Billed as Bailey Snyman's dance interpretation of Andre Carl van der Merwe's novel, MOFFIE sets itself a demanding task in adapting and translating the themes of Van der Merwe's harrowing novel.
Fred Abrahamse's staging of OTHELLO fails to capture the accelerating spiral in which the titular character finds himself on the way to his doom; this OTHELLO is a bland, watered down affair that is, at best, a devastatingly competent reading of the play.
The premiere of SAMSA-MASJIEN in the Baxter Theatre's Flipside venue last week was my second experience of the play.
Penelope Youngleson and Philip Rademeyer's Rust Co-Operative is a theatre collective that does not shy away from controversial and provocative subject matter.
It is the last day of 2014 and this final look at 'six of the best' plays to appear on South African stages finishes up BroadwayWorld's review of the past year's theatre.
The penultimate column in our 2014 South African Theatre Retrospectives deals with musical theatre and opera.
2014 is almost over, which means that BroadwayWorld South Africa is in the midst of taking a look back at the past year in theatre.
2014 is almost done and dusted and as part of a series of five columns that reviews the past year of South African theatre, this second 'six of the best' column serves as an overview of the best South African dance and physical theatre of the past year.
As 2014 speeds along to its final curtain, it is once again time to reflect on some of the theatrical highlights on South Africa's stages over the past 12 months.
Compilations usually end up being a bit of a curate's egg, but the format of ANTHOLOGY makes for an invigorating night at the theatre - even if only two thirds of the programme of A CHANGE IN THE WEATHER succeeds at delivering a satisfying theatrical experience.
WAR HORSE has finally made its way onto South African stages, currently in the second and final leg of its national tour.
As a part of its mandate to showcase new voices, Artscape is presenting, in association with the newly formed Papercut Collective, UHM, a play that takes a satirical look at the enduring legacy of colonialism in Africa.
You have to hand it to Louis Viljoen.
Imagine watching Lewis Carroll's Alice chat to the Caterpillar for an hour.
Nobody does dance on local stages like the Cape Dance Company (CDC).
Last Sunday, Play Club celebrated its second anniversary with a reading of TO KILL A MOCKINGBIRD, Christopher Sergel's stage adaptation of Harper Lee's Pulitzer Prize-winning novel.
In SMAARTIES, performance becomes a metaphor for schizophrenia, with everything in Jannes Erasmus's script to in Quintin Wils's design and direction and Jaco Jansen van Rensburg's videography calculated to a embody a single character's psychosis.
Although the basic outline of the play remains the same, RETURN OF THE ANCESTORS has been revised in the four months that have passed since its premiere.
There is a sense of complacency that infiltrates almost every aspect of STEALING THE SHOW: BETTE MIDLER.
CURL UP AND DYE emerges as a still relevant piece of theatre some 25 years after its original premiere.
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