By Jaco Lotriet

With the school holidays now in full swing, one cannot wonder whether parents are dreading this break, or embracing it? While Johannesburg offers a myriad of different entertainment options for both young and old, serving as a most welcome reprieve from boredom, one entertainment option seems to be overlooked by most families: The magnificent world of theatre. Enter directors Jill Girard and Keith Smith of the People’s Theatre, situated in the Joburg Theatre complex. This specially created flagship of Children’s Theatre has celebrated over 25 years of providing world class quality, fun filled – and educational – theatre to countless families.

Girard and Smith are delighted to get this year underway with a bang, bringing children and parents together for a thumping theatre experience, with the fabulous Broadway show, Seussical the Musical Jr.

Based on the books by Dr. Seuss, the children’s favourite author for over 60 years, his much loved use of language, rhyme and humour have been aptly re-imagined on stage by Smith, Girard and their extraordinary team, while retaining Dr. Seuss’ customary positive message.

Still, as crafty as they may be and as comfortable as the People’s Theatre is, I couldn’t help but wonder how they would pull off grabbing the young ones attention, in an age where even 4 year olds have their faces buried in their own cellular telephones these days. Fear not, Seussical the Musical Jr did not disappoint – cell phones were out of sight just as soon as the curtain lifted.

A nearly constant barrage of dance, music, lights and some clever set design, not only captured the imagination of the little ones, but that of the adults too. Visually, Grant Knottenbelt’s set design may seem minimalistic but then, it doesn’t have to be over-the-top. It’s colourful, with features such as steps behind one of the set pieces, a tunnel and door behind another, creating the illusion that the characters are seamlessly moving around all the time. I was delighted by the see-through display screen dropping from above, in front of the stage. Clever use of lasers and LED’s display various shapes and characters on this screen, enhancing the thread of the story in a modest, yet effective manner, while being a visual delight, all at once.

With characters ranging from a cat, to an elephant and even some birds joining in, the costumes and make-up further pulls the audience into the Dr. Seuss’ imaginary world of make-believe. Sean McGrath, Merry Whiller and specialist Costume designer Trudie Stroh pulled this off in an excellent execution, bringing the characters to life on stage. It is said that the costume make the character but the actors playing these parts, were astounding.

Newcomer Katlego Nche excelled with his charming, witty portrayal of The Cat in the Hat – a sort of jester-like character, sometimes serving as a narrator, other times within the storyline, mingling with the central child character of the show. Nche is joined by another newcomer, Megan Spencer, as the Sour Kangaroo. Seasoned stage actor Luciano Zuppa brought the endearing character of Horton to life. Central to the storyline of this morality-play, Zuppa’s elephant character is the hero with a message that is loveable, especially in the final moments of the show.

The child actors in this magical production amazed with their professionalism. Unwavering in their deliverance of the several different characters they portray, I am always astonished at the magnitude of their commitment. Exactly how they remember all the words in the script is something that boggles my mind. Masego Mothibakgomo plays the quirky Gertrude McFuzz, and another People’s Theatre favourite Nonhlanhla Mkhonto, plays the effervescent Mayzie. Thokozani Jiyane, who charmed in Annie Jr, returns to the Peoples Theatre as Mr. Mayor and is sure to delight the audience again.

A sensational music score under the musical direction of Dale Scheepers, combined with the funniest characters by Dr. Suess, will surely bring rapturous laughter, rhyme and rhythm to Johannesburg during Easter.

Seussical the Musical Jr is great family entertainment and will run from 10 March 2019, until 28 April 2019 at the Joburg Theatre’s People’s Theatre.

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by Louw Mulder

A live concert with a well-known act is an experience very seldom to be forgotten. But a concert where the artist has the ability to take you through a mosaic of memories, is customarily more memorable, mainly because of nostalgic value, making the experience priceless. This was once again done by Big Concerts bringing Bryan Ferry to South African Stages. Not only once, but twice in one night, as both the supporting act and Ferry himself, transported the whole Sun Arena in Pretoria, back to youth.

Former Springbok Nude Girls’ lead singer, dating back to the late 1990’s, Arno Carstens, was the perfect choice to open for Ferry. Featuring a two-piece band, his set list comprised hits from then, like Blue Eyes, as well as his solo hit, Another Universe. What was remarkable, was the inclusion of an Afrikaans track too. Carstens was accompanied by his session drummer Werner von Walt and David Watkyns on the keyboard, also doubled-up on the trumpet, once again giving that hint of the Nude Girls’ sound.

When Bryan Ferry entered the stage, the roar of a packed Sun Arena, was evident to the impact, yet massive popularity this artist has sustained with his South African audience, over the years. After taking to the world music scene as part of the band Roxy Music in 1970 with their first hit, Virginia Plain, this now 73 year old singer- songwriter, established a unique repertoire during his solo career, which was the basis of his programme during the show in Pretoria.

His voice has been described as an elegant, seductive croon. With a distinctive, sartorial style, Ferry has influenced a whole generation of artists, through his refined music, and live appearances. Now, after a lengthy 19 year hiatus from South African stages, this time-honoured, English-born lead vocalist was back on an SA Stage. For his age, Ferry’s presentation of his enduring classics, sounded remarkably close to what was recorded on vinyl all those decades ago. Because of this, I do think that together with his overwhelming and sophisticated glam-rock style, Ferry delivered a magical, and memorable concert, everyone holds dear.

With unforgettable classics such as Slave to Love, Oh Yeah and More Than This, to name but a few, deeply entrenched in the gathering audience’s psyche, together with the sheer anticipation of this long awaited live performance, created a tangible atmosphere with each familiar lyric.

I thought the production was minimalistic, with no special effects with LED screens or other stage- and set designs. Together with his live band, the scene for each song was set by only his legendary voice, the acquaintance with each song, and very clever lighting design, which varies for each track. I would say that this approach seemed to be very effective, taking nothing away from the music itself, which was in essence the main attraction this legendary artist catered for.

Together with the flash-backs linked to each song, a different reminiscing tale to each member of the audience, Ferry’s production added to the enchanted recreation of the Good old Days, with a variety of instruments and musicians, even getting behind the piano himself. From saxophonists, oboists, even to a very clever solo of the bassist during his programme, each recollection was coloured in, in true Ferry- style, just like that memory was intended so many years ago.

But More than This, we know that It was Fun for a While, and while we as Ferry’s fans will continue listening to this Band, playing on the Radio, with the Rhythm of Rhyming Guitars, Drowning the Sound of my Tears, we can now see him saying through his music: “Even Though your world is changing, I will be the same…”

Big Concerts delivered Another, well presented Big Concert Experience, which brought the magic of music home, proving that music is timeless…

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By David Simmons

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

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

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

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

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

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

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

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

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

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

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Uit die pen van Hugo Ludik, Reynardt Hugo en Nerine Gardiner, stel ADAM hulle nuutste enkelsnit, Iets In Die Water, bekend.

“Ek het die inspirasie gekry toe Demi-Leigh Nel-Peters die titel van Mej Heelal ingepalm het in 2017. Ek het gedink Suid-Afrika het al so baie skoonheidstitels verower en met al die ADAM-toere, het ons besef dat Suid-Afrika regtig die mooiste meisies het. Die enigste verduideliking hiervoor, moes wees dat daar iets in die water is”, verduidelik Hugo.

Hugo en Reynardt het die melodie geskryf en toe die hulp van Gardiner ingeroep om hulle gedagte proses korrek te verwerk en die lirieke vas te pen, sodat die aanslag van die liedjie korrek kon oorkom.  “Iets in die Water was van die begin af een van ons gunsteling liedjies op die album. Die mense dans en sing uit volle bors saam. Dit is ‘n trots Suid-Afrikaanse liedjie”, voeg Reynardt by.

Die liedjie is beskikbaar op ADAM se album, Bewe, wat in 2018 uitgereik is.

ADAM bestaan uit Hugo Ludik, Reynardt Hugo en Kyle Grant.

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by Louw Mulder

The wonder, awe and art of theatre is very special to the team at Stage and screen. When I visited the Fugard Theatre in Cape Town this past December, the level of specialness was magnified in such a way, that the theatre outing in its whole became one of my Top 10 theatrical experiences in the Inestimable Sentiment category.

It all happened on a beautiful Sunday afternoon in the Mother City, with clear skies outside, and inside, a full house, eagerly awaiting the matinee performance of David Kramer’s Langarm. Revisiting past productions like Kat and the King and Blood Brothers and understanding to what extent the talents of Kramer can go, I was really excited to see this production!.

I got my selfie with the man himself, and was super amped when I found that he was seated right next to me. I grew up with Die Manne van die Royal Hotel, so having the opportunity to write a review on a production with its creator, writer and director sitting right next to me, I felt extremely honoured.  You then witness this purely magical show, which is set in Cape Town’s District Six.  You really enjoy this production with all its elements, and with that sheer glow of theatre magic fresh in your mind, you leave the theatre, also situated in Cape Town’s District Six, with a heartfelt feeling for our country and all the hardships it has had to endure. With the majestic, powerful view of Table Mountain welcoming you to The Mother City… This day was special.

Langarm advertised itself as “He was White, She was not. They Broke the Law to Dance.”, but for those like me who initially thought of this production as just another racial plot of how bad it was in the Old South Africa, go see this show, and then be just as surprised as I was.  Kramer cleverly used facts of that era and events which were evidently close to his memories of that time, and combined it with a love story, to grab you from curtain lift, to curtain call.

I took my chance when we all took our seats after the interval, to introduce myself to Mr Kramer, to get some background on his story. “The story is fictional, but all the adjoining events in the Musical that supports the main story, is based on facts of that time” Kramer told me: “I have done a lot of research to find events suitable for the story I had in mind.”  What is more interesting, is that Kramer admitted that when seeing the show, audiences will realise the love story between Angeline and Jeff, is in fact secondary to the more serious and hidden message he wanted to bring through to the audience.  In the second half , I gradually noticed what he meant.

When thinking beyond the special memories of Langarm, the first thing I remember about this production, is the Music.  With a newly composed score, with its own songs, combined with well-known hits that added homage to the storyline, was phenomenally arranged by the maestro Charl-Johan Lingenfelder.  Maybe it’s just this Joburger from Gauteng, with a soft spot for the Mother City and all her different cultures, to find the holistic feel of Langarm’s music to be a true reflection of Cape Town, District Six, and the nostalgic sounds of the Kaapse Klopse.

The swing band, making music with numerous variations in the harmonies between Trumpet and Saxophone, was another special element, of which I will go as far to be the first one to buy the soundtrack one day. Not just is it the music that added colour to the Idea of going to the theatre in Cape Town, the voices of the artists on stage, were adding more identity to the reminiscence on stage.  I have to highlight the voices of Rushney Ferguson, who plays Angelina, the notable versatility of Elton Landrew as Eddie, and the powerhouse Kim Louis, in the role of Kim, whose story keeps you in suspense till the end.

The last time I visited the Fugard, in my review on their production of Funny Girl, I wrote about how impressed I was with the performance of Cameron Botha.  Needless to say, his name was one of the reasons that made me choose Langarm as one of the productions to see whilst in Cape Town.  Botha plays Jeff in this musical, who has to live through many emotions.  In my opinion, it takes a specific skill of a stage actor to portray so many emotions as distinctively as what Botha did on the day.  I would say that he had an engrossing presence of an experienced actor, and in my opinion I will go as far as to say that I can see South Africa’s next Jonathan Roxmouth in this artist.

Besides a wonderful cast, the enthralling time-capsule that is the music, and the hint of something serious in the plot, audiences can also look forward to see a very clever set-design, brought to stage by Saul Radomsky. The revolving stage makes scene changes effortless, with Widaad Albertus’ design of the costumes, completing the picture.

“I just love working with the Fugard Theatre, and bringing my shows here. Their professionalism, dedication to the art form and passion for the theatre, is what makes it so wonderful to work with them” Kramer told me when I got a disappointing negative answer when I asked if Langarm might be coming to Johannesburg.  I guess we up here in the Gauteng province can’t have it all, and the Kramer Fugard collaboration, must be reason enough, to visit the Mother City at least once a year.  The next one is Kramer’s adaptation Happy New Year that will start in the Fugard’s Studio theatre, on 19 February 2019.

Produced by the Fugard Theatre, Langarm is not just a musical.  It is a variety show of so many elements ranging from the good old Cape Town Sounds, to the joy of an unfolding love story, to even elements of an historic flash-back.  Make sure to catch David Kramer’s latest Musical offering on the stage of the Fugard Theatre in Cape Town’s District Six, now extended to 3 March 2019.  Tickets are available from www.thefugard.com.

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By: David Simmons

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Bill Zurich and Lauge Sorensen

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By: David Simmons

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

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

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

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

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

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

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

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

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

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

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

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

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by David Simmons

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

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

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

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

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

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

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

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

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

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by David Simmons

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

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

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

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

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

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

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

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

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

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

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

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Roald Dahl’s Matilda The Musical will begin its run from 17 October 2018 at the TEATRO at Montecasino before moving to Cape Town. This Royal Shakespeare Company production a proud collaboration between Pieter Toerien’s Production, and GWB Entertainment.

Pieter Toerien and GWB Entertainment are delighted to announce the casting of the eagerly anticipated Matilda, The Musical. The multi award-winning stage adaptation of the much loved Roald Dahl classic was originally produced for the stage by the Royal Shakespeare Company. The first International Tour will commence in South Africa in October 2018.

The coveted title role of Matilda will be shared by three uniquely talented young girls: Lilla Fleischmann, Kitty Harris and Morgan Santo.

They are accompanied by Ryan de Villers as the gigantic holy terror, Miss Trunchbull and Bethany Dickson as Matilda’s devoted teacher Miss Honey. Stephen Jubber and Claire Taylor play Mr and Mrs Wormwood, Matilda’s awful parents and the loveable librarian, Mrs Phelps will be played by Nompumelelo Mayiyane.

Matilda is joined by the other pupils at Crunchem Hall Primary School who will be played by Jack Fokkens, Keeran Isaacs, Robyn Ivey, Joshua LeClair, Levi Maron, Ipeleng Merafe, Megan Saayman, Taylor Salgado, Cameron Seear and Zac Gabriel Werb.

We are delighted to announce the remaining adult company: Jasmin Colangelo, Katrina Dix, Sinead Donnelly, Michael Gardiner, Kent Jeycocke, Weslee Lauder, Carlo McFarlane, Kenneth Meyer, Daniel Parrott, Adrianna Patlaszynska, Jonathan Raath and Logan Timbre

The New York production of Matilda The Musical opened on 11 April 2013 at Broadway’s Shubert Theatre to rapturous reviews and has been celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year.

Sweeping the board at the 2012 Laurence Olivier Awards, winning a record-breaking seven awards, Matilda The Musical has gone on to take Broadway by storm winning four Tony Awards® and a Tony Honor for Excellence in the Theater for each of the four girls sharing the title role.

Matilda The Musical is directed by Tony Award® winner Matthew Warchus (God of Carnage), who helms this production with a book by Tony Award®-winning playwright Dennis Kelly and music and lyrics by Tim Minchin.

The production has sets and costumes by Tony Award® winner Rob Howell, with choreography by Tony Award® winner Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Tony Award® winner Hugh Vanstone, and sound by Simon Baker.

Casting is expected to to be announced at a later date.

Matilda, The Musical

Johannesburg

The Teatro

17 October – 2 December

Tuesdays to Fridays at 20:00

Saturdays at 15:00 and 20:00

Sundays at 13:30 and 18:00

Cape Town

Artscape Opera House

9 December – 13 January

Tuesdays to Fridays at 20:00

Saturdays at 15:00 and 20:00

Sundays at 13:30 and 18:00

Bookings now open at Computicket

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