Any show that offers Old Brown Sherry upon entrance is already good in my books.
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Dance at this year’s Festival seemed exceptionally introspective: from taking a long, refreshing drink of itself, to explorations of contemporary South African identities in all their guises, it has been one helluva ride.
Choreographed by Kieron Jina, #ToyiToyi is a dramatic dance performance that raises serious questions about the politics of the Rainbow Nation. The work, presented by the University of Johannesburg, explores race relations, homosexuality, and rape culture in our country.
Moving Into Dance Mophatong (MIDM) this year presents two works, Ngizwise and Man Longing, in a double bill that both delights and strikes terror in the hearts of its audience.
The Gatherings, also known as Intlangano, are Grahamstown-based theatre makers. The six men and their choreographer, Nomcebisi Moyikwa, investigate issues of masculinity and identity through the medium of physical theatre.
I have been itching to see Bok since last year. My old roommate, a Rhodes drama alumnus, ignited my excitement after raving about it. But although the pros of Bok outweigh its cons, not all my expectations of the production were met.
Every once in a while a blurb in the programme is so intriguing that you take the time to check it out. Sometimes you discover a gem. This happened to me at Khaya Ndlovu’s Silent Prints. An explosive gem.
Two feet and hands, held together by an energized elastic body and accompanied by a VOICE, embark on a powerful exploration of African women’s identity.
The lighting is dark and dramatic, slipping through reds and blues reflecting the changing emotions of the dancers, who move gracefully across the stage. Another Day is a beautiful and moving love story told through physical theatre.
The lighting is dark and dramatic, slipping through reds and blues reflecting the changing emotions of the dancers, who move gracefully across the stage. Another Day is a beautiful and moving love story told through physical theatre. The show, which is produced by FollowSpot Productions, emphasizes song and dance.
As the audience enters Centenary Hall, a spotlight is trained on a standing figure wrapped in white tulle at centre stage. The house lights dim, music builds, and the figure unwraps himself. As he emerges, the tulle is laid out behind him: a makeshift altar. The stage is set for Jilted. The multidisciplinary production is one of this year’s presentations from the Cape Academy of Performing Arts. By using the premise of being left at the altar, Jilted depicts the joys, fears, and difficulties that accompany the complexity of love and commitment.
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