by Betty Bangles

Daaaahlings!

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit Jesse Kramer

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

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

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Just two weeks into its South African premiere run, The Fugard Theatre’s production of multiple Tony-Award winning musical Kinky Boots has been extended. Bookings are now open for performances until 27 October.

Presented by Eric Abraham and The Fugard Theatre, this is the first non-replica production of the show, and a brand new, South African original production of this huge-hearted, smash-hit musical.

Kinky Boots has been playing to sold-out houses and wowing audiences, who have responded with comments.

Inspired by true events, Kinky Boots was first brought to life on the big screen in 2005 before being transformed into a hit musical, winning six Tony and three Olivier Awards.

Kinky Boots features a Tony-winning score by Cyndi Lauper and a book by four-time Tony winner, Harvey Fierstein. Winner of the Tony Award for Best Musical, Tony Award for Best Original Score, Tony Award for Best Choreography and Laurence Olivier Award for Best New Musical, Kinky Boots has played to sold out houses on Broadway and in the West End since 2013. This mega-hit is a must see for all Musical Theatre fans.

The Fugard Theatre’s Kinky Boots is brought to you by the same creative team behind the Fugard Theatre productions of The Rocky Horror Show, Cabaret, Funny Girl and West Side Story. Direction is by Matthew Wild, Musical Direction by Charl-Johan Lingenfelder and Choreography by Louisa Talbot. Costume design is by Birrie Le Roux, Set Design by Paul Wills and Lighting Design by Tim Mitchell. Sound Design is by Mark Malherbe.

A stellar local cast is led by Darren Craig as shoe factory owner Charlie Price and Earl Gregory stepping in to the role of drag queen Lola.,

Kinky Boots

The Fugard Theatre Cape Town

11 June 2019 – 2 February 2020.

Tuesdays to Saturdays at 8pm with a matinee performance on Saturdays and on Sundays at 3pm

Tickets starting from R180 can be booked directly through The Fugard Theatre box office on 021 461 4554 or through The Fugard Theatre’s website at www.thefugard.com

This production has a recommended age restriction of no under 10 year olds.

There is a 20% discount available for all Friends of The Fugard members (on certain performance days); a 15% discount for pensioners and 10% discount for students and block bookings. These discounted tickets can be booked through the Fugard Theatre box office only and are available for performances from 27 June 2019 onwards.

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In light of all the rewards and acknowledgments through the Naledi Theatre awards, Stage and Screen is dedicated this article, to the memory of Francois Theron, who too soon, left us with so much more curtains to be called!

The 14^th Annual Naledi Theatre Awards were held at Johannesburg this week, with Montecasino’s Teatro hosting the event.  The ceremony will also be broadcast on kykNET and Mzanzi Magic, on August 5, 2018.

We do not want to highlight anyone, and we believe all the artists who had stepped on a stage, ensemble, lead, or somewhere with a musical instrument in a pit, together with every hand behind the scenes, are due for a Theatre award.

But the winners for the night, are:

Best Supporting Actress

Khutjo Green – Molière’s Tartuffe

Best Supporting Actor

John Lata – The Suitcase

Best Production For Children; Age 0-12

Cloud Catcher

Best Production For Young Audiences; Ages 13-17

Onderwêreld

Best Performance In A Production For Young Audiences

Jaques De Silva – Taking Flight

Best Newcomer/Breakthrough

Phillip Schnetler – Priscilla, Queen of the Desert

Best Costume Design

Sasha Ehlers – Molière’s Tartuffe

Best Lighting Design

Joshua Cutts – West Side Story

Best Set Design

Conor Murphy – West Side Story

Best Sound Design or Soundscape

Gladman Balintulo – Sarafina!

Best Original Score / Arrangement / Musical Adaptation

Charl-Johan Lingenfelder – King Kong: Legend of a Boxer

Best Musical Director

Charl-Johan Lingenfelder – West Side Story

Best Ensemble

Molière’s Tartuffe

Best Original Choreography For A Play, Musical / Revue

Louisa Talbot – West Side Story

Best Director Of A Musical / Revue

Jonathan Munby – King Kong: Legend of a Boxer

Best Director Of A Play

Lesedi Job – When Swallows Cry

Best Supporting / Featured Performance In A Musical / Revue: Female

Ntambo Rapatla – King Kong: Legend of a Boxer

Best Supporting / Featured Performance In A Musical / Revue: Male

Sanda Shandu – King Kong: Legend of a Boxer

Best Lead Performance In A Musical: Female

Lynelle Kenned – West Side Story

Best Lead Performance In A Musical: Male

David Dennis – Priscilla, Queen of the Desert

Best Lead Performance In A Play: Female

Jennifer Steyn – The Inconvenience of Wings

Best Lead Performance In A Play: Male

Andrew Buckland – The Inconvenience of Wings

Best Performance In A Solo Production: Female / Male

Gideon Lombard – Die Reuk van appels

Best New South African Script

When Swallows Cry – written by Mike van Graan

Best Production Of A Play

When Swallows Cry

Best Production Of A Musical

King Kong: Legend of a Boxer

World Impact Award

William Kentridge

Lesedi Spirit of Courage Award

Oscar von Memerty

Innovation in Theatre Award

Dorothy Ann Gould

Lifetime Achievement Awards

Sandra Prinsloo & Don Mattera

“Congratulations to Everyone who made a curtain call possible in 2017. 

Here is to standing ovations through the years to come” – Stage and Screen

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audiences and sold out quickly.  It is clearly a production that is not to be missed and advance booking is highly recommended.

 Show Information

7 March 2018 – 8 April 2018

Artscape Opera House, D.F. Malan St, Foreshore, Cape Town

Tickets

Available through Computicket, Artscape Dial-a-Seat 0214217695 or the Fugard Theatre Box Office 021 461 455

The post West Side Story appeared first on Stage and Screen.

by Louw Mulder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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By Louw Mulder

In the mid-nineties, in the middle of my high school career, I took a fieldtrip to the Sand du Plessis Theatre in Bloemfontein to see my first ever musical, West Side Story. Not only was I bowled over by the magic a stage production can enchant, but also the decisive factor was, that it made me fall in love. That is why West Side Story holds a very special place in my heart, and now, more than twenty years later, I got to see this musical again… with that memory of a 16 year old boy, fresh in my mind.

Because of this nostalgic connection to this production, the wait was long, the anticipation was mounting, and eventually, the night came where hundreds of theatre greats, celebrities and friends gathered at the Joburg Theatre, for the opening of the Fugard Theatre’s production of West Side Story. Normally, one shouldn’t expect too much, because it may set one up for extreme disappointment. But take it from me… Expect a lot.

After the performance, when I was comfortably relaxed at home, floating on the back flashes of the show I just saw, Facebook buzzed with reviews. Bryan Hill from the Teatro said “this production is daring, innovative and exciting and if you love musical theatre, you have to see it.” Acclaimed musical maestro Bryan Schimmel posted that “for the first time in many years, the stage of the Joburg Theatre is being graced with a ravishing, gut-punching, achingly beautiful production of one of the great benchmark pieces of musical theatre.”

To write a raving review of West Side Story, one should start with the music of Leonard Bernstein. Many label West Side Story as one of the best musicals ever written, and so experiencing it once again, that label is justified. The music is magical, powerful, and the band under the baton of Charl-Johan Lingenfelder, did the music score justice. The music alone tells the story. Bernstein melodically uses the brass instruments to build tension.  The woodwind section of the orchestra melts the scenes of the gangster rambles and love scenes into a perfectly harmonious theatre world. Soundtracks are great to relive the memories, but feeling the vibrations of the live orchestra, is just priceless.

Raving reviews of musicals, always include words like magical, phenomenal, and I might use them too in this review. The set, designed by Conor Murphy, was based on an original concept by Johan Engels. The set was big, life-size, and truly majestic. The size of the Joburg Theatre Stage was utilized to capacity, and the depth and size of that stage increased the element of the ‘wow’ that the show brings.

Joshua Cutts was in charge of designing the lighting. He used so many variations of lighting effects and strategies, which instantly takes the theatre goer to the place that the scene is intended to be. From cool white lighting shades to highlighting the brutality of the fighting scenes, to the warm white and golden effects during the love scenes; the illumination of every mix of lights, was spot on. One of the scenes that stood out for me, was the balcony scene between Tony and Maria, where literally hundreds of golden lights appeared, making every soul in the audience feel the magic of that moment.

In this specific production, I have to mention how impressed I was with the Choreography. Louisa Talbot, and especially Richard Lothian who choreographed the fight scenes, did a phenomenal job of combining the rebelliousness of American Gangsters, to the magical translation of Musical Theatre. The moves and steps were not in your face, nor overwhelmingly focused on one specific routine. The tension of fights, the flow of the scenes, even the transition from life to death, was something spectacular.

Of course, effective choreography is nothing without skilled actors who actually have to carry it off. The cast was stellar, energetic, and visibly acted out all of the many moods in West Side Story. Both the men and women were all in it, and even though there are too many of them to mention individually, everyone is worthy of compliments. From Reg Hart and JP Rossouw showing off the definition of their deltoid muscles, Christopher Jaftha displaying a well-defined six-pack, to the humorous acting of Stephen Jubber and Richard Lotian, all elements of good theatre were displayed.

The leads, well, they were impressive, perfectly cast, and made West Side Story another memorable production. The experience and aura of Jonathan Roxmouth was yet again so profound, with his versatility, as I have said in so many reviews before, fitting the role like a glove. As big as the stage in this production is, Roxmouth’s presence fills not only this stage, but the whole theatre.

But most impressive of the night, was Maria, played by Lynelle Kenned. This soprano will still become one of SA’s great theatre actresses. This small, petite little lady, played the innocence when necessary, the bold young woman standing up for herself in total contrast, while blowing the audience away with a very powerful voice, hitting every note as intended by the composer. If I am looking for another reason to go see this production, it will be to go see Kenned… oh, and because it is just a theatrical masterpiece with all the cliché’s eliminated.

I wish I could mention all the impressive moments, memorable roles of all the cast members and events that provided goosebump moments. But at the end, the Fugard Theatre’s Production of West Side Story, was worth the standing ovation it received. A must see… just like all the other theatre productions brought to life by local, South African talent.

This production of West Side Story will run at the Joburg Theatre till the 5^th of March. Tickets are going fast, which goes without saying.

This review was edited by Bronwen Kerry from B Sharp Entertainment.  Photos by Helena Fagan

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After receiving rave reviews across the board from critics and audiences alike, Eric Abraham and the Fugard Theatre’s grand-scale, smash hit, all South African production of West Side Story will be presented at the Mandela Theatre at the Joburg Theatre by popular demand from 24 January 2017.

West Side Story ended a staggeringly successful, sold-out run at the Artscape Opera House in Cape Town last year, and was the Fugard Theatre’s first out-of-house production, five years on from the theatre’s official launch in 2010.

West Side Story, Leonard Bernstein, Arthur Laurents and Stephen Sondheim’s musical theatre masterpiece, is based on an original conception of Jerome Robbins and is arguably one of the world’s greatest musicals. The stellar creative team is headed by Matthew Wild (The Rocky Horror Show, Cabaret, Funny Girl) as director, Charl-Johan Lingjnfelder (The Rocky Horror Show, Cabaret, Funny Girl) as musical director and conductor, and choreographer Louisa Talbot (The Rocky Horror Show, Cabaret, Funny Girl). The Fugard Theatre team has selected the finest South African talent for this production that first premiered on Broadway in New York in 1957. The superb cast of 40 is backed by a full Philharmonic Orchestra playing Bernstein’s magnificent score that includes iconic songs such as “Something’s Coming”, “Maria“, “I Feel Pretty” and “Tonight“.

Reprising their roles as Tony, Maria and Bernardo respectively, will be Fleur du Cap Theatre Award winners Jonathan Roxmouth (Topsy Turvy, A Handful of Keys, Joseph and the Amazing Technicolour Dreamcoat, The Phantom of the Opera) as Tony and Lynelle Kenned (Orpheus in Africa, Showboat, The Sound of Music) as Maria and Christopher Jaftha (The Sleeping Beauty, High School Musical) as Bernardo. Sharing the title role once more with Ms. Kenned will be the London-based actress and opera singer Filipa van Eck (Carmen, L’Aggripina) who will perform the role of Maria once a week. Bianca le Grange (Blood Brothers, District Six Kanala, Joseph and the Amazing Technicolour Dreamcoat) returns to reprise her role of Anita.

The Jets gang is led once again by Fleur du Cap nominee Stephen Jubber (Annie, Showboat) as Riff, backed by a superb cast that includes Daniel Buys (Cabaret, Saturday Night Fever) and Grant Almirall (Singin’ in the Rain, Jersey Boys) as Action. Mr. Buys will perform the role of Action from 24 January to 18 February 2017 and Mr. Almirall will perform the role from 19 February to 5 March 2017. Sven–Eric Müller (The Rocky Horror Show, Cabaret) as Diesel, Cameron Botha (Singin’ in the Rain, Sweeney Todd) as Snowboy, Clive Gilson (Sister Act, High School Musical) as Big Deal, LJ Neilson (Sound of Music, Dirty Dancing) as Anybody’s, Elzanne Crause (A Thousand Shepherds, Queen at the Ballet, The Phantom of the Opera) as Velma, Kristin Wilson (So You Think You Can Dance, Private Presley) as Graziella, Tamryn van Houten (Private Presley) as Minnie and Caitlin Clerk (Sister Act, Showboat) as Pauline. Adrian Galley (The Rocky Horror Show, Cabaret), returns as Doc. Brendan Murray (Amadeus, Romeo and Juliet) will perform the role of Krupke alternating with Richard Lothian (An Absolute Turkey, Taming of the Shrew) who will once again be the fight choreographer.

Christopher Jaftha, now a well-known Top Billing presenter, leads the Sharks as Bernardo, with Zolani Shangase (The Lion King, Orpheus in Africa) as Chino, Carlo McFarlane (Footloose- The Musical, A Cinderella Story: If the Shoe Fits) as Pepe, Duane Williams (Honey 3, Cinderella: If the Shoe Fits) as Indio, Thami Njoko (Swan Lake) as Luis, Tevin Wiener (Honey 3) as Toro, Sabelo Radebe (Peter Pan) as Nibbles, Kirsten Rossiter (Grease, Jersey Boys) as Rosalia, Chloe Perling (The Rocky Horror Show, Cabaret) as Consuela, Sarah-Ann van der Merwe (Reik Na Die Sterre) as Francisca, Natasha Hess (District Six Kanala, Orpheus in Africa) as Estella and Ipeleng Merafe (Swan Lake, A Thousand Shepherds) as Teresita. Tamryn van Houten (Private Presley, Spartacus of Africa),  Sibusiso Mxosana (Spartacus of Africa, Spring and Fall), Gemma Trehearn (Iris Warriors, A Thousand Shepherds) and Nurit Graff (Dirty Dancing, Showboat) complete the talented line up of remarkable performers.

Inspired by Shakespeare’s Romeo & Juliet, the tale is set in the Upper West Side neighbourhood in New York City in the mid-1950s. The musical explores the rivalry between the Jets and the Sharks, two street gangs of different backgrounds. The members of the Sharks are taunted by the Jets. The young protagonist, Tony, a former member of the Jets and best friend of the gang leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The sophisticated music, extended dance scenes, and the focus on social conflict marked a turning point in American musical theatre.

West Side Story is a must-see that is guaranteed to be a highlight on Johannesburg’s 2017 theatre calendar.

The season will run from 24 January to 5 March 2017 and tickets are now on sale through 021 461 4554, Computicket, 08619158000 or from the Joburg Theatre directly. Given the anticipation about this stellar musical and how the Cape Town season sold out, advance booking is highly recommended. The producers recommend an age restriction of 12 years with parental guidance. ADVANCE BOOKING IS RECOMMENDED. 

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