With thanks to Pieter Toerien Productions, we are giving away 10 Double tickets to the 20:00 Performance of Family Secrets, on Wednesday, 26 June 2019, at the Pieter Toerien’s Montecasino Theatre.

Pieter Toerien has scooped the English language premiere of Family Secrets for South Africa, starring Dorothy-Ann Gould and Sven Ruygrok, directed by Alan Swerdlow and designed by Kosie Smit for presentation at Montecasino in Johannesburg and the Theatre on the Bay in Cape Town.

Sometimes hilariously witty, sometimes deeply moving, Family Secrets is as tasty and comforting as a big bowl of pasta, as the protagonists learn to speak the universal language of Family.

Family Secrets Competition is now Closed.

Please Note:

1. This competition Closes on Monday, 24 June 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 prize 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 Family Secrets appeared first on Stage and Screen.

Fresh on the heels of the much-talked about Equus, Pieter Toerien once again presents Sven Ruygrok in the Enrico Luttmann play, Family Secrets, to be staged in Johannesburg and Cape Town. Ruygrok will be staring in this production, alongside Dorothy Ann Gould, who herself does not need any introduction.

It has been quite some time since there has been a production of a contemporary Italian play in South Africa.   University drama courses still occasionally stage the odd Luigi Pirandello drama but apart from the Neapolitan family sagas by Eduardo di Fillipo, we’re a little out of touch with the vibrant theatre scene of Italy, particularly Rome.

Enrico Luttmann has become a mainstay of the Teatro Vittoria and Teatro de’Servi in Rome with his bittersweet comedies of present-day Italian life.  In addition, his work has been presented all over Europe and enthusiastically received, and the first productions of his plays in English are scheduled for both the U.K. and the United States.

Pieter Toerien has scooped the English language premiere of Family Secrets for South Africa, starring Dorothy-Ann Gould and Sven Ruygrok, directed by Alan Swerdlow and designed by Kosie Smit for presentation at Montecasino in Johannesburg and the Theatre on the Bay in Cape Town.

Feisty, combative Grazia, lives in an Italian sea-side town, passing her days with her obsessive dedication to never-ending soap operas.  Her son, Adamo, has moved to Rome where he writes soap operas for television and plays for the stage. His recollections of their spikey mother-son relationship plays out in his mind until he achieves an understanding of what “family” truly means as he dodges the skeletons in the cupboard.

Sometimes hilariously witty, sometimes deeply moving, Family Secrets is as tasty and comforting as a big bowl of pasta, as the protagonists learn to speak the universal language of Family.

Family Secret

Johannesbnureg

Pieter Toerien’s Montecasino Theatre

14 June to 30 June 2019

Cape town

Theatre on the Bay

3 July to 13 July 2019

Show Times:

Wednesdays – Fridays at 8pm,

Saturdays at 4pm and 8pm,

Sundays at 3pm

Family Secrets will have its opening performance during a special matinee performance in Johannesburg on the Youth Day Public Holiday, Monday 17 June 2019 at 3pm.

Tickets: R100, to R240

All bookings at Theatre Box Office & COMPUTICKET

The post Family Secrets 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.

Legendary South African actor, Tobie Cronjé is best known for his roles in the television series Louis Motors, Manakwalanners, Onder Draai die Duiwel Rond and Egoli. He will for the first time appear on the Market Theatre stage in the premiere of award winning playwright Retief Scholtz’s new play, Karel se Oupa. This is the second play by the talented young playwright. It follows his tremendously successful Dop which premiered last year at the Montecasino Theatre.

Along with Tobie Cronjé, Karel se Oupa, stars Esmeralda Bihl, Neels Clasen, Ruben Lombard and Ian Roelofs. The enigmatic production is directed by André Ondendaal.

Karel se Oupa will take audiences through a journey of grief, love and family bonds tested to its fullest as the audience encounters three generations of men all named Karel. In this compelling drama Tobie Cronjé is a grandfather whose role will tug at the heart-strings of the audience as the family drama unfolds.

“We are celebrating Retief as a new voice and we are also marveling that we have Tobiè Cronje for the first time at the Market Theatre,” says an excited James Ngcobo, the Artistic Director of the Market Theatre.

“This is yet again a continuum of our commitment to find new plays and emerging voices. Retief is making a mark as a playwright. He excites us a lot. The Market Theatre wants to celebrate the rise of this brave playwright”, he added.

Karel se Oupa, a riveting Afrikaans production premiering at the Market Theatre and presented in association with Kosie Smit, can be seen from Wednesday 14 June to Sunday 2 July 2017. The season is supported by the Market Theatre’s commitment broaden the diversity of audiences and languages in which productions are presented at the iconic institution.

There couldn’t be a better way to achieve this goal than by premiering Karel se Oupa featuring celebrated actor Tobiè Cronje in a riveting work by directed by André Odendaal who already has built a strong following with his previous productions at the Market Theatre.

The show will run at the Market Theatre from 9 June to 2 July, at the Barney Simon.

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Frank Venter is die man op straat. Een van duisende daarbuite wat min mense ooit sal ken en wat nog minder sal onthou. Soos elke mens het Frank ‘n storie. Niemand luister na sy storie nie. Dit is dan tog nie so indrukwekkend nie, of is dit?

Frank sit in ‘n kroeg. Dis sy verjaarsdag. Buiten vir die kroegman, Tim, is Frank alleen in die kroeg, soos in sy lewe. Altwee het iets van die ander een nodig:  Frank ‘n klankbord om sy bestaan te bevestig en Tim die regte woorde om sy hart uit te praat.

Twee vreemdelinge begin gesels oor die lewe, generasies, emigrasie, drome (onvervuldes en nuwes), die kunsdiefstal van 1990, reënwoude, spyt en perdedrolle wat nie vye is nie.

In wyn lê die waarheid… Soos wat die aand aanstap, word maskers afgehaal, harte blootgelê, talente van vervloë dae opnuut ontdek en sinne al meer onsamehangend.

In sinnelose kroegpraatjies en gesprekke sonder ‘n punt is daar waarheid en is daar emosie. Sonder pretensie of voorgee.  Dop is ‘n trotse Afrikaanse debuutproduksie van Kosie House of Theatre, en het ‘n oouderdomsbeperking van 13 jaar oud.  Dop kan gesien word in die Pieter Toerien Studio Teater in Montecasino, vanaf 28 September tot 23 October 2016.00

The post Dop appeared first on Stage and Screen.

Charles Laurence’s (1931-2013) London and Broadway hit comedy My Fat Friend is the story of an overly large Vicky (Michelle Botha) who owns a successful bookshop in London’s Hampstead. She guzzles comfort food and chocolate to make up for her somewhat boring existence. She good-humouredly suffers the slings and arrows of her friend and lodger, the not-so-young Henry (Tobie Cronjé), while failing to notice that her other tenant, James (Jeremy Richard), worships her from afar.

A stranger, a handsome man of thirty, one day stumbles into her bookshop looking for a travel book as he is on the verge of departing for Iran on a four month working engagement. The man, Tom (Charlie Bouguenon), strikes up a conversation with Vicky – who seems unable to comprehend that Tom is unperturbed by her weight. The two completely hit it off and agree to keep in touch while Tom is away and resume where they left matters when Tom returns. Loving nothing more than to meddle in Vicky’s affairs, Henry suggests to her that she should lose weight during Tom’s absence and knock his socks off when he returns to London.

Aided by Henry and James, hard exercise, diet and a graph she manages to reduce to a streamlined version of her former self – only to realise it was her rotundity that attracted Tom in the first place.

My Fat Friend is presented by Pieter Toerien and Kosie Smit, and directed by Andre Odendaal.

My Fat Friend

Pieter Toerien’s Montecasino Theatre: 7 September – 2 October 2016

Pieter Toerien’s Theatre on the Bay: 9 – 26 November 2016

Bookings: Computicket

https://youtu.be/xFU2pd_N_yo

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Marion Holm is veral op kunstefeeste ’n bekende met haar eiesoortige, komiese, solovertonings. Kosie Smit van Kosie House of Theatre het egter besluit om Holm se vertonings aan ’n wyer gehoor bekend te stel met hierdie produksie wat spesiaal vervaardig is vir, en slegs gaan speel in Johannesburg se Montecasino-teater en Kaapstad se Theatre on the Bay.

In Marion Holm vir beginners stel Holm haarself bekend aan mense wat nog nie een van haar 12 solovertonings gesien het nie;  sy neem ’n klompie hoogtepunte uit van haar vorige produksies en ryg hulle op ’n nuwe manier aanmekaar om ’n vertoning te maak getrou aan haar benadering tot teater.

Sy vertel stories uit die alledaagse lewe; gebeure waarmee almal kan identifiseer en juis daarom vind gehore dit so snaaks: Holm vertel van ’n riller van ’n vakansie in Zanzibar; die pyn van ’n mammogram; die irritasie van karwagte; haar stil pa, Namakwalandse ma en twee susters; ’n gruwelike geroei op die Oranjerivier en ook vele verhale van hoe sy haar eie naam al met ’n plank geslaan het.

Holm se komedie is meestal oor haarself, haar eie foute en haar onvermoëns. Op dié manier laat sy haar gehoor veilig voel en hoe meer hulle ontspan en besef daar is werklik nie sprake van gehoordeelname nie, hoe harder lag hulle.

Holm het in 2004 saam met Hennie van Greunen begin werk as mede-skrywer en regisseur, en saam het hulle Holm se eerste vyf solovertonings die lig laat sien: Sussie is nou suur (2004); Sussie rafel nou uit (2005); Braaivleis, rugby, sunny skies en … Sussie! (2006); Sussie: Survivor (Kuilsrivier) (2007) en Cirque du Sussie (2008).

Sedert 2009 werk Holm saam met Chris Vorster as mede-skrywer en regisseur en uit dié samewerking het gevolg: Sussie: Cheers! (2009); Met die Holm gebore (2010);  holm@iafrica.com (2011); Holmakiesie (2012); Holm: geMARIONeer (2013) en Hol Marion! (2015).

Vroeër vanjaar het Holm en Vorster saamgespan vir haar 12de solovertoning, Die Kaap is weer Holms.

In 2010, 2011, 2012 en verlede jaar is sy benoem vir ’n Fiësta-prys in die kategorie vir beste solovertoning.

In ’n tyd dat baie akteurs geen werk het nie, kom Holm voortdurend vorendag met nuwe produksies. Benewens haar solovertonings het Holm haar veelsydigheid as aktrise menigmaal al bewys, van die rol van Tant Anna in Die Casper Rasper Show tot dié van Dot in die TV-produksie Vlug na Egipte.

Deborah Steinmair het oor een van Holm se optredes op Aardklop geskryf:

“Holm skilder met woorde, stembuiging en lyftaal, hele rolprente en sirkusse. Ons reis Zanzibar toe op ’n laebegroting-nagmerrievakansie; sien haar ma in die voorkamer sit en koejawels skil voor die TV. Haar vinjette is vlymskerp maar die enigste persoon of dier wat te na gekom word in die vervaardiging van hierdie produksie is sy self. Holm dis haarself op, met skete, fobies en koddighede. Weerloos. Briljant, diep en snaksnaaks.”

Marion Holm se Marion Holm vir beginners is van 15 Julie tot 9 Augustus in Pieter Toerien se Montecasino-teater in Fourways en van 12 tot 22 Augustus in Pieter Toerien se Theatre on the Bay in Kampsbaai. Kaartjies kos van R130 tot R165 en is beskikbaar by Computicket.

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’n Komedie met baie draaie en swaaie…

Dis amper tyd vir ’n lekker volwasse komedie, met baie kinkels…

Twee vir die prys van een is ’n slimsnaakse, vars, uitbundige komedie met onverwagse wendings; geskryf deur die bekende Britse dramaturg Donald Churchill. Die stuk is in Afrikaans vertaal deur Wim Vorster.

In die rolverdeling is Hannes Muller (Groet die grotman), Lizz Meiring (Cheaper than Roses, Molly en Wors) en Michelle Botha (Getroud met rugby).

Die regisseur is Neels Clasen (Binnelanders, Belade vir ’n banggat).

In dié stuk ontmoet die gehoor vir Walter (Hannes Muller) wat as verwer by ’n deftige huis opdaag om die studeerkamer van ’n belangrike sakeman te verf. Walter is eintlik ’n sukkelende, maar besonder ambisieuse akteur wat die pot aan die kook hou met sy verfwerk.

Mercia (Lizz Meiring) is die sakeman se pretensieuse en hoogheilige vrou wat haar in ’n penarie bevind wanneer Janie (Michelle Botha), haar skelm minnaar se vurige vrou, opdaag en dreig om hul affair oop te vlek. Janie dreig om Mercia se man te vertel van sy vrou se agterbakse verhouding. Mercia sal egter alles doen om te verhoed dat die saak op die lappe kom.

Walter word natuurlik betrek – met skreeusnaakse en verrassende gevolge. Jy kan uitsien na ’n lekker lag komedie, uit die mond van gesoute akteurs.

Twee vir die prys van een is te sien van 10 Junie tot 12 Julie in Pieter Toerien se Montecasino-teater in Fourways en van 15 Julie tot 26 Julie by Pieter Toerien se Theatre on the Bay in Kaapstad.

Kaartjies kos van R130 tot R165 en is beskikbaar by Computicket.

Twee vir die prys van een is ’n trotse Kosie House of Theatre produksie.

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