THE LAST MOUSTACHE certainly has an intriguing premise and indulges in some fun meta-theatricality as Tim Plewman does his best to sell the audience on the material.
Watching a new production by the Rust Co-operative, the two-year old theatre company co-founded by Philip Rademeyer and Penny Youngleson, comes with the knowledge that the audience will be presented with a piece of theatre that, one the one hand, aims to offer a powerful emotional experience and, on
It is rare to find a piece as beautifully shaped for a specific age group as Magnet Theatre's enchanting TREE / BOOM / UMTHI.
SILENT VOICE is something else.
The Baxter Dance Festival celebrates its tenth anniversary this year.
Every now and then, a piece of theatre comes along that could be described as a kind of 'gateway drug': a show that people will remember being incredibly entertaining and that might make them think that this business of going to the theatre is worth all the fuss.
The premiere of Rafiek Mammon's new play, THE GARAGE SALE is marketed as a sardonic exploration of the darker, yet funnier, side of Cape Town suburbia, an explicitly edgy play dealing with the effects of rape.
As a play text, WOUNDS TO THE FACE is perhaps not as brutal an onslaught on audience reception as some of Howard Barker's other plays, but this production by the University of Cape Town's Drama Department certainly does reveal how challenging the piece is to realise as theatre, especially for young
Grammy award-winning violinist, producer and humanitarian Miri Ben-Ari has released a statement in response to the announcement that the 14th World Summit of Nobel Peace Laureates in South Africa has been cancelled.
There is a great deal going on in the mind-scape that is PIET SE OPTELGOED.
…MISKIEN was the debut production of The Pink Couch, the company founded by Tara Notcutt, Albert Pretorius, Gideon Lombard and Mat Lewis.
OLD KIT BAG is a small show with a big heart, paying tribute to the power that music has to bring people together in times of trouble.
Whichever way you look at it, THE VERTICAL HOUR is an engaging and challenging play.
With its alternative creative springboard, STRUCK SILENT captures a sense of what it means to be an aging person in a modern society, but the piece never fully distils its inspirations into a thesis that confronts, challenges or moves the audience in the moment of performance.
Abrahamse & Meyer Productions are back at the Artscape Arena with ONE ARM, the company's latest exploration of the work of Tennessee Williams and the first of which is a new adaptation of a non-theatrical work by the iconic playwright and author.
A good friend of mine often says that stand-up comedy is one of those things that cannot be mediocre.
In THE KINGMAKERS, Viljoen turns his hand to political satire, delving into the dark side of oppositional politics, where the word of the spin doctors is law and where secrets hold more weight than transparency.
Previews for Abrahamse & Meyer's production of ONE ARM started last night at the Artscape Arena, with company founders Fred Abrahamse and Marcel Meyer returning to the work of Tennessee Williams in their latest collaboration.
EMOTIONAL CREATURE is a piece of theatre that is incredibly well-tailored for its target audience of teenage girls, who will love this production should they have the opportunity to visit the Baxter Theatre during its short ten day run.
OSCAR AND THE PINK LADY is structured as a series of letters to God by the play's protagonist, ten-tear-old Oscar.
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