perfectly executed choreography, which was a result of harmonious teamwork from every member of this young and professional cast.  The calibre of Alexander’s choreography was world class, as what you’d come to expect from someone with his experience.  Alexander made his Musical Theatre debut in Pieter Toerien’s Production of Cats, in 2001.

Another winner of numerous awards for his musical direction, is Louis Zurnamer, who took this show’s music under his baton.  Together with the musical supervision of Charl-Johan Lingerfelder, they created the audible journey of the magic, with excellence brought to the arrangements, the collaboration of all 12 brother’s voices, and just the overall musical in general. New life was added to familiar songs like Go, go, go Josepeh, Close every door to me, and the most famous of them all, Any Dream will Do.

The cast of this production is a hot and sexy ensemble of South Africa’s elite theatre performers, and also introduces upcoming artists, like Michael McMeeking, who is making his professional debut starring in Joseph.  It was quite evident that talent and fitness were amongst all the other requirements for this show, which brought along an energetic display of their love for theatre.  Ranging from dance captain Darren Greeff, to names like Richard Gau, Louise Duhain, Mila De Biaggi, Emil Haarhoff and Sonwa Sakuba, to mention a few, the whole cast played their parts perfectly, in support of the holistic production.

In the lead roles, were Earl Gregory who played Joseph, and Bianca le Grange as the Narrator. Gregory won the Naledi for best newcomer in 2005 and le Grange took home the Naledi for best female performance in a Musical in 2014, for her performance in Blood Brothers.  With this being said, it is no surprise that Gregory and le Grange was part of the key factors that brought all the multiple elements of this show together.

I have to highlight the performance of Jarryd Nurden who was playing the roles of Issachar and the butler. It was as though he featured in almost every scene, and in doing so, Nurden magnificently showcased his talent, techniques, and versatility, through every different style and genre in this production. Nurden was previously seen in Cats, Starlight Express, and lately, Singin’ in the Rain, which played in the Teatro at Montecasino earlier this year. Most impressive and captivating about Nurden’s performance, was the enjoyment and dedication shown in his eyes and facial impressions, throughout both acts.

Last, but by no means the least, was the performance of Jonathan Roxmouth, who once again showed off why he is the top theatre actor currently in South Africa. As winner of the Best Musical Actor award at this year’s Naledi’s, Roxmouth brought an impeccable performance in the role of the Pharaoh. His experience added to his distinctive style, to the way he captivates the audience, and without effort, making his character the highlight of the show. Playing in Lloyd Webber musicals such as Jesus Christ Superstar, Cats, Sunset Boulevard, Phantom of the Opera and now Joseph, there is no doubt that his upcoming album, My Lloyd Webber, will be huge success.

In the end, Joseph and the Amazing Technicolor Dreamcoat took me to so many different places, stylistically and colorfully. It was a real experience, and a proudly South-African showcase.

Joseph and the Amazing Technicolor Dreamcoat will run at the Pieter Toerien Theatre in Montecasino until the 7^th of August.  You can also stand a chance to win one of 5 double tickets to this production.

Go, Go, Go Joseph!

*Photos by Christiaan Kotze

The post Review: Joseph and the Amazing Technicolor Dreamcoat appeared first on Stage and Screen.

It is one of those theatre productions that makes you leave the Teatro with a smile, and the tune of an old classic stuck in your head. With all departments and components of Musical Theatre coming together perfectly, I can summarise Pieter Toerien’s production of Singin’ in the Rain, as a delightful, feel-good Musical, as showcased by the cream of South African Talent.

I need to start this raving review with the Melodic Master-tunes from the live band. I am hesitant to call it an orchestra, because the true classical sounds of the Swinging Big Band Era was exactly that. The ten-piece band played under the musical direction of Louis Zurnamer, who also conducted the orchestra of Phantom of the Opera, a few years ago.

The variations and style of the arrangements were so complex, that this score is seen as one of the more difficult ones in Musical Theatre; so says Resident Director, Anton Luitingh. The score consists of various genres, and the changing of musical instruments in very short timeframes, adds to the challenging tasks of such a phenomenal band.

Luitingh told Stage and Screen that Johannesburg is seeing a well-polished production, after it travelled the world, and ran in Cape Town before opening at the Teatro. This was witnessed the night I was privileged to see the show. Grant Almirall, Bethany Dickson and Steven van Wyk, play the three lead roles, and the chemistry  between the three of them, is contributing hugely to the success of their characters.

I have something good to say about each and every individual cast member; From Richard Gau as the policeman, Jarryd Nurden as the workman, Darren Greef as Clyde, Raquel Munn as Mary Margaret, this list can go on and on, but each member of this sexy and good looking cast, played their part in a company that totally gels together, and holistically contributes to the feel-good energy the show sets free.

Personally, the performance of the night, went to Taryn-Lee Hudson, who plays the role of big movie star Lina Lamont. The character, humour and personality of Lamont, is mainly captured in the script, but for me, no-one could have done a better job of acting the role of Lamont, as Hudson. Hudson’s performance was energetic, expressive, and emotional when it needed to be, and I would argue that the comedy element of Singin’ in the Rain would not have been half as effective as what it was, without the fleur and Je ne Sais Qua of Hudson.

The singing and acting were as professional as can be expected from a Pieter Toerien Production, but the dancing was extraordinary. Under the leadership of dance captain, Duane Alexander, who also gloats with a world class resume under his belt, the dancing of Singin’ in the Rain completes the wow-factor that moves the second half… and this does by no means exclude the dancing of Almirall and van Wyk throughout the show.

The lighting- and set design did not fall behind the high standards of the whole production, and much is still to be raved about the real rain, that brought that element of reality to the show. Almirall is giving a memorable performance of the title-song, while dancing and singing in the rain, which would probably be the defining moment of this show. Oh, before I forget, if you get your tickets in the first four rows, you might get a little wet…

Sitting in the audience, watching the show, you will realise the cast is as Fit as a Fiddle, as if you Stepped out of a Dream, with Beautiful Girls who Make ’em laugh, and even Moses Supposes that the Lucky Star was Meant for me, as no matter What’s Wrong with me, would make me start Singin’ in the Rain… Would you?  A show totally deserving of a full-house standing ovation on opening night.

The rain will keep falling at the Teatro at Montecasino until the 13^th of March, so don’t miss this feel-good Musical. Stage and Screen is also giving away tickets to Singin’ in the Rain, compliments of Pieter Toerien Productions… just click here, or visit our Competition Page.

Good Morning Good Morning, to you!

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